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Cookie's Fortune

  • 1999
  • PG-13
  • 1h 58m
IMDb RATING
6.8/10
14K
YOUR RATING
Julianne Moore, Liv Tyler, Glenn Close, Chris O'Donnell, Charles S. Dutton, and Patricia Neal in Cookie's Fortune (1999)
Home Video Trailer from October Films
Play trailer1:34
1 Video
46 Photos
ComedyDrama

Conflict arises in the small town of Holly Springs when an old woman's death causes a variety of reactions among family and friends.Conflict arises in the small town of Holly Springs when an old woman's death causes a variety of reactions among family and friends.Conflict arises in the small town of Holly Springs when an old woman's death causes a variety of reactions among family and friends.

  • Director
    • Robert Altman
  • Writer
    • Anne Rapp
  • Stars
    • Glenn Close
    • Julianne Moore
    • Liv Tyler
  • See production info at IMDbPro
  • IMDb RATING
    6.8/10
    14K
    YOUR RATING
    • Director
      • Robert Altman
    • Writer
      • Anne Rapp
    • Stars
      • Glenn Close
      • Julianne Moore
      • Liv Tyler
    • 126User reviews
    • 64Critic reviews
    • 71Metascore
  • See production info at IMDbPro
    • Awards
      • 3 wins & 11 nominations total

    Videos1

    Cookie's Fortune
    Trailer 1:34
    Cookie's Fortune

    Photos46

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    Top cast33

    Edit
    Glenn Close
    Glenn Close
    • Camille Dixon
    Julianne Moore
    Julianne Moore
    • Cora Duvall
    Liv Tyler
    Liv Tyler
    • Emma Duvall
    Chris O'Donnell
    Chris O'Donnell
    • Jason Brown
    Charles S. Dutton
    Charles S. Dutton
    • Willis Richland
    Patricia Neal
    Patricia Neal
    • Jewel Mae 'Cookie' Orcutt
    Ned Beatty
    Ned Beatty
    • Lester Boyle
    Courtney B. Vance
    Courtney B. Vance
    • Otis Tucker
    Donald Moffat
    Donald Moffat
    • Jack Palmer
    Lyle Lovett
    Lyle Lovett
    • Manny Hood
    Danny Darst
    • Billy Cox
    Matt Malloy
    Matt Malloy
    • Eddie 'The Expert' Pitts
    Randle Mell
    • Patrick Freeman
    Niecy Nash
    Niecy Nash
    • Wanda Carter
    Rufus Thomas
    Rufus Thomas
    • Theo Johnson
    Ruby Wilson
    • Josie Martin
    Preston Strobel
    • Ronnie Freeman
    Anne Whitfield
    Anne Whitfield
    • Mrs. Henderson
    • (as Ann Whitfield)
    • …
    • Director
      • Robert Altman
    • Writer
      • Anne Rapp
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews126

    6.814.1K
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    Featured reviews

    8jack_94706

    An excellent film; thoroughly enjoyable, sentimental, but wise.

    I'll fess up, Altman ranks high with me and has for a long time. This is far from his best work -- but also far, far above your average bear, er, rather... average film. It has much to recommend; many fine performances, a complex storyline; it will request a little patience from you -- be so kind as to grant it. Patience lies at the heart of this film; not the high-jinks and rapid-fire action of most movies. Kindness gets lost, and many deeper human qualities, too -- when people or a culture push patience out of the way. Altman seems to know this, to celebrate patient people, sensible people. But there are plenty of good jokes, visual, verbal, plot-involved. Relax and laugh, let things develop. You might even laugh pretty hard -- and happily. I suppose this film could be called Capra-esque, and thus old-fashioned, even nostalgic -- not a good fit with the tumult of violence and dishonesty which characterized the media's portrayal of the nineties. Too bad. Rent the video; or buy the video and watch it with your kids and later with the grandkids. People complain about too much violence in the cinema and then ignore a film like this -- and many of these people are critics! Here's the full panoply of human life, young, middle-aged, and elderly, all interesting, all central to the story. What a fine thing!
    bob the moo

    Enjoyably light film with only a few moments of misjudged seriousness and humour

    In the small town of Holly Springs, Mississippi, the highly strung Camille is leading rehearsals for a performance of Salome. When she drops in on her Aunt Cookie (whom she has a frosty relationship with) she finds that Cookie has taken her own life in order to be with her late husband again. Unwilling to have her family name tarnished by this shameful act, Camille takes a necklace and moves things around to suggest a murder. Things get more complicated when Cookie's caretaker and loyal friend is arrested for the murder and the investigation begins in earnest.

    I wasn't sure what this film was about when I took up to watch it but was wary as often I have found Altman films to be too sprawling for my tastes and have struggled to get into them. This film started well and light and pretty much managed to retain that feeling for the duration, making it enjoyable to watch. In terms of plot, the central action is strong enough to hold the focus, although really the film is more about the characters than anything else. This is good as I felt the film's strength was the cast and the characters. All the characters are watchable and interesting – whether they be amusing, likeable or strange.

    The film's humour is good as it matches the light tone it sets itself. At times though the humour is misjudged, for the most part it is natural and charming but there are times when the film forces jokes (for example semi-pratfalls etc) and they don't fit the mood. Likewise the drama occasionally goes a little too heavy (the ending for example) but these are minor compared to the effect of the whole. Generally it free wheels along quite nicely – funny without ever becoming absurd or unenjoyable. Having said that, it may annoy those who expect more of a firm plot.

    The rich ensemble cast makes it worth watching alone. Dutton stands out in the lead role, he is as relaxed and as affable as they come which was needed to carry that role. On the total other side is a well pitched Close, her character needed to be realistic (i.e. not another Cruella De Ville) but still be unpleasant enough not to have the audience with her – Close manages it well. Tyler does ok but I found it a little hard to accept her casting at first, O'Donnell appears to have little to do but does well to play a fool without thinking of his career too much. Moore is good in support and Neal's pitching of Cookie's past and personality in only a few scenes enables us to feel for her and thus prevent her dark act from taking away from the light touch too much. Beatty has some great lines and Vance steals many of his scenes with a comic touch.

    Overall this film is very slight and may not appeal to all for that reason. I felt like I'd had a rest on a hot day after watching it – it was enjoyable and undemanding. Not perfect by any means but it's fun to spend to hours with the characters herein.
    8Quinoa1984

    rather sweet; left me with a smile when I first saw it

    One might call Cookie's Fortune a 'minor' effort from Robert Altman, a filmmaker who once commented that each film "is all part of the same picture", or rather one long movie with bits and pieces making up a career whole. But it has enough going for it through its very competent cast and interesting script to keep it afloat from being the kind of small film little old ladies might watch on TV during the day. In that sense it isn't as 'heavy' as some of Altman's other work. It is also cool enough to treat the subject of a mystery around a suicide with enough humanity to make some scenes smile-worthy. Considering some of the darker elements in the script, Altman depicts this to the point where- get this- Cookie's Fortune is sometimes shown on the HBO family channel!

    Is it really a kid's film? I'm not sure, but it isn't work for only one age group- its appeal from its cast of a collective of small towners is appealing to most in the audience. That the cast- Glenn Close, Liv Tyler, (especially) Charles S. Dutton, even Chris O'Donnell- gels and plays some of the dialog sincerely even when its meant to not be taken seriously at all, is a credit to the filmmaker. That it also might not be quite as memorable as some of the director's major films is and is not a fault. It is a fault because the subject matter is sort of stuck in a certain genre realm. It is not because the subject mater is also very much more intelligent than would be expected at times. I was also fond of certain scenes and interactions with the actors, the rhythm of it all, like early on with Dutton and the actress Patricia Neal who plays the old lady. I also really like the climax.

    So it's a good work about the rumblings and eccentricities of a small town, the good in people as well as the lesser parts, and parts of greed and death seen through a light that is not aiming for anything 'cheap', so to speak.
    8blakiepeterson

    An Underrated Altman Ensemble Piece

    Robert Altman can be many things. He can be warped, sarcastic, biting — but he can also be affectionate and understanding. His best films often combine these characteristics with slippery perfection, especially when putting the satirical "The Player" or the balmy "Thieves Live Us" into consideration. I, however, prefer him when he's gazing upon his characters with head-shaking fondness. Certainly, "Cookie's Fortune" isn't comprised of saintly characters — but unlike "Short Cuts" or "Nashville", only a few of the players are wholeheartedly f-cked up, giving us less time to analyze potentially devilish psyches and more to relish the tight, almost familial bonds between the ever compelling characters. It's one of his most impeccably entertaining films.

    Set in a minuscule Southern town defined by colorful people, sweaty heat, and catfish, in that order, "Cookie's Fortune" details the sudden death of Jewel Mae "Cookie" Orcutt (Patricia Neal), an elderly widow tired of living alone and tired of her mundane life. So without much thought, she grabs a gun out of her impressive arms closet, flops onto her bed, places a pillow over her face, and shoots herself in the head.

    Her niece, Camille (Glenn Close), won't have it. A wannabe playwright with a fondness for cranking up her every emotion by a few thousand notches, she is disgusted by her aunt's carelessness: it will bring shame upon the family, and, most notably, it may even upstage her upcoming play. Consumed with dramatic audacity, she arrives at the scene and decides it would be best to make the suicide actually look like a murder: why not? She runs around the house pretending she's a giallo fiend, breaking windows, stealing valuables, eventually running out the back and throwing the gun into some bushes like Joan Crawford might have during her 1950s-set film noir years. She persuades her dimwitted sister, Cora (Julianne Moore), to go along with the charade, not realizing that covering up a suicide isn't just some cutesy thing mercurial nieces do for fun. It could lead to, you know, trouble.

    Immediately, Cookie's best friend and confidant, Willis (Charles S. Dutton), is locked up at the local sheriff's office under suspicion, Cora's estranged daughter, Emma (Liv Tyler), keeping him company while also utilizing the opportunity to have closet sex with her cop boyfriend (Chris O'Donnell) to pass the time. No one, including the men who arrested Willis in the first place, believe he's the murderer — which casts further suspicion onto Cookie's weirdo nieces.

    But "Cookie's Fortune" isn't a conventional crime movie, preferring to use its titular figure's sudden offing as a way of throwing the Mississippi set town off course and seeing how its residents handle the travesty. Anne Rapp's screenplay always retains a certain sort of comic lushness that makes the intersecting situations ceaselessly delightful while also maintaining a sort of broad realism. These people certainly could exist — not all realism based films have to be dirt-on-the-ground miserable — and "Cookie's Fortune" is all the more fun for it. Close is a bundle of laughs, delivering off-color lines like an unintentional comedy pro, Neal ensuring why Cookie was such a vital part of her town's life. Dutton is one of Altman's sweetest scene-stealers, and Tyler, in a terrific performance, is a consistent pleasure as a free-spirit that seasons the oft conservative setting of the film.

    Most consider "Cookie's Fortune" to be minor Altman, but I think it's underrated Altman. He regularly goes deep with his films, finding ways to mirror the lives of his flawed characters with our own. But "Cookie's Fortune" is such a delicacy because it's breezy, amusing without any existential kinks. He sets scenes with a sort of nostalgic reverie, figuring that small town America isn't all "Twin Peaks" and can still preserve the same sort of complicated magic of a '70s era sitcom. We watch the characters converse wanting to be a part of their community, either because the friendships seem everlasting or because the disdainfulness is comical rather than harmful. Most would want to get out of the town "Cookie's Fortune" sets itself in right away — not me. I'd like to hole up there for a while, collect my thoughts and have conversation about the good things in life instead of the high drama that shapes the metropolises of America. Lightweight Altman may not be everyone's favorite, but I tend to prefer a grizzled filmmaker when he's enjoying himself. So maybe "Cookie's Fortune" is an accidental masterpiece — it's an underrated moment in his lustrous career.
    10SKG-2

    One of Altman's best

    It's hard to believe a film this sunny came from Robert Altman, and is also this good, but there you go. While I love some of his films, like M*A*S*H, MCCABE AND MRS. MILLER, NASHVILLE, THE PLAYER, and SHORT CUTS, there are times when I feel he has a fundamental contempt for his subject matter, like in THE LONG GOODBYE and POPEYE, and for his characters. But while this movie, well-written by Anne Rapp, is essentially a Tennessee Williams drama turned inside out (Glenn Close's character is the only one who seems like a refugee from Williams territory), we instead feel a great deal for each of the characters. Even Close's Camille, whose machinations end up in the temporary jailing of an innocent man for a crime that never was, is somewhat likable.

    When Altman is on, we really get a sense of community and place, as opposed to movies which are just a triumph of production design, and this is no exception. The best example of this is how Lester(Ned Beatty), a deputy sheriff, sums up his reasons for why Willis(Charles S. Dutton), that innocent man referred to earlier, is innocent of killing Cookie(Patricia Neal); "I fished with him." In another movie, that line of reasoning would be ridiculous, but since you feel all of these people have known each other for years, it seems just right. And the rhythms of the town feel right as well, so you don't feel like you're just watching a filmed set.

    Casting has always been a hallmark of Altman films, and this one is no different. Charles S. Dutton is as good as they say, being more restrained than usual, Close shows great comic timing in her role, and Julianne Moore is very good as her put-upon younger sister, who has a lot more to her than meets the eye. And Altman regulars like Beatty and Lyle Lovett are quite good as well. The most surprising turns came from Liv Tyler and Chris O'Donnell. I've liked Tyler before(in HEAVY, EMPIRE RECORDS, and THAT THING YOU DO!), but to imagine her with shorn hair playing a rebel who skins fish for a living was a bit much, to say the least, but she's utterly convincing. O'Donnell has always seemed too callow, but here he's quite funny as a deputy sheriff who's seen way too many cop shows. And he and Tyler have nice chemistry together.

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    Related interests

    Will Ferrell in Anchorman: The Legend of Ron Burgundy (2004)
    Comedy
    Mahershala Ali and Alex R. Hibbert in Moonlight (2016)
    Drama

    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      Robert Altman felt that Liv Tyler had been too glamorous in previous films, so he asked her to cut her hair short for for this movie.
    • Goofs
      When Cora (Julianna Moore) is locked out of the house, she is shown sitting on the front porch with the front door open.
    • Quotes

      Cora Duvall: Camille, Aunt Jewel shot herself.

      Camille Dixon: We don't know that Aunt Jewel shot herself.

      Cora Duvall: What do you mean?

      Camille Dixon: All we know was that Aunt Jewel was shot, period.

      Cora Duvall: But - but the gun was in her hand. She must have - must have -

      Camille Dixon: Don't always go for the obvious, Cora. Just think!

      Cora Duvall: What are you eating?

      Camille Dixon: Nothin'. Now, you just listen to me, all right? Aunt Jewel did not commit suicide. Nobody in this family commits suicide. Suicide is a disgrace. Only crazy people commit suicide. So if that's what come - some robber, some murderer is trying to make this look like, well, forget that you saw the gun in her hand, you hear me? It was not there. Aunt Jewel did not commit suicide.

    • Connections
      Featured in Siskel & Ebert: Payback/She's All That/Rushmore/Simply Irresistible/My Name Is Joe (1999)

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    FAQ20

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    Details

    Edit
    • Release date
      • April 16, 1999 (United States)
    • Country of origin
      • United States
    • Language
      • English
    • Also known as
      • ¿Quién mató a Cookie?
    • Filming locations
      • Holly Springs, Mississippi, USA
    • Production companies
      • Elysian Dreams
      • Kudzu
      • Moonstone Entertainment
    • See more company credits at IMDbPro

    Box office

    Edit
    • Budget
      • $10,000,000 (estimated)
    • Gross US & Canada
      • $10,920,544
    • Opening weekend US & Canada
      • $186,828
      • Apr 4, 1999
    • Gross worldwide
      • $10,920,544
    See detailed box office info on IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 58m(118 min)
    • Color
      • Color
    • Sound mix
      • Dolby Digital
    • Aspect ratio
      • 1.85 : 1

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