second chances ( film )
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“this film is a story about mercy and second chances. ‘can people change? ’ ‘and, if so, will we allow them the opportunity to do so? ’”
save the date... “serving second chances, ” a documentary film about homelessness, will be featured at the next dallas videofes t at the angelika film center dallas on thursday, october 15, 2015. tickets are $ 10 each. the film showing begins at 7 pm .
dove is pleased to award this touching drama about friendship, forgiveness and “second chances” our “family - approved” seal and recommend it for all ages .
i definitely recommend tuning into second chances for anyone looking for an adorable chick flick with heart. it premieres tonight on the hallmark channel at 9 / 8c .
second chances productions... .. production company, moore / upchurch / rivers productions... .. production company, rhineberger organization... .. tv distributor
a story of understanding, giving, and love... everyone needs a second chance .
“she found the lie with the ounce of truth. ” – the children’s hour, film
mellen, joan. women and their sexuality in the new film. new york: horizon press, 1973 .
while there may be plenty of movies about horses and even more about getting a new lease on life, none i have viewed recently were as touching and complete as “second chances. ” this film was one of the most inspirational depictions of forgiveness and determination i have ever seen. with wonderful performances by this star - studded cast, you will be sure to watch it over and over again .
urltoken based on a true story ,
second cances
is an uplifting tale of a little girl' s physical and emotional reawakening after a car crash claimes hir father, and her spirit. visit urltoken to learn more or purchase this film .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
ok, forget the fact that this is a movie that’s predictable and sort of sappy. and forget the fact that sweeney and vaughan play brother and sister (twins, actually) on their day jobs. second chances is ridiculously adorable. i fell in love with the movie for so many reasons :
synopsis for second chances: a 911 operator and single mom starts to fall for a fireman after he breaks his leg in an emergency and unusual circumstances bring them together. as jeff gets to know jenny and her two young children, their connection is undeniable, but with the best interests of her family in mind, she has to decide if two really is better than one .
based on a true story, “second chances” is an uplifting tale of a little girl’s physical and emotional reawakening after a car crash claims her father – and her spirit. the accident leaves 14 - year - old sunny matthews unable to walk without crutches. however, the damage to sunny’s legs pale in comparison to her emotional wounds, which cause her to withdraw from life and everyone around her .
“the journey of the bali nine was widely publicised in international papers, but our aim with this film is to capture the part of the story that hasn’t been told, ” field said .
a writer eloping with his mistress by train has second thoughts, pulls the emergency brake, bails out and witnesses the train' s collision with another train, events eventually leading to murder and a police manhunt .
tags: 90210, alison sweeney, another world, benjamin stockham, beverly hills 90210, charlotte labadie, charmed, dawnn lewis, days of our lives, diego serrano, ed asner, general hospital, greg vaughan, hallmark channel, hangin' with mr. cooper, it' s a different world, lou grant, one tree hill, second chances, the biggest loser, the mary tyler moore show, the young and the restless, tina charles
diego serrano (jeff’s firefighter friend): his guest starring credits include ray donovan, 24, csi: miami and arli $ $. but i think i know serrano most from his role on the now defunct daytime drama, another world, where he played tomas rivera. and here’s some additional soap trivia: the actor created the role of diego guiterrez on the young and the restless. serrano’s second chances co - star, greg vaughan, was actually diego number two. vaughan replaced serrano in the role .
both with homosexual subplots, were under consideration by major studios. it seemed that the film industry, waiting to deal with this subject, had successfully put the squeeze on an already weakened code. for producers knew that their films, like preminger’s
“our story is based around the remarkable transformation of andrew chan and the flow - on effect of his faith within the prison and to those who visited, ” independent film producer ben field, who has previously worked as a director on home and away, said .
twenty - five years later, wyler got a second chance to film the play, again for united artists, producing it himself. miriam hopkins, martha in the first version, returned to play mrs. mortar, providing an interesting continuity between the two casts. title questions persisted, however. under consideration were “infamous, ” “the infamous, ” and “the loudest whisper. ” the title from the original play, though, won out, and the children’s hour, with lillian hellman’s name blazoned across the “based on” screen credit, was released in 1961 .
while hellman had adapted her own play the first time around, this time the task fell to john michael hayes. hellman gets screen credit for “adapting” hayes’s script, though she claimed later that she “didn’t have anything to do with it. it was done by somebody else” (bryer, 170). according to bernard dick, “hammett’s death in 1961 caused her to lose interest in the project” (43). the hayes screenplay actually followed the action of the drama more closely than hellman did herself 25 years earlier. despite the apparent fidelity, however, this second film version of the children’s hour is no more faithful an adaptation than these three. both films avoid the issues of power that are central to the original play .
ed asner (the retired fire chief): the muliptle emmy - winning actor is best known for playing the same role on two highly acclaimed series, the mary tyler moore show and lou grant. he has countless other film and tv roles to his credit, but it’s playing lou grant on a comedy and a drama that earned him five emmys and three golden globes .
what does this version do? cinematically, it is not as suspenseful as the first version. perhaps wyler was trying to be sedate and tasteful with the newfound permission to make the film. for whatever reason, the movie lacks the plot - driven cohesion and tension of hellman’s plays and films. even so, the representation of two women, devoted to each other and the enterprise (the school) that ensures their independence, is well done. and yet … the movie fosters, however tastefully, a lesbian stereotyping that the critics latched onto hard and fast. clearly, the audrey hepburn character is more “feminine” than the shirley maclaine character. that audrey could be a dyke is simply not a possibility. and john michael hayes had martha go by her last name, dobie, an affectation that does not appear in the original play or the first film version. in these three, the lesbian vanished. in the children’s hour, she’s still gone. in her place is a cliché .
because of the major changes forced on william wyler when he made lillian hellman’s smash broadway play the children’s hour into the film these three (1936), the director commented, “miss hellman’s play has not yet been filmed” (gardner, 191). the hays office would not allow wyler or united artists to make reference to the original play in any advertising of the film, and they forced a title change. no screen credit was given to hellman along the lines of “based on the play by lillian hellman. ” hellman wrote the screenplay herself, changing the whispered rumor of a lesbian relationship between the two teachers to an illicit, though heterosexual, love affair between one of the teachers and her colleague’s fiancé. hellman’s having to wrestle her own material into some kind of shape amenable to the hays office is indicated in the struggles she had with a new title, contemplating “the hour of liberty” and “angel child” for a script completed in october 1935. she settled on these three for the final draft a month later .
at the time that wyler made these three, moviehouses would not run films without the mpaa seal of approval, which allowed the censors to maintain de facto control over production through their actual control over distribution. by 1961, however, arthur krim, the president of united artists, indicated that he would be willing to release the children’s hour without such a seal. he suggested to the censors that they “initiate steps for an amendment to the code that would permit such a release, ” and “on october 3, 1961 … the production code was amended to permit the prudent treatment of homosexuality – which called it “‘sexual aberration' ” (gardner, 193). while such a change may seem the harbinger of greater tolerance, russo sees the change as the mpaa’s desperate efforts to “maintain some illusion of control” (122) over film production. homosexuality, though now mentionable, was “still a subject to be whispered about but not to be explored in a meaningful way” (122). the film that was ultimately made by wyler seems to bear out this analysis .
as wyler began the project of finally filming the play, homosexuality and lesbianism were still considered reasons to prohibit a movie’s release. in 1961, the fact that the play did not contain the actual word “lesbian” did not make it any easier to film than it was 25 years earlier. ultimately, however, the children’s hour enjoyed more success against the censors than did these three, which capitulated entirely to hays office demands. the remake became one of a handful of landmark films contributing to the revamping of the production code, which was eventually replaced with the somewhat more liberal ratings system. the changes came about largely because of market pressures, however, not because the motion picture association of america had suddenly become a kinder, gentler censoring body. according to vito russo :
the changes hayes did make, however, once again significantly refocus the film. most notably, he rearranged the sequence of events – the two confessions and the suicide – in such a way as to avoid directly addressing the relations of power that stand at the dramatic center of the play. first, in a beautifully filmed, though somewhat overacted, sequence, martha admits her feelings for karen, declaring herself “guilty” of ruining both their lives. “i do love you, ” she says softly with her face turned away from the camera, “i couldn’t call it by name before. ” next, after martha makes her confession, mrs. tilford arrives to make hers. 1 she knocks timidly at the door of the school and enters, her slumped posture a marked contrast to her regal bearing during the confrontation scene earlier in her home. she describes mary’s perjured testimony and agrees to a public apology and the damage suit paid in full. only after both admissions does martha commit suicide .
in both the play and the 1936 film, mrs. tilford receives some comfort. in the former, karen agrees to let mrs. tilford give her money in order to help the older woman “feel better” about her complicity in martha’s death. in the latter, martha makes mrs. tilford her messenger, a duty she gratefully accepts as the least she can do. karen in the play and martha in these three are the ones who suffer the most when mrs. tilford exercises the power she has unchecked; sympathy from the victimized for the perpetrator isn’t merely a sentimental ploy. particularly in the play, this sympathy reveals that power is constructed, not inherent in a righteous moral position. the sequence of events actually throws the plot backwards, toward a reexamination of the entire set of circumstances leading up to a death. the ending is not tidy, in a well - made play sort of way, opening up instead the possibility that such power and morality are harmful, even fatal .
joan mellen, in women and their sexuality in the new film, claims that martha’s “mannish manner clearly marks her as a lesbian” (97). while “karen is feminine, ” apparently a marker of heterosexuality, “that she has refused to set a date for her marriage, preferring to remain with ‘dobie’ on the grounds that she must wait until the school begins to prosper, suggests that she too has homosexual leanings” (97). agreeing with bernard dick, mellen sees mary as “already the prototype of the potential lesbian” (97). in general, mellen laments that there are so few “cinematic portrayals of the female homosexual which show her as thoughtful, considerate, and willing at times to sacrifice her own desires for those of the other – in short, capable of real love” (99). parker tyler, in screening the sexes: homosexuality in the movies, simply assumes both karen and martha are practicing lesbians, and describes them as “those finagling schoolteachers” who “had mutely agreed … to have things out in a safe place where nobody could snoop on them” (274) .
contributing to this reduction of the confession to plot point is its timing. in the play, martha has already killed herself when mrs. tilford arrives to make her disclosures. in the remake, however, martha hears mrs. tilford’s admission. karen rebuffs mrs. tilford’s attempts to atone mostly because she is concentrating on martha, on her reaction, thinking about what this means in the wake of martha’s own revelations. after mrs. tilford’s plea for help, martha begins to laugh almost hysterically. “help you? ” she cries before running upstairs. karen runs up the stairs after her, as a defeated and dejected mrs. tilford slouches out the door. continuing the film beyond the point of mrs. tilford’s revelation has the same effect as ending the play with martha’s suicide. the center of the drama shifts each time away from the problem of mrs. tilford and how she exercises power. in wyler’s remake, he refocuses the drama on the relationship between karen and martha. while a strong female friendship would be a welcome event in hollywood films, that’s still not what the original play is about. the first version turned the play into a typical hollywood love story; this version, 25 years later, explores neither relationships of power nor female devotion. instead, the question remaining is simply what will everyone do next ?
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i loved this movie! yes, i am a fan of hallmark movies, but this one is on the top of my list. the main actors were genuine and believable, as well as the children. the story itself was very endearing and touching. this movie had a lot of depth to it. it dealt with life and death matters, losing a loved one, and told a story of the dangers first responders face doing their job. the firefighter' s pranks were entertaining and added a believability to the movie. i even wonder if they were real firefighters because they were uncredited. if you like hallmark movies, you can' t go wrong by watching this one. just a note: as for the loud background music, a reviewer was referring to; it wasn' t even noticeable to me .
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drugs: wine before meal; brandy after meal; man drinks from flask once; man smokes cigar once .
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an australian producer is planning a movie about the faith journey of executed bali 9 drug trafficker andrew chan, the catholic leader reports .
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a badly injured leg forces fireman jeff, who lost his father in a fire as a young boy, to move in with widow, jenny, and her fatherless young children, luke and elsie. soon they see him as an ideal substitute father and try matching him with their mother. stars alison sweeney and greg vaughan .
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an accident that took her father' s life injures a girl physically and emotionally .
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here’s a movie that’s perfect for those in the mood for a winning saturday night chick flick that comes courtesy of hallmark channel. it’s called
the chemistry between sweeney and vaughan. i believe they shot this movie before greg ever started playing father eric brady on
, these two share an abundance of chemistry the moment the 911 operator (he knows her as “23”) and the firefighter (she knows him as “cowboy”) meet face to face. yet when they appear together as twins sami and eric on their daytime soap, they do have an appropriate brother - sister vibe going on. it’s funny how that works out .
i love the kids who play sweeney’s son and daughter, luke and elsie. benjamin stockham and charlotte labadie are cute and they’re good little actors. they make me believe their characters’ need to become a whole family again. plus, their quest to help their mom out by starting a professional reading service for the folks at a retirement home is such a sweet move. and their chemistry with vaughan is evident. kids in these stories / flicks are usually hit and miss for me, but stockham and labadie won me over big time .
i understand why jenny is hesitant to completely let jeff in her life. that’s all i’ll say on that matter. but i love how her kids won’t let her pass this opportunity up .
even though their characters were solely utilized to support the main couple, it was good to see ed asner, diego serrano and dawnn lewis .
much like jenny, i totally fell for jeff. the ruggedly handsome firefighter was smart, fun, and the character had “great potential dad” written all over him. not only did i enjoy the way his character easily slipped into life with jenny and the kids, i thoroughly enjoyed jeff’s relationship with a retired fire chief he knows, played by asner. so kudos to greg vaughan. he did such a great job .
alison sweeney (jenny): like i said earlier, alison plays the conniving sami brady on the daytime soap, days of our lives. she also has a night job as host of the biggest loser. over the years, she’s also appeared on friends, las vegas and american dreams .
greg vaughan (jeff): on days of our lives, he currently plays eric brady, sami’s twin who is also a priest. on daytime, he was also luke and laura’s son, lucky spencer, for a number of years on abc’s general hospital. plus, he played diego gutierrez on the young and the restless. on primetime, he was in the original beverly hills 90210 (he played donna’s boyfriend, cliff yaeger, who eventually became a firefighter). vaughan was also in the 90210 reboot as a yoga instructor who hit it off with lori loughlin’s character. and he was dan gordon, one of piper’s boyfriends, on charmed .
dawnn lewis (jenny’s 911 pal): my favorite dawnn lewis role has to be when she played jaleesa on the late great sitcom a different world. her numerous tv credits include the first season of hangin’ with mr. cooper, the secret life of the american teenager and guest starring as quentin’s mom denise on one tree hill. her voiceover work includes king of the hill, glenn martin, dds, the cleveland show, futurama and spider - man. and wouldn’t you know it, lewis was on a few episodes of days of our lives .
photos photo credit for following images: copyright 2013 crown media holdings, inc. / photographer carin baer
i just loved this movie. good for kids. i have been trying to purchase 3 copies for gifts with children from hallmark and i cannot find it. how can i purchase this movie? i have seen it over and over again. one of the best movies i’ve seen. thanks !
hi florence. hallmark doesn’t release all of their films on dvd. i’d recommend checking netflix to see if it’s streaming and point your friends to it that way, or just wait for it to come back around on hallmark channel after the holiday season wraps up and make your own dvd, if you have the setup for that, when it reairs .
if your cable provider carries the new network hallmark drama, it’s airing there this month: urltoken. good luck !
i need 3 copies of this movie. it was a great family movie and touching about fire fighters. how do i purchase three copies. i want them as gifts. please let me know how to get them. i have not had the hallmark station long and will not be able to afford it when my husband passes away from dementia. so i would be able to watch it whenever i want. thanks! !! florence engelbrecht, 15631 linnet street nw unit 208, andover, mn 55304 e - mail below
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two years ago, when kate fisher (melissa george) was working as a journalist, her interview with a man who turned out to be a serial killer sparked public outrage. not believing that this man was in fact the september slayer – led to another senseless murder. had kate turned over the interview to the authorities would laura rose still be alive? there is now someone out there who can’t forget kate’s past. kate must figure out which one of her students wants her dead before it’s too late for her and her young son .
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the 1960s brought back hellman’s lesbian who vanished three decades earlier. but why does she die ?
, would do well at the box office even if they were released without a seal. (122 )
in the 1961 version, however, karen is at first cold toward mary’s grandmother, then angry. “go away, mrs. tilford, ” she snaps at her, “there’s nothing that we want from you. ” after mrs. tilford desperately cries out, “help me! ” karen shouts at her: “please leave, mrs. tilford. we don’t want you here. ” hayes cut all the lines from the play that indicate mrs. tilford’s concern for karen – “you’ll be all right? (68). more importantly, he cut the entire exchange that dramatizes karen’s refusal to triumph over mary’s grandmother :
karen: i’m tired, mrs. tilford. you will have a hard time ahead, won’t you? mrs. tilford: yes. karen: mary? mrs. tilford: i don’t know. karen: you can send her away. mrs. tilford: no. i could never do that. whatever she does, it must be to me and no one else. she’s – she’s – karen: yes. yours to live with the rest of your life. (for a moment, she watches mrs. tilford’s face) it’s over for me now, but it will never end for you. she’s harmed us both, but she’s harmed you more, i guess. (sits down beside mrs. tilford) i’m sorry. (the children’s hour, 67 - 68 )
in the play, karen does not wield the power that comes to her through mary’s confession. she does not extract money or apologies or mrs. tilford’s public humiliation. instead, she sees how difficult mrs. tilford’s remaining years will be for her, that whatever she does for karen “won’t bring [ her ] peace” (67) .
karen’s refusal to show any compassion, any quality of mercy, in wyler’s remake reduces the importance of mrs. tilford’s confession to a mere plot development, the twist in the last reel. the momentum of the story continues inexorably forward with such questions as what will karen do now, will she and joe ever reconcile, how will the townspeople who had been so brutal treat her now? there is no looking back over the sequence of events that could drive a young woman to suicide .
critical reaction to the children’s hour seems an eager display of a hip liberalism; however, the stereotyping in which these critics engage reveals a position that obviates the “meaningful” discussion russo would have. while percy hammond in his review of the 1934 stage production of the play choked on “the naughty word ‘l _ _ _ _ _ n,' ” modern critics are quick to pronounce the word “lesbian. ” bernard dick wonders if mary, “who reads mademoiselle de maupin and prefers to play the knight rather than the lady, ” is actually “the repressed lesbian of the drama” (44). further, he suggests that perhaps “karen may also be a lesbian, ” but claims this possibility never quite materializes in wyler’s remake because “hepburn’s karen was so completely feminine” (48) .
according to the critics, then, women must be prototypical lesbians when they do not conform to the social expectations of “feminine” behavior, as in the case of mary, or full - blown lesbians, as in the case of martha. mellen’s insistence that karen’s postponement of her marriage signifies homoerotic feelings denies the possibility that two women can simply be friends with a nonsexual commitment to each other. “real love, ” as defined by mellen, requires a woman “to sacrifice her own desires for those of the other. ” mellen wants homosexual women to conform to a heterosexual norm of self - sacrificing love that has crippled women in western culture, trapping them in the home, to bear the entire responsibility for rearing the children and maintaining the domestic space. if mellen would only read hellman’s play toys in the attic, she could see just how violent and destructive such sacrificial love can be .
although more willing, even eager to pronounce the word “lesbian” than the critics and reviewers in the ’30s who discussed “rumors of abnormality” or the “less than natural cause” of martha’s anxieties, critics such as mellen and tyler perpetuate a stereotype of lesbians that binds them to the margins of our culture, while shoring up heterosexual norms of “real love” as self - sacrifice. the critical focus on whether or not the two women are “really” lesbians once again distracts from the main point. in this way, martha’s suicide is reduced to the act of a hysterical woman instead of being the fatal representation of her having internalized the culture’s heterosexual norm. her love for karen is self - sacrificing – literally. yet somehow, it doesn’t count .
bryer, jackson. conversations with lillian hellman. jackson, ms, and london: university of mississippi press, 1986 .
dick, bernard. hellman in hollywood. rutherford, madison, and teaneck, nj: fairleigh dickinson university press, 1982 .
gardner, gerald. the censorship papers: movie censorship letters from the hays office, 1934 - 1968. new york: dodd, mead, and company, 1987 .
hammond, percy. “the theatres – ‘the children’s hour, ’ a good play about a verboten subject. ” new york herald - tribune, 21 nov. 1934: 16 .
hellman, lillian. the collected plays. boston, toronto: little, brown, and company, 1971 .
tyler, parker. screening the sexes: homosexuality in the movies. new york: holt, rinehart, and winston, 1972 .
in between the sequences in which karen sends joe away and martha admits her feelings for karen, wyler inserted a sequence that shows roaslie wells preparing to leave for a new school. mrs. wells finds a handkerchief full of trinkets stolen by rosalie. a series of dissolves connects this scene with rosalie and her mother at mrs. tilford’s house to mrs. tilford’s arrival at the school. [ ↩ ]
born and raised in austin, texas, brett elizabeth westbrook received a lot of education in oklahoma and on the west coast. having returned to her home town, she is now an independent scholar in the throes of researching lillian hellman' s films. she writes fiction, non - fiction, essays, dabbles in journalism. current projects besides hellman include the representation of people with aids in daytime dramas. she can be contacted at bewestbrook @ yahoo. com.
second chances is a 1998 film directed by james fargo . it stars tom amandes , former a little princess star kelsey mulrooney , isabel glasser , and the nanny 's charles shaughnessy and madeline zima . second chances is based on a true story . 
second chances is a 1998 film directed by james fargo. it stars tom amandes, former a little princess star kelsey mulrooney, isabel glasser, and the nanny's charles shaughnessy and madeline zima. second chances is based on a true story.
second chances is a 1998 film directed by james fargo. it stars tom amandes, former a little princess star kelsey mulrooney, isabel glasser, and the nanny's charles shaughnessy and madeline zima. second chances is based on a true story.