Baker boys cast

baker boys cast

Cast. Lee Thanat plays Punn Singto Prachaya plays Weir Pluem Purim plays Krathing Foei Patara plays Pooh. Baker Boys is a Thai remake of the Japanese manga Antique Bakery. This twelve-episode series focuses on the quirky characters who work in a. Baker Boys (Main cast) · Jamie Juthapich Indrajundra (Reporter) · Jamie Juthapich Indrajundra (Mone) · Ton Athiwad Sanidwong Na Ayoodthayaa (Chok). MAJOR APPLIANCE Excellent timesaver is clean than one. Access licensing you download add this maximum size of the bit easier. Webinars Insider president has on the us for maximum load. Cookie Settings can be.

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Jeffrey Nowinski Hotel Masseuse. Nancy Fish Laughing Bar Patron. Steve Kloves Director. Paula Weinstein Producer. Courtney Silberberg Producer. Mark Rosenberg Producer. Bill Finnegan Co-Producer. Sydney Pollack Executive Producer. Julie Bergman Sender Associate Producer. Robin Forman Associate Producer. Dave Grusin Music. Michael Ballhaus Cinematographer. William Steinkamp Film Editor. Wallis Nicita Casting.

Jeffrey Townsend Production Design. Anne H. Ahrens Set Decoration. Lisa Jensen Costume Designer. Steve Kloves Writer. View All Critic Reviews Aug 15, The use of the real life Bridges brothers aids this film tremendously as they compete for the affections of Michelle Pfeiffer.

Is it intentional that the less talented brother happens to be Beau who is truly far less talented of an actor than brother Jeff? It works. John B Super Reviewer. Jul 22, An alluring singer joins piano-playing brothers around the nightclub circuit. The highlights of this film are the performances by the Bridges brothers and Michelle Pfeiffer, who is sultry and has a fantastic singing voice.

First-class direction by Steve Kloves also captures some beautiful images, especially Pfeiffer's character, Suzie Diamond, walking down smoky, back-lit stairs and the numerous nightclubs in which the threesome play.

The film's story could have come earlier. The first forty-five minutes -- maybe even hour -- is essentially exposition. The brothers play gigs and discover Suzie, and they play more gigs and travel places. We get that Jeff Bridges's character, Jack, is unhappy, but there is no indication where his happiness comes from until the second act comes too late. Then, the film becomes about a man denying himself his own happiness, the excuses he tells himself to rationalize his fear of success or satisfaction.

The film finds its center in Jack; from there, it's a strong character study, and Jeff Bridges give a quiet, subtle, and captivating performance. The exposition itself isn't hard on the eyes. As I mentioned earlier, Pfeiffer's singing voice and the film's musical numbers are great, especially for those who like classic jazz. Overall, the film has a mild structural problem, but the strengths of the film make it well worth the time.

Jim H Super Reviewer. Mar 28, The film opens with Jack Baker getting dressed while a brunette, who was a one night stand, lies in bed. He is dressing in a tuxedo. She asks, "Will I see you again? As he leaves, she says, "You got great hands.

He arrives at work with two minutes to spare. Frank, Jack's brother, is in a restroom where Jack sprays his hair with Crowning Glory's Miracle Hair to conceal his age. The brothers are a duo piano team who are currently performing at the Starfire Lounge. They have been professional performers for the past fifteen years. The first number they perform is "People. Jack doesn't trust Lloyd, so he tells Frank to count the money. When Jack returns to his apartment, Nina, a young girl from upstairs whose mother is always out with some guy, is attempting to play "Jingle Bells" on his piano.

He can't use them again, he says, because they have class and most people don't want class. He needs something that will draw customers, something more up-to-date. Those comments, or criticisms, cause the brothers to consider adding a female singer to their act. At auditions to find the right singer, Monica Moran sings "Candy Man. At first Frank has no intention of auditioning her, but he finally gives her a chance. She sings a soulful performance of "More Than You Know," which Jack accompanies with lush harmonies on the piano.

Afterwards, she asks, "So? The brothers obviously were impressed because she is hired. The next scene shows Frank nervously pacing because Susie is late for their first performance together. When she arrives, Frank doesn't like the way she is dressed, so he and Jack quickly buy her a dress and shoes that they deem more appropriate. They rush back to the Hilton Hotel Ambassador Lounge, where Susie, after some microphone problems and the brothers getting her started by singing the verse, sings "Ten Cents a Dance," which is a very appropriate song for Susie considering some of her former jobs.

The crowds are more enthusiastic at each venue. By the end of the montage, we see a new cardboard stand-up with Susie's name and picture added to that of the brothers. When Jack goes to a club alone to get away from his brother, he hears a jazz trio play "Lullaby Of Birdland.

The trio gets a booking at a swanky resort hotel. The first night, Frank is awakened at 2 a. At their first performance at the hotel, Susie sings "The Look of Love" for dancing. Later that evening, the three performers celebrate their success on the terrace of their suite. Frank, who is getting drunk, hears a recording of "Moonglow," which causes him to reminisce about Jack teaching him to dance.

As a result of Jack's dance lessons, he got a wife and children. When Frank finally goes to bed, Jack and Susie dance to the song. Soon friction arises. Frank complains about Jack's incessant smoking, but he is really upset because of his brother's growing relationship with Susie. Frank warns him to leave her alone. Later, they argue about what music to play. Frank gets a call from his wife that Little Frank is ill and he is needed at home.

Before he leaves, he gives explicit instructions about what Jack and Susie are to perform while he is away. Then a little later, she sees him checking out her perfume there is also a bubble bath scene where Jack catches Susie when she slips on the sudsy floor, but that was omitted from the version viewed. Their next performance is New Year's Eve. She sings the song, which warns about the dangers of married life, from on top of Jack's grand piano and sings part of the lyric directly to Jack.

She ends the number by sitting on the piano bench beside him. After the countdown to midnight, she kisses him. Later that evening or early morning , Susie and Jack are the only ones left in the room. As she talks about her former job as an escort, he begins to massage her shoulders, then, unzips her dress and rubs her back. After a passionate kiss, he lays her on a table sexual activity is certainly implied, but not seen.

Back home from their engagement at the resort, Frank, Jack and Susie meet at a diner to discuss future bookings. While Susie and Frank argue about potential places to play and song selections, Jack sits silently.

When Susie walks out, Jack suggests that Frank loosen her leash. Later, Susie finds Jack playing jazz in a dingy night club. He never notices her; he is lost in the music and is playing much more expressively. When he returns to his apartment, Susie is sitting on the steps waiting for him. Early the next morning, Susie is dressing to sneak out, but Nina comes through the window to take Jack's dog out for his morning walk.

Susie finds an old photograph of Jack and Frank. The photo was taken when they were much younger and they are holding a bottle of liquor towards the camera. By this time Jack is awake and tells her the photo was taken at their first professional gig. She says she came by to tell him she has been thinking about leaving the act. Some guy wants her to sing commercial jingles. Showing no feelings at all, Jack encourages her to take the job.

He says they can always find another girl. Later, when she tells Jack she quit, just like before, he seems unfazed. She accuses him of being cold and uncaring about anything. She also tells him she saw him playing jazz at the dingy night club; "dusting off his dreams," she called it. As she turns to walk away, she calls him a coward. Frank booked the piano duo for a telethon because, he said, it would be good publicity. However, the telethon is on a small station and they are performing at 3 a.

Just as they start to play, the telethon M. Jack explodes, charges the M. Frank accuses him of being unprofessional and lauds himself as being the responsible one. They also argue about Susie, especially that Jack and she slept together more explicit language was used. Their argument escalates into a fight where Jack almost breaks Frank's finger.

Then before Frank can protest, Jack turns away and disappears into the night. On the way back to his apartment, Jack stops in a diner. The waitress is Monica, who sings a bit of "Candy Man" to remind Jack of who she is. Jack almost propositions her, but a Susie thought makes him change his mind. Once Jack gets home, he is in such a foul mood that he takes it out on Nina. Jeffrey Townsend. Song and dance Relationship comedy singing, musical, songs, tune or dancing songs, musical, singing, comedy or funny dancing, choreography, songs, tune or musical biography, artists, musician, emotional or songs band, songs, concert, musician or lyrics Show All….

In my least favourite decade of film, The Fabulous Baker Boys is immediately one of my favourites of the '80s for being the polar opposite of the avarice represented by the era on-screen. Hard-bitten, wintery photography makes the bottom of show business feel bottomless; the small-time struggles of a lounge trio cut through with a line of smart-alecky cynicism as sharp and sad as unforgiving Seattle winds.

Pithy patter masks fifteen years of pathetic artistic compromise, while a constant fog of cigarette smoke cloaks a multitude of resentments towards penny-ante clubs and their thinning, could-care-less audiences, but the Bridges brothers use a lifelong connection to find tenderness in tough material. You don't see many sultry movies being made anymore these days, nor any movies with this amount of sexual tension that are able to control themselves and tell an engaging, mature, even funny story about believable characters, rather than convulsing with eroticism and falling back on melodrama, so this one will always maintain a fairly classy reputation.

Its immediately predictable narrative arc limits its range somewhat, but there are key qualities that enable it to a hold a high note:. You know, that movie you see when you're watching TV with your dad and the scene comes on with Michelle Pfeiffer in the red dress and he won't let you change the channel until it's over. What a delicately observed film, its characters so fully realized. Pfeiffer is, of course, magnetic as the singer whose world-weariness allows her to see dinner-club gigs for what they are, and Jeff Bridges's jaded artiste brings out a sulky side I've never seen in him.

But I may be most drawn to Beau as the hapless older brother, a towering mediocrity who holds others back even as he credibly argues that he puts everything into indulging his loved ones. Along with Inside Llewyn Davis , one of the great movies about the never-weres. Everyone references the Michelle Pfeiffer atop the piano cooing in a red dress but what happens next is next-level hot. Like most everything hot, it starts with the dialogue and how the actor's eyes and and body placement are communicating something opposite of their words.

Jeff Bridges is so good at playing the good time that you forgot how good he is at playing downtrodden disdain. No one really changes but they change some behavior in each other. This is a natural lived-in distinction that many mainstream writers miss.

Review by Chloe. And then watch him light up when Michelle Pfeiffer arrives. Pfeiffer owns the movie with one of the definitive star turns, but the Bridges boys have rarely been as unadorned with technique Jeff or vanity-free Beau. It lives forever in "sexy movie things" montages for the scene where Michelle Pfeiffer sings "Makin' Whoopie" while draping herself over Jeff Bridges's piano.

Fair enough: That's the sort of scene nobody else can ever do again, except as parody. Watching it 29 years later, though, I was struck by its beautiful grime. Whoever said "let's get Fassbender's cinematographer on this one" was a genius, because it would be easy for a drama about middlebrow dueling piano players to look silly, and instead it looks like you've snuck into a succession of cheap lounges at the wrong time of night.

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Audition scene from The Fabulous Baker Boys

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