Beetlejuice
Brief Synopsis
The ghosts of a happy couple enlist a "bio-exorcist" to evict the new owners of their former home.
Cast & Crew
Read More
Tim Burton
Director
Michael Keaton
Alec Baldwin
Geena Davis
Winona Ryder
Catherine O'hara
Film Details
Also Known As
Beetle Juice
MPAA Rating
Genre
Horror/Science-Fiction
Comedy
Horror
Release Date
1988
Production Company
Tom Durell
Distribution Company
WARNER BROS. PICTURES DISTRIBUTION (WBPD)
Location
Vermont, USA; Culver Studios, Culver City, California, USA
Technical Specs
Duration
1h 32m
Synopsis
The ghosts of a happy couple enlist a "bio-exorcist" to evict the new owners of their former home.
Director
Tim Burton
Director
Cast
Michael Keaton
Alec Baldwin
Geena Davis
Winona Ryder
Catherine O'hara
Cheryl Carasik
Lead Person
Adelle Lutz
Maree Cheatham
Hugo Stanger
Cindy Daly
Sylvia Sidney
Robert Goulet
Patrice Martinez
Glenn Shadix
J Kay Saunders
Dick Cavett
Annie Mcenroe
Rachel Mittelman
Vob Pettersen
Douglas Turner
Jack Angel
Voice
Duane Davis
Susan Kellermann
Simmy Bow
Carmen Filpi
Gary Jochimsen
Mark Ettlinger
Maurice Page
Tony Cox
Harold Goodman
Jeffrey Jones
Crew
Thomas Ackerman
Director Of Photography
Fitzroy Alexander
Song
Richard L Anderson
Sound Editor
Mary Andrews
Adr Editor
William Attaway
Song
Bob Badami
Music Editor
Steve Bartek
Original Music
Harry Belafonte
Song Performer
Raymond Bell
Song
James Belohovek
Matte Painter
Michael Bender
Producer
Louis Benioff
Assistant Editor
Beverly Bernacki
Other
Doug Beswick
Other
Chrissy Bocchino
Choreographer
Lord Burgess
Song
Paul Campanella
Other
Kevin Carlson
Puppeteer
Mike Cassidy
Stunts
Carl Ciarfalio
Stunts
K.c. Colwell
Assistant Director
William Conner
Other
Thomas Conti
Matte Painter
Joe Day
Special Effects
Luba Dmytryk
Production Coordinator
Tom Duffield
Art Director
Tom Durell
Cable Operator
Danny Elfman
Music
Robert Fernandez
Music
Pablo Ferro
Titles
Jerry Fleck
Assistant Director
Nancy Fogarty
Music Editor
Jammie Friday
Animator
Linda Frobos
Puppets Construction
Mary F. Galloway
Location Manager
Chuck Gaspar
Special Effects Supervisor
Pete Gerard
Digital Effects Supervisor
Spencer Gill
Other
Bob Gordon
Song
Sandey Grinn
Puppeteer
Gil Haimsohn
Sound Editor
Warren Hamilton
Sound Editor
Patricia Harrison
Assistant Camera Operator
Richard Hashimoto
Producer
Rick Heinrichs
Consultant
Don Heitzer
Unit Production Manager
Linda Henrikson
Costume Supervisor
Janet Hirshenson
Casting
Elmer Hui
Special Effects
Dream Quest Images
Visual Effects
Shinko Isobe
Stunts
Jane Jenkins
Casting
Maria Kelly
Stunts
Rick Kess
Matte Painter
Gary Kieldrup
Props
Doug Knapp
Camera Operator
Peter Kuran
Visual Effects
Jane Kurson
Editor
Gregg Landaker
Sound
Steve Laporte
Makeup
Tim Lawrence
Other
Michael Laws
Lighting Technician
William D Lee
Special Effects
Rafael Leon
Song
Di Ann Lerner
Stunts
Fred M. Lerner
Stunt Coordinator
Fred M. Lerner
Stunts
James Lerner
Stunts
Catherine Mann
Set Decorator
Jo Martin
Other
Steve Maslow
Sound
Michael Mcdowell
Screenplay
Michael Mcdowell
From Story
James Mcgeachy
Puppeteer
James Mcgeachy
Construction
Dick Mckenzie
Set Designer
Tom Mertz
Special Effects
Ralph B. Meyer
Production Associate
Alan Munro
Visual Effects Supervisor
Mark Myer
Animator
Ve Neill
Makeup
Don Newton
Transportation Coordinator
Beth Nufer
Stunts
Ed Nunnery
Art Department
Kevin O'connell
Sound
Jane O'neal
Photography
Daniel L Ondrejko
Other
Noon Orsatti
Stunts
Chris Thomas Palomino
Stunts
Mark Pappas
Sound Editor
David Parrish
Assistant Camera Operator
Sarah Pasanen
Other
Mark Pearson
Dolly Grip
Mary Peters
Stunts
June Petersen
Assistant Producer
Bill Petrotta
Property Master
Patrick Puccinelli
Stunts
Ted Rae
Other
Ted Rhodes
Key Grip
Aggie Guerard Rodgers
Costume Designer
David Ronne
Sound
Bob Scaife
Construction Coordinator
Anthony Schmidt
Stunts
John B Schuyler
Boom Operator
William P Scott
Assistant Director
Carol Sevilla
Script Supervisor
Robert Short
Visual Effects
Robert Short
Makeup
Bill Silic
Lighting Technician
Warren Skaaren
Screenplay
Betty Jean Slater
Wardrobe
Van Snowden
Puppeteer
Norman Span
Song
Frederick A. Spencer
Puppeteer
Susan Spencer-robbins
Assistant
Jane Ann Stewart
Researcher
David Stone
Sound Editor
Yolanda Toussieng
Hair
Douglas Turner
Special Effects
Chuck Velasco
Costume Supervisor
Ramona Dorene Villarrial
Production Accountant
John Warnke
Set Designer
Fred Waugh
Stunts
Bo Welch
Production Designer
Larry Wilson
Producer
Larry Wilson
From Story
Larry Wilson
Screenplay
Mark Bryan Wilson
Puppeteer
Jeff Wischnak
Special Effects
Jacqueline Zietlow
Other
Film Details
Also Known As
Beetle Juice
MPAA Rating
Genre
Horror/Science-Fiction
Comedy
Horror
Release Date
1988
Production Company
Tom Durell
Distribution Company
WARNER BROS. PICTURES DISTRIBUTION (WBPD)
Location
Vermont, USA; Culver Studios, Culver City, California, USA
Technical Specs
Duration
1h 32m
Award Wins
Best Makeup
1988
Articles
Beetlejuice (1988) - Beetlejuice
Scenarist Michael McDowell's fanciful story, which owed an obvious debt to Topper (1937), caught Burton's immediate attention. As the director reminisced in his 1994 memoir Burton On Burton, "after Hollywood hammering me with the concept of story structure, where the third act doesn't work, and it's got to end with a little comedy, or a little romance, the script for Beetlejuice was completely anti all that; it had no real story, it didn't make any sense, it was more like stream of consciousness. That script was probably the most amorphous ever."
The film opens on Barbara and Adam Maitland (Geena Davis and Alec Baldwin), an unprepossessing young couple content to cocoon in their imposing Connecticut farmhouse. The Maitlands' idyll does not take up a great deal of screen time, however, as a freak traffic mishap flips their pickup truck into a creek. As they return to their homestead, it slowly dawns on Adam and Barbara that they did not survive the accident, and that they're now condemned to haunt their dwelling.
You wouldn't think matters could get worse, but they do. Their desirable property is bought by a stress-addled developer, Charles Deetz (Jeffrey Jones), whose shrewish artiste-wannabe wife, Delia (Catherine O'Hara), loathes it on sight. With her unctuous interior designer (Glenn Shadix) in tow, she proceeds to trash the Maitlands' decor. The newlydeads' gut response is to try and scare these repulsive encroachers away, but their rather uninspired rookie haunting efforts only draw the blasΘ attentions of Jones' withdrawn Goth-girl daughter (Winona Ryder), who is somehow able to see and hear the spectral couple.
Turning to a conveniently-placed "Handbook For The Recently Deceased" for aid, the Maitlands are whisked to the afterlife equivalent of a dreary government assistance agency office, where they receive little more than brusque treatment from their crabby caseworker (Sylvia Sidney). (This setting offers some of the film's funniest conceits, as both the clerks and the claimants bear mutilations that reflect their demises - a bisected magician's assistant, a shrunken-headed big game hunter, and so forth.)
After going through the proper channels proves fruitless, the Maitlands respond to the ubiquitous advertisements posted by a reprobate ghost answering to Betelgeuse (Michael Keaton), a self-proclaimed "bio-exorcist" who guarantees the expulsion of the dreaded Deetzes. Baldwin and Davis are reluctant to loose this appalling apparition on the household, but circumstances change once Jones starts to believe in their presence, and schemes to turn the entire property into a theme park.
In one of those instances where a movie performer is acknowledged for an entire body of work within that year, the New York Film Critics handed their award to Keaton on the strength of his yuppie-in-denial addict in Clean and Sober (1988) as well as his efforts in Beetlejuice. It was an honor well deserved; while onscreen for less than 20 minutes of Beetlejuice's running time, Keaton's grungy, overbearing, crass, lecherous, huckstering demon remains one of the most ferociously original comic characterizations ever committed to celluloid.
Burton, whose initial preference for the role was Sammy Davis, Jr. (!), had no prior familiarity with Keaton's work, but the two enjoyed an immediate rapport that allowed the character to truly take shape. In Burton On Burton, the director declared that "when you put make-up on people it actually frees them... What it did for Michael was it allowed him to play somebody who wasn't a human being, and the idea of playing someone who isn't human, behind some cheesy make-up, is very liberating. You don't have to worry about being Michael Keaton, you can be this thing. That was very magical to me."
The supporting performances are uniformly fine as well. Ryder delivered a breakout performance, O'Hara is hilariously shrill, and Burton got to satisfy his penchant for oddball casting with small roles for Dick Cavett and Robert Goulet. Danny Elfman delivered one of his best scores with his merrily macabre work here, which was interspersed with a few Harry Belafonte standards at key moments like "Day-O" and "Man Smart, Woman Smarter."
Only $1 million of Beetlejuice's $13 million budget was earmarked for special effects, and Burton targeted the expenditures to the sort of stop-motion animation and stage illusions that fueled the film fantasies of his boyhood. The results, along with Bo Welch's imaginative production design, and the Oscar-winning makeup work of Ve Neill, Steve LaPorte and Robert Short, left Beetlejuice with its distinctive visual stamp. The film ultimately scared up some $73 million in returns over the spring of 1988, solidifying Burton's bankability and setting up his subsequent collaborations with Keaton in Batman (1989) and Batman Returns (1992).
Producer: Richard Hashimoto
Director: Tim Burton
Screenplay: Richard Hashimoto, Michael McDowell, Warren Skaaren
Art Direction: Thomas A. Duffield
Cinematography: Thomas E. Ackerman
Editing: Jane Kurson
Music: Danny Elfman, Fitzroy Alexander, William Attaway, Raymond Bell, Lord Burgess, Bob Gordon, Rafaeal Leon, Norman Span
Cast: Alec Baldwin (Adam Maitland), Geena Davis (Barbara Maitland), Michael Keaton (Betelgeuse), Jeffrey Jones (Charles Deetz), Catherine O'Hara (Delia Deetz).
C-92m. Letterboxed.
by Jay Steinberg
Beetlejuice (1988) - Beetlejuice
In the mid-'80s, Tim Burton became the most sought-after director in Hollywood due to the wholly unanticipated financial returns of Pee-wee's Big Adventure (1985). While Burton found himself deluged with offers of studio comedy projects, none of them appealed to the renegade Disney animator's bent for the bizarre. That changed when he was presented the initial screenplay for Beetlejuice (1988), an engagingly demented fantasy-comedy that became one of the biggest successes of its year.
Scenarist Michael McDowell's fanciful story, which owed an obvious debt to Topper (1937), caught Burton's immediate attention. As the director reminisced in his 1994 memoir Burton On Burton, "after Hollywood hammering me with the concept of story structure, where the third act doesn't work, and it's got to end with a little comedy, or a little romance, the script for Beetlejuice was completely anti all that; it had no real story, it didn't make any sense, it was more like stream of consciousness. That script was probably the most amorphous ever."
The film opens on Barbara and Adam Maitland (Geena Davis and Alec Baldwin), an unprepossessing young couple content to cocoon in their imposing Connecticut farmhouse. The Maitlands' idyll does not take up a great deal of screen time, however, as a freak traffic mishap flips their pickup truck into a creek. As they return to their homestead, it slowly dawns on Adam and Barbara that they did not survive the accident, and that they're now condemned to haunt their dwelling.
You wouldn't think matters could get worse, but they do. Their desirable property is bought by a stress-addled developer, Charles Deetz (Jeffrey Jones), whose shrewish artiste-wannabe wife, Delia (Catherine O'Hara), loathes it on sight. With her unctuous interior designer (Glenn Shadix) in tow, she proceeds to trash the Maitlands' decor. The newlydeads' gut response is to try and scare these repulsive encroachers away, but their rather uninspired rookie haunting efforts only draw the blasΘ attentions of Jones' withdrawn Goth-girl daughter (Winona Ryder), who is somehow able to see and hear the spectral couple.
Turning to a conveniently-placed "Handbook For The Recently Deceased" for aid, the Maitlands are whisked to the afterlife equivalent of a dreary government assistance agency office, where they receive little more than brusque treatment from their crabby caseworker (Sylvia Sidney). (This setting offers some of the film's funniest conceits, as both the clerks and the claimants bear mutilations that reflect their demises - a bisected magician's assistant, a shrunken-headed big game hunter, and so forth.)
After going through the proper channels proves fruitless, the Maitlands respond to the ubiquitous advertisements posted by a reprobate ghost answering to Betelgeuse (Michael Keaton), a self-proclaimed "bio-exorcist" who guarantees the expulsion of the dreaded Deetzes. Baldwin and Davis are reluctant to loose this appalling apparition on the household, but circumstances change once Jones starts to believe in their presence, and schemes to turn the entire property into a theme park.
In one of those instances where a movie performer is acknowledged for an entire body of work within that year, the New York Film Critics handed their award to Keaton on the strength of his yuppie-in-denial addict in Clean and Sober (1988) as well as his efforts in Beetlejuice. It was an honor well deserved; while onscreen for less than 20 minutes of Beetlejuice's running time, Keaton's grungy, overbearing, crass, lecherous, huckstering demon remains one of the most ferociously original comic characterizations ever committed to celluloid.
Burton, whose initial preference for the role was Sammy Davis, Jr. (!), had no prior familiarity with Keaton's work, but the two enjoyed an immediate rapport that allowed the character to truly take shape. In Burton On Burton, the director declared that "when you put make-up on people it actually frees them... What it did for Michael was it allowed him to play somebody who wasn't a human being, and the idea of playing someone who isn't human, behind some cheesy make-up, is very liberating. You don't have to worry about being Michael Keaton, you can be this thing. That was very magical to me."
The supporting performances are uniformly fine as well. Ryder delivered a breakout performance, O'Hara is hilariously shrill, and Burton got to satisfy his penchant for oddball casting with small roles for Dick Cavett and Robert Goulet. Danny Elfman delivered one of his best scores with his merrily macabre work here, which was interspersed with a few Harry Belafonte standards at key moments like "Day-O" and "Man Smart, Woman Smarter."
Only $1 million of Beetlejuice's $13 million budget was earmarked for special effects, and Burton targeted the expenditures to the sort of stop-motion animation and stage illusions that fueled the film fantasies of his boyhood. The results, along with Bo Welch's imaginative production design, and the Oscar-winning makeup work of Ve Neill, Steve LaPorte and Robert Short, left Beetlejuice with its distinctive visual stamp. The film ultimately scared up some $73 million in returns over the spring of 1988, solidifying Burton's bankability and setting up his subsequent collaborations with Keaton in Batman (1989) and Batman Returns (1992).
Producer: Richard Hashimoto
Director: Tim Burton
Screenplay: Richard Hashimoto, Michael McDowell, Warren Skaaren
Art Direction: Thomas A. Duffield
Cinematography: Thomas E. Ackerman
Editing: Jane Kurson
Music: Danny Elfman, Fitzroy Alexander, William Attaway, Raymond Bell, Lord Burgess, Bob Gordon, Rafaeal Leon, Norman Span
Cast: Alec Baldwin (Adam Maitland), Geena Davis (Barbara Maitland), Michael Keaton (Betelgeuse), Jeffrey Jones (Charles Deetz), Catherine O'Hara (Delia Deetz).
C-92m. Letterboxed.
by Jay Steinberg
Quotes
Trivia
Miscellaneous Notes
Released in United States on Video October 19, 1988
Released in United States Spring March 30, 1988
Began shooting March 11, 1987.
Released in United States Spring March 30, 1988
Released in United States on Video October 19, 1988