Diane keaton baby food

Baby Boom (1987) - IMDb

  • Cast & crew
  • User reviews
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  • 19871987
  • PGPG
  • 1h 50m





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The life of super-yuppie J.C. is thrown into turmoil when she inherits a baby from a distant relative.The life of super-yuppie J.C. is thrown into turmoil when she inherits a baby from a distant relative.The life of super-yuppie J.C. is thrown into turmoil when she inherits a baby from a distant relative.





    • Charles Shyer
    • Nancy Meyers
    • Charles Shyer
  • Stars
    • Diane Keaton
    • Sam Shepard
    • Harold Ramis
    • Charles Shyer
    • Nancy Meyers
    • Charles Shyer
  • Stars
    • Diane Keaton
    • Sam Shepard
    • Harold Ramis
  • See production, box office & company info
    • 81User reviews
    • 32Critic reviews
    • 53Metascore
  • See more at IMDbPro
    • Awards
      • 5 nominations


    Trailer 2:05

    Watch Trailer


    Top cast

    Diane Keaton

    • J. C. Wiatt

    Sam Shepard

    • Dr. Jeff Cooper

    Harold Ramis

    • Steven Buchner

    Kristina Kennedy

    • Elizabeth Wiatt

    Michelle Kennedy

    • Elizabeth Wiatt

    Sam Wanamaker

    • Fritz Curtis

    James Spader

    • Ken Arrenberg

    Pat Hingle

    • Hughes Larrabee

    Britt Leach

    • Verne Boone

    Linda Ellerbee

    • Narrator

    Kim Sebastian

    Mary Gross

    • Charlotte Elkman

    Patricia Estrin

    • Secretary

    Elizabeth Bennett

    • Mrs. Atwood

    Peter Elbling

    • Maitre D'

    Shera Danese

    • Cloak Room Attendant

    Beverly Todd

    • Ann Bowen

    Angel David

    • Stockboy
      • Charles Shyer
      • Nancy Meyers
      • Charles Shyer
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Did you know

    • Quotes

      Delivery Boy: [confirming J. C.'s delivery order] One cold mist humidifier, one electric steam vaporizer, one baby thermometer, one baby Tylenol, baby nose drops, baby cough medicine and... bottle of Valium?

      J.C. Wiatt: Oh, yeah, uh... that's for me.

      Delivery Boy: [nods] Mm.

    • Connections

      Featured in At the Movies: Chuck Berry: Hail! Hail! Rock 'n' Roll/Like Father Like Son/Baby Boom/Big Shots/Matewan (1987)

    User reviews81


    Featured review



    The Inheritance

    In New York, the executive J.C. Wiatt (Diane Keaton) is a successful business woman that prioritizes her work in a publicity agency over her personal life. Her boss Fritz Curtis (Sam Wanamaker) calls her tiger lady and invites J.C. to be partner of the agency provided she brings the account of the company owned by Hughes Larrabee (Pat Hingle) to the agency. One night, J.C. is sleeping with her boyfriend Steven Buchner (Harold Ramis) and receives a phone call from England telling that she has an inheritance something from her cousin that died in an accident with his wife. J.C. believes it is money but receives their daughter, the baby girl Elizabeth, instead. Soon she feels connected to the baby, turning her life upside-down: Steven breaks with her; her assistant Ken Arrenberg (James Spader) steals Larrabee´s account in the agency; and J.C. loses her job. She decides to buy a huge real estate in Vermont to raise Elizabeth and finds many unexpected problems in the old house. But soon she sees an opportunity to develop new business while she meets the veterinarian Dr. Jeff Cooper (Sam Shepard) giving another sense to her life.

    "Baby Boom" is a funny comedy about a tough executive that changes her life after inheriting a baby girl. The plot has silly and exaggerated moments, but is hilarious most of the time. Diane Keaton has good performance and the baby Elizabeth is cute. My vote is seven.

    Title (Brazil):"Presente de Grego" ("A Curse in Disguise")



    • claudio_carvalho
    • Apr 11, 2019

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    • Release date
      • October 30, 1987 (United States)
      • United States
      • English
    • Also known as
      • Baby Boom - Eine schöne Bescherung
    • Filming locations
      • Weston, Vermont, USA
    • Production companies
      • United Artists
      • Meyers/Shyer
    • See more company credits at IMDbPro

    Box office

      • $26,712,476
      • $1,357,413
      • Oct 12, 1987
      • $26,712,476
    See detailed box office info on IMDbPro

    Technical specs

    • 1 hour 50 minutes

      • 1. 85 : 1

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    Nancy Meyers’s ’80s Rom-Com ‘Baby Boom’ Predicted the Artisan Food Boom of the Aughts

    Welcome to The Reheat, a space for Eater writers to explore landmark (and lukewarm) culinary moments of the recent and not-so-recent past.

    Baby Boom is a 1987 romantic comedy in which a yuppie businesswoman played by Diane Keaton inherits a baby from a dead relative and decides to leave her fast-paced life in New York City for a more bucolic existence in Vermont.

    Co-written by Nancy Meyers with her then-husband Charles Shyer (who also directed the movie), Baby Boom provided a blueprint for every subsequent Nancy Meyers heroine (flustered but unsinkable white woman) and Nancy Meyers kitchen (huge). It was one of my favorite movies as a kid (honestly, it still is), and as such I interacted with it purely as a romantic comedy: I loved watching Keaton strut around in fabulous camel-hair coats and belted Donna Karan power suits, I loved watching her move to a 62-acre Vermont estate, and I loved watching her fall for a large-animal veterinarian played by Sam Shepard.

    It was only much later, as an adult who had spent years writing about food, that I realized what else Baby Boom was: an uncannily accurate blueprint for the popular narrative surrounding the artisanal food movement of the late aughts. Specifically the one in which a burned-out corporate drone abandons their fast-paced career for the simpler, more honest life of an artisanal food entrepreneur, finding salvation and work-life balance in the process.

    At the beginning of Baby Boom, Keaton’s character, J.C. Wiatt, has (a voice-over informs us) “a corner office at the corner of 58th and Park” and makes six figures a year as some kind of consultant at a firm that also employs James Spader. She and her live-in lover (played by Harold Ramis) co-own their co-op, collect African art, and have “separate but equal” IRA accounts. “One would take it for granted,” we’re told, “that a woman like this has it all.” But when the baby arrives out of nowhere (well, from England), everything changes. J.C. is late for work and often distracted. Her partner leaves her. And her (male) boss gives her prized Food Chain account to James Spader and demotes J.C. to a dog chow account, telling her she’s “gone soft.”

    And so 56 minutes into the film, J.C. packs up the baby and moves to a 200-year-old Vermont estate she buys sight unseen. It has a pond, a barn, and fruit orchards, and it’s falling apart. But as J.C. frets about money and her total lack of personal life, she also starts making applesauce from the fruit in her orchards — “it gives me something to do while it snows,” she explains to a friend. J.C. makes so much of it that she soon starts selling it to the local general store. One day, a group of vacationing New York yuppies (including a very young Chris Noth), decides to buy two dozen jars on the spot. “Gail, look at this gourmet baby food,” one of them shrieks. “I can’t believe nobody’s come up with this before!” The next thing you know, J.C. is the owner of a business called Country Baby.

    Success happens quickly, and in the form of a montage: After being turned down by a few store owners, J.C. begins selling the applesauce from a table in the town square. We see money change hands, and then a whole Country Baby catalog, and then boxes stamped with “Made in Vermont” shipped across the country. We see dollar bills raining over various American city skylines, a manufacturing facility, newspaper articles (“Country Baby Boosts Local Harvest” blares one), and a photo shoot for an Entrepreneur cover story headlined “Is It the Gerber of the ’90s?” All of this appears to happen before the next summer rolls around; the baby is still in diapers by the time J.C.’s former employers come weaseling around to try to persuade her to sell the company to Food Chain for $3 million in cash (almost $8 million today). “We’d like to see Country Baby on every supermarket shelf in America!” they tell her.

    But despite the promise of riches and vindication (“I’m back,” she says to her reflection in the bathroom mirror), J.C. decides not to sell. “I’m not the tiger lady anymore. There’s a crib in my office and a mobile over my desk and I really like that,” she tells the conference room full of men. “I don’t want to have to make those sacrifices and the bottom line is nobody should have to.” So back to Vermont and the baby and Sam Shepard she goes, accompanied by a blousy, saxophone-heavy soundtrack.

    In reviewing Baby Boom, Roger Ebert noted that “the film is careful never to confront the Keaton character with any of the real messiness of the world, such as poverty, illness and catastrophe… Baby Boom makes no effort to show us real life.”

    You could say the same for many of the stories told about any number of the artisan food companies a decade or so ago; whether they were about jammers, picklers, or lavishly bearded chocolatiers, the narrative was often a fermented brew of triumph and whimsy, one that revolved around a hard-working, innovative (usually) white person with stars in their eyes and a stall at the Brooklyn Flea. Sure, there were growing pains and bumps in the road, but they added texture to the story of rustic striving. As it did for J.C., success appeared to come quickly: one day you were fermenting kombucha in a basement, the next you had your picture in the New York Times. And, of course, selling out to a corporate overlord was not an acceptable option — the point was to stay true to yourself and your ideals.

    Few attempts were made to widen the lens to include the broader cultural and socioeconomic conditions that determined who came to prominence and succeeded in the movement, much less the “real messiness” attending the question of who could afford to buy what its artisans were selling. There were too many old-timey fonts and wee hand-crafted batches of lovage soda syrup obscuring the view; it was only later, as the movement fractured, evolved, and became absorbed into various corporate entities, that the romance yielded to clarity.

    Of course, Baby Boom is a romance, to say nothing of a fantasy, and it doesn’t pretend to be otherwise. I’m glad it’s not a documentary or Ken Loach film. But it’s telling how precisely cinematic fantasy mapped itself onto real life two decades later, and how it continues to do so, both in the way that brands small and large tell their stories and in the eagerness of many consumers to take those stories at face value. Who wouldn’t want to believe that everyone gets to live happily ever after in some sort of semi-agrarian utopia with their finances and sense of self intact? Just like any good artisan, Meyers knew what she was selling, and how to package it accordingly.

    You can't spoil the furrow with a wedding - Kommersant Voronezh

    In the comedy "The Big Wedding", the old guard of actors - Robert De Niro, Diane Keaton and Susan Sarandon - dance to the cheerful tune of the young director Justin Zackam, who is trying to turn such an inexhaustible plot as the acquaintance of the groom's families and brides on the eve of the wedding, something more subtle than just Meet the Fockers, but no less funny. Alas, the "Big Wedding" misses on both intended targets: the subtlety here, if present, is determined by the proverb "where it is thin, it breaks there", and in order to carefree neighing, it's still better to get reliable "Fakers" off the shelf.

    The author of "The Big Wedding" Justin Zackam is known as the screenwriter of Rob Reiner's comedy "Before the Bucket List" (The Bucket List), also peering into old age with warmth - in that film, the plot about people who fulfill their cherished desires before death was borrowed from "Knockin' on Heaven's Door", while "The Wedding" is actually a remake of the obscure 2006 Swiss farce "My Brother Gets Married" (Mon Frere Se Marie). The main director's task here is to build a kaleidoscope of all sorts of eccentricities, of different ages and shades, and in the very first scene he creates an extravagant combination, pushing Robert De Niro's hero, his ex-wife (Diane Keaton) and current cohabitant (Suzan Sarandon) in the same kitchen, who used to be my wife's best friend. The couple, who separated ten years ago, have three children, and the youngest, an adopted son from Columbia (Ben Barnes), is going to get married. The bride (Amanda Seyfried) also comes from a rather interesting family with a slight racist dislike for the groom: her father is a broker accused of fraud (David Rashe), and her mother (Kristin Ebersole) is so youthful that when she speaks, her lips do not move. .

    The groom is going to discharge his biological mother named Madonna (Patricia Rey) for the wedding, who, due to her strict Catholicism, does not approve of divorce, and in order not to upset her, asks the adoptive parents to portray a strong family during the wedding, to the displeasure of the heroine Susan Sarandon, who has to be encrypted under the organizer of the banquet. Together with the Colombian mother, the Colombian sister (Ana Ayora) also arrives, a very relaxed girl who immediately begins to swim naked and molest the groom's brother (Topher Grace) in the most brazen way, unbuttoning his pants under the table during a joint gala dinner. The peculiarity of the older brother, somewhat unconvincing, is that he is 29a virgin-year-old who cherishes his innocence until his own wedding. But the groom's sister has a more understandable problem - she suffers because she broke up with her husband after long unsuccessful attempts to get pregnant, and this is a rather rare case when the character of Katherine Heigl evokes something like sympathy and sympathy. Not quite familiar, without his usual comic antics, Robin Williams also looks like a crowning young priest. So, despite the general carelessness and stupidity of The Big Wedding, which is not capable of either deeply touching or truly laughing, the actors are not ashamed here, and it is difficult to agree with the lamentations of some American reviewers - they say, what outstanding artists have sunk to. Although the director puts the veterans in obscene positions, except that he does not force them to fall face down in a salad, they are completely in order here, and all unsuccessful jokes, clumsy mise-en-scenes and ticklish ambiguities flow from them like water off a duck's back.

    Available from June 13

    Lidia Maslova

    Picture of the day

    Diane Keaton biography, films, performances, photos

    Diane Keaton biography, films, performances, photos | Afisha.ru

    Biography of the actress and director

    Diane Keaton

    © Clarius Entertainment



    One of the most popular American actresses. A native of Santa Ana, California, Keaton began her career in New York City in 1964, performing various popular songs in nightclubs. After studying acting, Keaton moved into the theatre, winning a role in the landmark musical Hair and later in Woody Allen's Play It Again, Sam. For her work in the latter, she received a Tony Award. At 19In 1972, she played the role of Michael Corleone's wife in The Godfather and immediately became one of the leading actresses in the United States. Keaton won an Oscar in 1977 for her role in Woody Allen's Annie Hall. She was nominated for an Oscar several more times: in 1981 - for her work in Warren Beatty's Reds, in 1996 - for her role in Marvin's Room, in 2003 - for her role in Love by the Rules ... and without. In 2003, she produced Gus Van Sant's Elephant, which won the Palme d'Or.

    Date of birth01/05/1946 (76 years old)

    Place of birthLos Angeles (USA)

    ChildrenDexter Keaton, Duke Keaton

    Movies 49

    EducationOrange Coast College, Santa Ana College, Santa Ana High School, Theater School Neighborhood Playhouse

    Awards and prizes


    1 Award,
    3 nominations

    Golden Globe

    2 Awards,
    6 nominations


    1 Award,
    2 Nominations

    Golden Raspberry

    1 Nomination


    5 awards,
    10 nominations

    Dyana Kiton


    1972, Drama


    1974, Drama


    1977, 1977, Tragicomedy

    The Godfather 3

    1990 Drama


    1978 Drama

    Play It Again Sam!

    1972 Romance

    Good Morning

    2010 Comedy 9Ol000 first wives

    1996, comedy

    Love merchants

    2015, comedy

    And here it is

    2014, comedy

    Big Wedding

    2013, Comedy

    Love, Wedding and other disasters

    2020, Romkom


    2008, Comedy


    1979, Comedy

    Love and Death

    1975, Adventure

    Mysterious Murder in Manhattan

    1993, Detective

    in the searches of Mr. 1977, Drama

    Love by the rules... and without

    2003, Comedy


    1973, Fantasy

    Another sister

    1999, Comedy


    2008, comedy

    Because I want

    2007, comedy

    Woody Allen

    2012, Biography

    Ruth & Alex

    2014, Drama

    Family Jewels

    2021, Comedy

    City and Village

    2001, comedy


    1981, biography

    Young dad

    2016 - 2016, drama

    Cross: Novella for television

    1977 - 1977, drama

    Green eggs and ham

    2019 - ..., cartoon

    Mrs. Soffel

    1984, melodrama

    Dolina Tennesi

    1997, melodrama

    Children's boom

    1987, comedy -York

    1976, comedy

    Plan “B”

    2001, comedy

    Last flight

    1994, biography

    Shot the Moon

    1982, Drama

    Capitulation of Dorothy

    2006, Drama

    Dear Companion

    2012, Drama

    Cross Trails

    2002, Drama

    Good Mother

    1988, Drama

    Lovers and other strangers

    1970, Comedy


    2000, Comedy

    Crazy Heroes

    1995, Tragicomedy

    Diana Keaton Materials

    August 28

    Mack and Rita: Diana Keaton Romantic Comedy Trailer Released

    February 24

    Goldie Hawn, Bette Midler and Diana Keaton will again star in one film

    October 10

    Clip: Justin Bieber - Ghost holiday shows

    December movie premiere

    Online premieres of the week: Willow, Frozen, Slow Horses, Gossip Girl


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