Just 45 Minutes from Broadway - The Film

Opening October 3rd in Los Angeles and Southern California, Oct. 17 in New York and in wide release late fall.


“Harriet Schock breaks you up. You laugh, you cry, but most of all, you pay attention to her, and you want to know Sally. She’s the aunt we all have, only with a lot more charm and if Sally lacks poise, her portrayer makes up for it in a big way. She is almost operatic in her style, very conservative yet she blasts off the screen at you. Whereas Salinger’s Vivien is just too elegant not to notice, Schock’s Sally is noticeable because she has a hidden spark that the actress knows how to ignite in just the perfect time in each scene.”
Tommy Garrett - Highlight Hollywood

“Especially in the early scenes, Jaglom peppers the Isaacs' dialogue with witty allusions and jokes that lightly satirize the theatrical community. The most inspired of these - a hysterical line about Mike Nichols and drug addiction delivered by Harriet Schock, with her impeccable comedic timing - will earn many laughs, especially from audience members in the show business community.”
Jason Southern - All Movie Guide/TV Guide

“Harriet Schock as the ditzy boarder, adds a light-hearted funny tone to the film.”
Irene Rubaum-Keller - The Huffington Post

‘Just 45 Minutes From Broadway’ Captures Jaglom’s Beautiful Dreamscape Of Life, While Frederick’s Performance Leaves The Heart Pounding For More, Highlight Hollywood News

You can live a long life or a fulfilled life. Whatever Henry Jaglom does live, it’ll definitely be fulfilled. His creativity is legendary, his style one-of-a-kind, he is truly the king of Indie films, and he’s proud of it. A giant in the industry, Jaglom could be directing and writing epics, but he makes epics on a personal scale, and his undying love for films is just part of his allure. His audience broad, sophisticated, mainly women, and men who love to be thinkers. I happened upon this great legend luckily because of what I do in Hollywood. I’ve been lucky enough to be privy to his magnificent-style and grand vision. What he does with “Just 45 Minutes From Broadway,” the film is as extraordinary as what he did with the stage version which ran for almost a year at the Edgemar Theatre for the Performing Arts in Santa Monica.

Having seen Mr. Jaglom’s enormously popular and exciting stage version of “Just 45 Minutes From Broadway,” I found myself wondering, would he capture the mesmerizing personality of Panda, played by the most talented actress in the Western World, Tanna Frederick; whose gifts are more abundant than the Colorado River, and beauty as spectacular as Lamarr, and yes, just as genius as well. Well, Henry does capture Tanna’s uniquely brilliant performance as a woman, who has dreams, but lives nightmares, but thanks to the love of her sister’s husband, played by Judd Nelson, she manages to win again and again, even though she picked a “civilian!” Civilian, you ask? Well, it’ll make sense when you see the film. But “civilian” is what we Hollywood creative types call those in the real world. You know, attorney-non entertainment attorneys, CPA’s, even Nurses and Doctors.

But, back to the splendid and dazzling world of Henry Jaglom’s dreamscape imagery, which Tanna Frederick, Julie Davis, Harriet Schock and the sublime matriarch Diane Salinger offer the moviegoer, you can only imagine the fun you are about to embark on. As with all of Henry Jaglom’s great films, the audience almost feels as if they are peering, a peeping-tom in a world we may not always understand, but by the end of the film, you feel so invested in the characters, that you genuinely root for them to come out on top, and luckily, Henry’s optimistic view of the world, which is rare today, comes out on top. Without giving the storyline away, lets just put it this way.

Panda goes back home to live Just 45 minutes from Broadway. But the childhood home she shared with her parents, sister and extended family is hauntingly beautiful in a very rustic way. Julie Davis as the older, domineering but highly insecure sibling plays it perfectly. Julie being one of the most gifted filmmakers in Hollywood herself, manages to sink her emotions into a role, that she was born for. Henry Jaglom does know casting. Diane Salinger morphs from earth-mom to protector and ultimately counselor and therapist with aplomb. The leggy red-haired beauty makes the big screen resemble classic Hollywood ever so effortlessly, just by her booming gorgeous voice and strong almost “supermodel-like” facial features. And her expressive eyes tell a story in each scene.

Judd Nelson may have been waiting for his next great role, but wait no more. He turns from character actor to leading man in less than 45 minutes into the film, and by the climax, you feel for this guy. You understand him. He turns a very complicated guy into a guy we all feel like we know. Nelson has the ability to make guys who watch him in a film empathize. He is every guy, he’s played almost every type of guy. But truly, this time around, it’s a pure original Henry Jaglom male lead character in a world filled with women, just as Henry dreams of it really being like.

Harriet Schock breaks you up. You laugh, you cry, but most of all, you pay attention to her, and you want to know Sally. She’s the aunt we all have, only with a lot more charm and if Sally lacks poise, her portrayer makes up for it in a big way. She is almost operatic in her style, very conservative but yet she blasts off the screen at you. Whereas Salinger’s Vivien is just too elegant not to notice, Schock’s Sally is noticeable because she has a hidden spark that the actress knows how to ignite in just the perfect time in each scene.

David Proval’s Uncle Larry is the guy we all grew up living next-door to. He’s filled with great stories, great history, and the one thing David Proval does that few other character actors are capable of doing, is that he makes you feel like you met him before, from the very first scene, Proval pulls you in. It’s a gift, he’s a gift, and his performance in this film has Supporting Oscar nominee written all over it.
George is played by Jack Heller, a well-known actor in the business, who many may not have heard about. But it’s only because he’s actually too good at playing his characters, that you never remember the actor’s name, because he becomes each character. Living one night in a disastrous insomnia, to the next time, dealing with family dysfunction and ultimately being the patriarch we all know George has become, he’s loveable, he’s solid and he gives a performance that makes you stand up and notice.

Mary Crosby is too damn hot to be anything but sizzling, and all the amazing other characters and supporting actors and actresses leave you feeling like, “I really do know this family. It’s my family, darn it! But, don’t tell anyone!”

The leading lady Tanna Frederick has an emotional bond with the moviegoer. She has such a deep connection with her character Panda, that you aimlessly fall into her dreamlike world for a couple hours, and when it’s over, you leave the screening room saying, “I don’t want to leave. I want to stay in Panda’s world. It’s safe, it’s secure, but filled with rich characters, that Frederick plays off of, as if she channels the energy of Norma Shearer and embodies the powerhouse emotions of Bette Davis, but is sensual, feminine and enticing as Marilyn Monroe. She creates the scene, Henry Jaglom is smart enough just to let her “Go!” That’s the only way a screen, even the big screen can hold Tanna Frederick. She bounces off the top of the screen and lands in a puddle of mud at the bottom of the screen, but in almost a euphoric-like manner, you can visualize Panda’s world in the innocent and gorgeous eyes of Tanna Frederick, who keeps this film going at a great pace.

That’s what Tanna does, so naturally, so instinctively and without even trying. When she walks on screen, I find myself for a few moments living a child’s existence. One that is filled with hope, innocence, and the passion that not all gifted actors in Hollywood can possess. What is strange is that it’s not even something she’s aware of having. That probably helps make it work. Only Karen Black has it, very few have ever had it in the history of cinema. Most certainly, Bette, Marilyn, Norma, but in the silent era, Marion Davies and Mary Pickford. It’s rare, it’s unique, and in Tanna Frederick, it’s smoking hot! Julie Davis’s (Betsy) plays magnificently opposite a sister that is filled with this kind of energy. Julie plays Betsy with a serious demeanor, demanding and very restrained, while Panda flies to the ceiling like Tinkerbelle, and it drives Betsy to distraction. The two are edging out other leading ladies in their under 30 age-range, that just don’t seem to possess the passion they both deliver endlessly on screen.
What I see in this film, in ALL of the Jaglom/Frederick films is brilliant, natural acting. Jaglom ignores the need for special effects, and makes you see sparks in the eyes of his stunning muse, that will kidnap you for just about two hours in her flicks, and this one is no different. I predict an Academy Award nomination for director and filmmaker Jaglom, who has this year’s “The Artist” picture. And forget Meryl. Last year was her year, this year? It’s Tanna Frederick’s year to go on stage and pick up that statue, and on the way down, be sure David Proval doesn’t lose his flirting in the room with the ladies. Three Oscar-winning performances; Director, Jaglom, Actor, Proval, Actress Frederick. But an ensemble that is so incredibly gifted and engaged in each scene, that the film deserves one for Best Picture as well.
“Just 45 Minutes From Broadway” opens in L.A. on October 3, and throughout the year, will open in select theaters around the country.

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Written By: Tommy Lightfoot Garrett
Photographs are Courtesy: Rainbow Films
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Written and directed by Henry Jaglom
****(4 stars out of 4)

Henry Jaglom's 18th feature film, Just 45 Minutes from Broadway, arrives in cinemas three years after his successful stage play of the same name debuted at the Edgemar Theater in Santa Monica. And yet, to refer to this motion picture as a simple adaptation or transposition of the original source material would be doing it a grave injustice. Jaglom and his collaborators - who include most of the original cast, editor Ron Vignone, and cinematographer Hanania Baer - take advantage of the structural capabilities of the cinematic medium to rework the theatrical material in ingenious and brilliant ways that were impossible within the confines of the proscenium. This - combined with the retainment of the play's dramatic developments and incisive, witty dialogue that made the original production so blissful - turn Just 45 Minutes into one of the most immensely satisfying works in the iconoclastic director's oeuvre.

The story involves the Isaacs, a group of theater actors inhabiting a country home in Westchester County, New York. Present are patriarch George "Grisha" Isaacs (Jack Heller), his wife Vivien Cooper Isaacs (Diane Salinger), Vivien's brother Larry Cooper (David Proval), and family houseguest Sally Brooks (Harriet Schock). As the tale opens, Grisha and Vivien's daughter, Panda (Tanna Frederick) arrives from Manhattan on the heels of a painful and messy breakup. Her ex-boyfriend was an emotionally constipated jerk who couldn't deal with her vulnerabilities. Though Panda adores her family, their chosen profession, and the emotionally-liberated lifestyle that it engenders, she also grapples with a tense, troubled relationship with older sister Betsy (Julie Davis) - an icy, controlled businesswoman type who has distanced herself from this family of artists. Betsy turns up for a visit not long after Panda arrives, this time with her fiancé, Jimmy (Judd Nelson) in tow. In the days that follow, Jimmy and Panda find themselves drawn to one another and Jimmy begins to open up emotionally to those around him - to Betsy's horror.

On the surface, the story is relatively straightforward, but beneath this schema, the material itself feels every bit as freewheeling as its characters.Thematically, the writer-director and his cast keep making profound, intuitive connections - between emotional liberation/courage and life itself, between life and acting, between childhood and theater, between theater and romantic nostalgia. The thematic free-association, of course, will come as no surprise to Jaglom's fans - his motion pictures have been making similar leaps for years - but this one stands apart by virtue of its ambition in two respects. The broadest is a structural device: Jaglom opens the story by seamlessly grafting footage from the Edgemar stage production of 45 Minutes into the rest of the narrative, as an explicit manifestation of Panda's outlook. Similarly, in the final half hour, we get constant back-and-forth between the two "realms" - one depicting the Isaacs' daily life in the "real world", and another where the Isaacs "act out" their lives on stage. The message here is apparent: for Panda, theater, family, and emotional courage are so intertwined that despite her initial attempts to keep "everyday life" and "theatrical life" apart, she's ultimately unable to do so - the two spheres eventually merge into one inseparable reality in her mind- and one that Panda cherishes. She's in her element, among her tribe, and adores being there. The structural experimentation that Jaglom uses to bring this off is his boldest since the masterful Venice/Venice, and it's highly effective here.

Narratively, the film also retains the sort of looseness that we associate with Jaglom's best work - he keeps packing in one delightful surprise after another. The most exuberant is a lengthy sequence in mid-film, involving a Jewish Passover Seder not found in the original stage production. This enables the director to expand and spin the story far beyond the confines of the original play, and includes delightful comedic appearances by Michael Emil and Simon Jaglom (the director's son, who does a riotous Al Pacino Scarface evocation). Importantly, this sequence is far from a structural whim - it strategically advances many of the themes explored in the remainder of the picture, particularly the lure of showbusiness life for new entrants, and the emotional radiance/magnetism of showbusiness families.

Just 45 Minutes also distinguishes itself by virtue of its improvisatory style, which feels more subtle, more instinctive than it's ever been before in a Jaglom film: the actors navigate their way through dozens of conflicting and overlapping emotions, which makes the onscreen interchanges electric and vital. The entire cast deserves praise. Nelson stands out by virtue of the difficulty of his role, as an emotional prisoner who only gradually emerges from his shell. He's both subtle and nuanced; it's a quiet, understated turn and particularly demanding for being so, but the actor pulls it off masterfully; this four-barelled performance redefines his career. Davis is also exemplary as Betsy - and there is no way that her acting debut, in the 2001 Amy's Orgasm, could have ever prepared us for the multidimensionality on display here; courtesy of a virtuoso technique, she somehow enables us to concurrently see through the character's supercilious, icewater-veined exterior, while projecting the paralyzing fear of liberation that lies beneath all of Betsy defenses; ergo, a role which could have been both ghastly and grating in lesser hands grows poignant here, and generates a surprising degree of sympathy from the audience. Salinger stands out via the towering strength of her emotion on camera; she delivers a monologue opposite Heller, on the glories of the theater, that's arguably the finest on-camera work she's ever done - it begins on an intense note, then builds and builds; at first, it's impossible to see how she can sustain the energy, but she does, and we're left awestruck with tears in our eyes.

But in her fourth collaboration with the writer-director, it is the lead actress Frederick who commands the production. She's always done her finest work under Jaglom's aegis thanks to a fearlessness that few of her contemporaries could muster, but here her performance operates on a couple of different levels. One is a broad histrionic mode that meshes with the theatrical demeanor of the whole Isaacs family, and this is appropriately startling - it's a testament to Frederick's emotional power that we almost find it difficult to keep our eyes on Panda - the character's immediacy is appropriately that terrifying, that startling. But Frederick also gives us moments of subtle revelation in the wordless instances when Panda reacts to the others around her. It's never declared forthright that Panda begins to fall in love with Jimmy; instead, we watch it happening in slow motion, thanks exclusively to the behavioral insights that Frederick gives us. She delivers an extraordinary reaction, for example, where Panda watches Betsy throw herself into Jimmy's arms, and responds with a line of dialogue where her voice breaks, mid-sentence. This is heartbreaking to witness, but only one of dozens of like examples in Frederick's evocation.

Lest this description of Just 45's emotional undercurrents make it sound too earnest, however, one should bear in mind that Jaglom's script is also often wildly funny, and the humor gives the material a buoyancy, an effervescence that makes it highly pleasurable. Especially in the early scenes, Jaglom peppers the Isaacs' dialogue with witty allusions and jokes that lightly satirize the theatrical community. The most inspired of these - a hysterical line about Mike Nichols and drug addiction delivered by Harriet Schock, with her impeccable comedic timing - will earn many laughs, especially from audience members in the show business community. And as brothers-in-law with a playful antagonism between them, Proval and Heller form an impeccable comedy team - they're like two old vaudevillian pros, and when one of the other characters asks if they've ever done The Odd Couple together, the inquiry seems entirely merited.

Overall, Just 45 Minutes succeeds triumphantly as a rare work of complex and sophisticated cinematic art. It also does something even more lovely: as one of the most eloquent summations to date of the themes closest to its creator's heart, it will both satisfy Jaglom's many admirers and will serve as the perfect entrée to the director's long and venerable body of work for those new to his craftsmanship. All will find it endlessly fascinating and deeply rewarding.
---Nathan Southern


"Just 45 Minutes From Broadway" is, arguably, Henry Jaglom's best film to date. With brilliance, boldness and originality he has fashioned a mature, touching, funny yet poignant and knowing tribute to actors and the acting profession. It is beautifully written and is acted by a powerhouse ensemble that includes Jack Heller, Julie Davis, Diane Salinger, David Proval and Harriet Schock, while Judd Nelson surprises with a wonderfully nuanced and thoroughly inventive performance. And the film showcases a superb acting tour-de-force from its luminescent star, Tanna Frederick, an astonishing actress who can make you laugh and cry at the same time! Don't miss this film!!!"
Tim Sika
Celluloid Dreams
President San Francisco Film Critics Circle

“Just 45 Minutes From Broadway"
A Theatrical Family Bares All and Lives to Tell About it

Where does the line of reality end and where does the illusion begin? Henry Jaglom's18th film, “Just 45 Minutes From Broadway", continues to explore this question, the question that he has asked himself and his audience so many times before. His new film, the story of a family who have been deeply entrenched and pivotal in the Yiddish Theater for 4 generations is raw, beautiful, touching, and powerful.

Jaglom has an uncanny knack for gathering top-notch actors and giving them the artistic room they need to succeed in telling the story. This quality, has always been a crown-jewel for Jaglom, as he gives each player the track to run his or her individual horse without hesitation or complication. “Just 45 Minutes” goes deep into the family’s lives, exploring sibling rivalry, self-worth within the family unit, and - of course - the unbreakable bonds that hold them all together.

The piece was first a play, produced with great success in Los Angeles in 2009, and the film still holds that same theatrical quality. “Just 45 Minutes” opens much like a stage production leading the audience to wonder: Is this real or is this illusion?

The Family (mother Diane Salinger, father Jack Heller, uncle David Proval, and boarder Harriet Schock) are fantastic, portraying the ups and downs and history of this singular family in an honest, real and most accessible way.

Tanna Frederick as Pandora Isaacs (in her 4th Jaglom film) electrifies, with her explosive and raw nature. She ever draws you in, her intensity and warmth colliding to make Pandora someone you want to spend time with, someone whose story you want to hear and be a part of. She and Jaglom seem to have a chemistry that is undeniable. One of Jaglom’s greatest strengths is his understanding and compassion for women and in Frederick he has found a fortress of talent and beautiful emotion that suits his style to a tee. Frederick is simply delicious on screen.

“Just 45 Minutes” spirals in and out of highly dramatic and intensely focused moments, the very energy that gives Jaglom’s pictures their life-blood. Pandora's non-theatrical sister (Julie Davis) and her sister's non-Jewish fiance (Judd Nelson) - who are also arriving for the weekend and the family's yearly Passover Seder - both bring a seemingly comfortable level of realism that gently balances out the freneticism that surrounds the rest of the family. Or does it? Two truly fine performances.

One of the most wonderful scenes in the film is the Seder, which is presided over by another uncle (Michael Emil, Jaglom’s real-life brother). Henry Jaglom has a wonderful and engaging touch when an ensemble is at his fingertips and this is a fantastic example of how he is able to put the audience at the table without hesitation that what we are seeing is real. As in one of Jaglom’s previous "family" films, “Last Summer in the Hamptons", he extracts performances out of the actors that make you long to be a part of the world they are creating, but more so the world he is allowing to be created.

Pandora (Frederick) just can’t seem to decide what’s real and what is not, but she’s not alone. It seems each family member has been down that road before, and that’s not to say that they each still aren’t.

The incomparable Diane Salinger thrives in Jaglom pictures and this one is no exception. In a simply mesmerizing scene with her brother, played by praise-worthy David Proval, he is lamenting that he never got the chance as actor to fully live up to his potential to be a household name when she says to him, “It’s not about the fame, it’s about how true you are to your gut. It’s what’s inside. You change one person’s life, my God you’re bigger than all of them. You’ve changed the world when you change one person. You influence one person, it ripples, you throw a little pebble into the water and it goes ‘wha-wha-wha-wha’. That’s who you are, don’t you ever forget it!”

Isn’t that what actors do ?

Reality or illusion, that’s what it’s all about, and in “Just 45 Minutes >From Broadway” Jaglom urges his audience to never lose that spark, to always take chances and to live life with a whole heart. There is no one like Henry Jaglom making films today, and as Orson Welles said to Jaglom in "Someone To Love", “You see things differently.” That he does. And this film is a most extraordinary example of that. Orson would be proud.
R. Grady Dennis Jr.

ReelTalk Movie Review
No People Like Show People

If you want a fly-on-the-wall view into the private lives of theatre royalty, Just 45 Minutes from Broadway is the movie for you. Independent filmmaker Henry Jaglom has transferred his successful play of the same name into a revealing motion picture scheduled for release in October of this year. Co-starring Tanna Frederick and Judd Nelson, the film deals with relationships between members of a theatrical family so obsessed with acting that they view other people as “civilians” – which causes considerable difficulties when one of their own chooses another profession.

While watching the events unfold on screen, we get to see how volatile these thespians can be, especially two sisters who fall for the same man. We also learn shocking secrets concerning other family members and friends. Throughout the movie, fascinating conversations occur -- as in all Jaglom films. Histrionics must be expected, of course. After all, these are dedicated theatre folks! But no matter how much arguing and yelling goes on, it’s clear these people care deeply for each other.

Playing Pandora, the younger sister, Tanna Frederick (Queen of the Lot, Hollywood Dreams) stands out. As usual, she takes over the screen, and Pandora -- an actress through and through -- might be her most emotionally charged role yet. A sibling with mixed feelings about her big sis and her own place in the world, she’s also suffering from a recent romantic breakup. Frederick, always fearless in her performances, lets it all hang out as Pandora careens from one feeling to another while trying to understand herself.

Julie Davis (Finding Bliss), as Betsy -- the older sister – projects just the right contrast to Frederick’s character. She endows Betsy with an overly practical, businesslike demeanor plus a hint of vulnerability. Judd Nelson (Breakfast Club, St. Elmo’s Fire) excels as the third member of this unusual romantic triangle. He’s Betsy’s fiancé, another “civilian” who seems the most reasonable person in this spirited gathering. Other cast members (Diane Salinger, Jack Heller, David Proval and Harriet Schock) add their special touches to Jaglom’s intriguing dramedy.

It’s important to mention that some delicious surprises are in store for the audience here. However, I better not say any more about that. You’ll just have to wait until October to find out what they are!
Betty Jo Tucker

I recently saw a sneak preview of Jaglom's new film JUST 45 MINUTES AWAY FROM BROADWAY and it is one of the best new films of 2012.

I will state firmly that no director today in America has this way with actors since John Cassavetes. The humor of this film is rooted in intelligence and sensitivity. It captures what it means to be an actor. Whereas in HOLLYWOOD DREAMS, Jaglom showed us the brutality of the film industry, here he notes the warmth and grace of theatre actors.

What charm, what insight! If I were to compare his HOLLYWOOD DREAMS to The Day of the Locust then I would compare this new film to Jean Renoir's The Golden Coach. The actors of the Renoir film and the actors of the Jaglom film survive through their imagination. In fact they thrive. This is a film of joy. Keep an eye out for when it opens.
Joseph Lally

Irene Rubaum-Keller Just 45 Minutes From Broadway: Movie Review

Henry Jaglom's new film Just 45 Minutes From Broadway is a quirky family dramedy with some great performances by its talented ensemble cast. Jaglom wrote it first as a play that ran for a full year at The Edgemar Center Theater in Santa Monica. I saw the play, twice, and loved it. I wasn't sure how it would translate to film, but it did beautifully.

The Isaacs are an eccentric family of actors. George (Jack Heller), comes from a long line of actors that dates back to the Yiddish theater. He has been married to Vivian (Diane Salinger), also an actress, for a very long time. Their youngest daughter Pandora (Tanna Frederick) has come home to nurse her wounds after a long-term relationship ended. Pandora is an actress as well and struggling both personally and professionally. Betsy (Julie Davis) the older daughter has run from the acting business and become a "civilian" living a normal working life. She brings her fiancé Jimmy (Judd Nelson) home for the weekend to meet her family.

George and Vivian are getting older and are having a tough time financially. They have taken in a ditzy boarder, Sally (Harriet Schock) to help makes ends meet. Vivian's brother Larry (David Proval) is also living with them while he's doing a production of Guys and Dolls. All the characters are a little odd, dramatic, vulnerable and lovable.

The story, without giving too much away, revolves around the tension between Pandora, her sister Betsy and Jimmy.

Jack Heller and Diane Salinger are very believable as husband and wife and as actors. Diane is stunning and such a joy to watch. Jack is the quintessential handsome older man who is lovable in his foibles, including his insomnia and addiction to sleeping pills. They share details of their long union that shock their daughters and add a dose of reality to their long-term marriage.

Tanna Frederick is excellent as Pandora. She is volatile and extremely present each moment she is on the screen. Tanna is exciting to watch. You never know what you are going to get. Julie Davis is equally good as Betsy. She plays the least likable character in such a way that we care about her and understand how alienated she felt growing up in a family she didn't feel she fit into to. Judd Nelson is a surprise as Jimmy. I was a big fan of his back in The Breakfast Club days and happy to see him on-screen again. His character changes the most in the story and Judd does a good job of making us believe that he has been pretending to be someone he is not most of his life.

David Proval is touching and tragic as Larry, the down on his luck actor. Harriet Schock as the ditzy boarder, adds a light-hearted funny tone to the film.

Just 45 Minutes From Broadway is not a typical Jaglom film. It is mostly scripted. There is a scene at Passover dinner that feels like classic Jaglom, otherwise it's a departure from what I have come to think of as signature Jaglom.

It's an inside view into what it's like to live a creative life. In this case, it's a tribute to actors. The film also beautifully touches on the idea that we are all actors. George says to Vivian, "We are all actors. The only difference is, we get paid for it." Jaglom speaks through Pandora who says, "I can't tell what is acting and what is real anymore, and I'm not sure I want to." It's an artful treatment of life, love and creativity. It's also about finding the courage to be one's self, even if that means going against the norm.

Watching the film I felt like I was eavesdropping on intimate family dialogue. Some of it was painful, some tender and all very real. This is Jaglom's strong suit. His ability to observe and show us what he sees. It's like this quote from Tennessee Williams,

All of us require a witness. A witness who will let us -- and the world -- know that we have lived, that we have contributed. As artists we need to know that our contributions mattered, touched the heart, evoked a thought, led someone else off to their own pale judgment to scribble something out. When we create characters, we are witnesses to ourselves and to those to whom we have reacted, to those we have loved, to those who inspire us.

The greatest artists are, I think, witnesses. They have been, to steal a line, present at the creation... of whatever they have seen.

Henry Jaglom is a unique voice in the cinema. Just 45 Minutes From Broadway is a fabulous example of his artistry and his vision. Don't miss it!

Opening October 3rd in Los Angeles and Southern California at the Laemmle theaters. October 17 in New York and in wide release in late Fall.

The Maxey Chronicles
Reviewing Henry Jaglom's Refreshingly Warm New Film JUST 45 MINUTES FROM BROADWAY
Gerald Maxey

In JUST 45 MINUTES FROM BROADWAY, Henry Jaglom Goes Chekhovian on His Audience.

Henry Jaglom’s new film. JUST 45 MINUTES FROM BROADWAY is an extraordinary piece of Chekhovian work; in fact it is not only Chekhovian, it is humanistic in its artistic world view:

“Humanism is a body of philosophies and ethical perspectives that emphasize the value of human beings, individually and collectively, and generally place more importance on rational thought than on strict faith or adherence to principle”

JUST 45 MINUTES FROM BROADWAY is Writer/Director/Auteur HenryJaglom's refinement of Chekhov, in a wonderful Eric Rohmer way; it could be a Rohmer moral tale. It has that Chekhovian CLAIRE’S KNEE’s touch, in its unadulterated joy at the ridiculousness of the human condition.

Jaglom has crafted a work that does not mock any of its characters, nor exploit any of its character’s foibles or weaknesses, nor editorialize, nor judge. It observes all, with bemused love.

Refreshingly, in this work, Mr. Jaglom likes his characters, as people, fallible, funny, trying to be better people. He likes his characters, all of his characters, the leads, the supporting, the incidental and the cameos. He likes them, and appreciates their world views, their struggles, their shortcomings, their failings, their histories.

Set in rustic New York, it brings together a Royal acting family (think a Jewish Lunt/Fontaine) waiting for the turning of the page. Their daughter (a superbly vulnerable Tanna Frederick) PANDORA ISSACS has come to the country, for a respite from failing relationships.

Her parents, GEORGE and VIVIEN ISSACS (the leonine Jack Heller and the steel in velvet Diane Salinger) have roots, royal roots, aristocratic roots in the American theater, dating back to when there was a Yiddish Theater of Paul Muni and Molly Picon. Imagine if you will that the Jewish Sir Laurence and Vivien Leigh had stayed married into old age ;that gives you a paradigm for GEORGE and VIVIEN. They are joined at their rustic retreat by VIVIEN’s brother, LARRY (David Proval, a Jaglom Regular), and a mysterious renter, SALLY BROOKS (played in a straight acting role by the sexy vocalist Harriet Schock).

Their family reunion will be stressed by the arrival of the outsider, the successful anti-Art, anti-BIG ART eldest daughter BETSY(played by Julie Davis) and her live in lover, JAMES(Judd Nelson).

With BETSY as catalyst, the dysfunctional family flaunts their dysfunction, revels in their dysfunction, and then accommodates itself to the joy lurking in dysfunction. Julie Davis plays BETSY, fiercely protecting her life choice of absolute conformity as not only the appropriate thing to do but the wise thing to do. In 2012, when the whole world is agog over diversity, she makes a reasonable and rational appeal for conformity, and transforms her character from a a NURSE RATCHED martinet into a martyr on the altar of non conformity. Nicely done Ms. Davis.

Jaglom is noted for giving his actors insightful, heart breaking monologues. Two stood out to me, one by the FATHER, a lament to all the fathers who are raising children, and literally have no idea what they are doing and David Proval’s astringently poignant cry to the heavens of every actor who has the chops but not the breaks.

This is a very warm film, perhaps Jaglom’s warmest- there is a Seder scene in it, which establishes the family as a deeply loving unit. A Family in which all the refugees have a home.

In a world of cinema consumed by aliens, witches, werewolves, zombies and serial killers, it is sweet to have a film by a gifted auteur dealing with family, and each family’s struggle to be a family without prodigals.

Kudos to Producer Rosemary Marks on her magical ability to cobble together wonderful production values, all up there on he screen.

Finally, Mr. Jaglom has two children who have real screen presence, I hope to see more of the in his future work.