Louis area, one of the few major movie productions to be filmed and set there, including the Dinner scenes, which were filmed in a private home off Conway Road located at 2 Frontenac Place in west , and Nora's house, which was in the neighborhood of the City of St. She firmly reminds him of their differences in age and social backgrounds. Baron , Max's friends, and the Horowitz extended family make Nora uncomfortable. But their relationship is troubled from the start not just because of the age gap but because Nora works as a waitress whilst Max is a rich and successful accountant with equally rich friends who he is embarrassed to tell that he has a new older woman in his life. I say almost because the way the passionate sex starts is almost fantasy like but then from then on it feels real, raw, steamy, sweaty, fun and not coming across as staged soft porn, as is often the case in movies which have sex scenes.
It was written by and , based on the novel of the same name by Glenn Savan who appears in the film as an with a small speaking part. The 27-year-old Max Baron Spader works in advertising and has a spacious apartment filled with all the expected yuppie gadgets while the 43-year-old Nora Baker Sarandon works in a fast food joint the White Palace of the title and exists in a mess of a house on the wrong side of St. To preserve these articles as they originally appeared, The Times does not alter, edit or update them. After the dinner, Nora and Max argue in her house over what had happened and she tells him to leave. Louis, but drunkenly crashes his car into her mailbox. The audience is later expected to feel surprised when these judgments turn out to be less than apt.
Among the film's especially grating touches is its emphasis on Nora's fascination with Marilyn Monroe ''Nora Baker'' and ''Norma Jean Baker'' are similar names, she points out to Max , as if there weren't already ample reason to think her a sweet, sensitive person. What this means is on face value you have Max who although head over heels in love with this older woman who works as a waitress is embarrassed by her. She likes the National Inquirer, the Oak Ridge Boys and something called tuna wiggle. Occasionally the digitization process introduces transcription errors or other problems. He travels to New York to find Judy and is informed that Nora is waitressing in a restaurant.
The nouveau riche settings are as unconvincing as the squalid ones, and some of the supporting roles are so badly cast they wind up undermining the main action. Nora's sister, Judy , meets Max the following day and explains to him, in Nora's absence, how they were abandoned as children and that she left a young Nora to fend for herself. Then, he meets Nora, a middle-aged, vodka-swilling redneck who flips hamburgers at a fast-food joint called White Palace. It's a shame that just a handful of scenes and a frankly terrible ending spoil what otherwise would have been an outstanding movie. Where White Palace really scores, however, is less in the handling of this unlikely romance as the way in which it cleverly builds up a persuasive sense of Max's social embarrassment as he realises more and more that he wants this woman but, er, he's not very keen on his swank friends and family knowing all about it. Some time later, Max finds Nora's house empty and a note explaining to him that she left and that he shouldn't come looking for her.
Together they work well except in those few scenes where the storyline ends up being contrived slush and then there is almost an uncomfortable feeling to their performances, as if they are ill at ease at trying to make those few unbelievable scenes work. He visits White Palace and is informed that Nora quit. Drunk, she flirts with him, but he pushes her advances away and starts to leave. After visiting his wife's grave on the second anniversary of her death, Max returns to White Palace to watch a busy Nora from a distance. Max returns to the party but leaves upset and heads to a bar, where he runs into Nora. It deals with what for many will be familiar territory but manages to make it for the most feel real and believable as we watch the troubled pair deal with issues such as social standing and age.
She senses he's upset, asks why, and discovers his wife died in a car crash. Oppewall; produced by Mark Rosenberg and Amy Robinson and Griffin Dunne; released by Universal Pictures. Mandoki allows restaurant patrons to applaud when at long last Max and Nora publicly resolve their problems. The movie also features and was shot almost entirely in the St. Max, a young Jewish advertising executive on the rise, has had a long run of celibacy while grieving for his dead wife. Advertisement Also in ''White Palace'' is Eileen Brennan, as Nora's fortune-telling sister, who gets to deliver the long-overdue message that Max and Nora have fallen in love.
. Synopsis: Max Baron James Spader is a Jewish advertising executive in his 20s who's still getting over the death of his wife. It stops these sex scenes feeling tacky or included purely for sensationalism. They reunite, kissing tenderly as patrons of the restaurant look on. On the way to his friend Neil's bachelor party, Max picks up 50 burgers from a diner called White Palace. And Max is shown to be a prisoner of the very same pretensions he once prized. But then the contrived nonsense is lost in a clever script which has a natural believable progression.
Steven Hill, once again pressed into service to play an all-purpose patriarch, this time presides over a large Thanksgiving dinner in a prosperous household and makes a speech about the needs of the working class, which presents Nora with her only opportunity for a memorable line. Mandoki tries to imbue with more symbolism than it deserves. Nora brings up the subject to an initially hesitant Max; however, they resolve to attend as a couple. At Max's apartment, Nora hears a message on his answering machine inviting them to the Horowitzes' home for Thanksgiving. The 'connection' prevents him from leaving. It's a clever movie, a wonderful love story which delves for realism as it focuses on the unlikely and troubled relationship between two people not only from different social classes but also who have an age gap between them.