Regarding Henry
Regarding Henry is a 1991 American drama film directed by Mike Nichols.[1] It stars Harrison Ford in the title role as Henry Turner, a ruthless and ambitious corporate lawyer in New York City who is shot during a late-night robbery at a convenience store, resulting in severe brain damage, amnesia, and the loss of basic motor skills and speech.[1] Supported by his wife Sarah (Annette Bening) and young daughter Rachel (Mikki Allen), Henry undergoes an arduous rehabilitation process that transforms his previously detached and work-obsessed life into one centered on family bonds and simple joys.[2][1] The screenplay, written by Jeffrey Abrams, explores themes of personal redemption and the reevaluation of priorities in the face of trauma. Produced by Mike Nichols and Scott Rudin for Paramount Pictures, the film features supporting performances by Donald Moffat as Henry's father, Bill Nunn as his physical therapist Bradley, and Elizabeth Wilson as his mother.[3] With a runtime of 107 minutes, Regarding Henry received mixed critical reception for its sentimental tone but was praised for Ford's nuanced portrayal of vulnerability.[4][2]Overview
Plot
Henry Turner is a high-powered and ruthless corporate lawyer in New York City, whose relentless pursuit of success has strained his relationships with his wife, Sarah, and their young daughter, Rachel. Obsessed with winning a major malpractice case, Henry neglects his family, including missing Rachel's school play. Late one night, while stopping at a convenience store to buy cigarettes, Henry becomes an unintended victim in an armed robbery, where he is shot in the chest and head, leading to a coma.[5][2] Upon awakening, Henry suffers severe brain damage, resulting in total amnesia, loss of speech, and inability to walk or perform basic functions. In rehabilitation, he is guided by his physical therapist, Bradley, who helps him relearn language and mobility through patient, humorous exercises, marking the beginning of his personal transformation. Discharged after months, Henry returns home unable to recognize Sarah or Rachel but gradually bonds with them, especially through playful interactions with Rachel, while Sarah puts her career on hold to care for him. As his memory remains blank, Henry discovers fragments of his past life, including his firm's unethical practices and his extramarital affair with secretary Linda, which prompts him to reject the cutthroat world he once thrived in.[5][6] Back at the law firm, Henry refuses to resume his old manipulative tactics during a case, leading to professional backlash and a demotion proposed by his boss. Confronted by Sarah's own brief affair during his absence—a misguided attempt to cope—Henry grapples with betrayal but chooses forgiveness. When Linda reveals their past relationship, he firmly ends any possibility of rekindling it. Ultimately, Henry exposes the firm's cover-up in the original malpractice case, resigns from his job, and reconciles fully with Sarah. The family withdraws Rachel from her prestigious private school, symbolizing their embrace of a simpler, more connected life together.[5][4]Cast
Harrison Ford leads the cast as Henry Turner, a ruthless corporate lawyer who survives a shooting but awakens with amnesia and impaired abilities, forcing him to rebuild his life and relationships.[2][1] Annette Bening portrays Sarah Turner, Henry's devoted wife who grapples with his transformation and the strain on their family.[7][8] Mikki Allen plays their young daughter Rachel Turner, whose bond with her father evolves as he relearns to connect emotionally.[7][8] Bill Nunn appears as Bradley, the compassionate physical therapist who aids Henry's recovery.[7][8] Supporting roles include Donald Moffat as Charlie, a senior partner at Henry's law firm; Elizabeth Wilson as Grace, the family housekeeper; Bruce Altman as Bruce, Henry's ambitious colleague; Rebecca Miller as Linda, the office secretary; and James Rebhorn as Dr. Sullivan, Henry's neurologist.[8][3]| Actor | Role |
|---|---|
| Harrison Ford | Henry Turner |
| Annette Bening | Sarah Turner |
| Mikki Allen | Rachel Turner |
| Bill Nunn | Bradley |
| Donald Moffat | Charlie |
| Elizabeth Wilson | Grace |
| Bruce Altman | Bruce |
| Rebecca Miller | Linda |
| James Rebhorn | Dr. Sullivan |
Production
Development
The screenplay for Regarding Henry was written by J.J. Abrams, marking his first solo script effort following his collaboration on the 1990 comedy Taking Care of Business.[9] Abrams, then in his early twenties and a recent Sarah Lawrence College graduate, developed the story of a high-powered lawyer suffering amnesia after a shooting while putting the finishing touches on his prior project.[9] The script explored themes of personal transformation and redemption, drawing tonal inspiration from Robert Redford's Ordinary People (1980), which Abrams kept as a reference during writing to capture its emotional depth.[10] In March 1990, the project was announced as the next production from Scott Rudin Productions under a two-year first-look deal with Paramount Pictures, with a budget of $25 million.[11] Mike Nichols was attached to direct, marking his second collaboration with lead actor Harrison Ford after Working Girl (1988), and producer Scott Rudin, who had worked with Nichols on previous films, oversaw development.[11] Annette Bening was cast as Ford's wife, Sarah Turner, in Nichols' second project with her following Postcards from the Edge (1990).[11] Pre-production advanced quickly, with rehearsals beginning in early September 1990, reflecting the efficient momentum typical of Rudin's oversight.[11]Filming
Principal photography for Regarding Henry took place from September 14, 1990, to December 12, 1990, under the direction of Mike Nichols.[12] The production was primarily on location in New York, capturing the film's urban and suburban settings to reflect the story's Manhattan-centric narrative.[13] Filming occurred extensively in New York City, with key scenes shot at iconic Manhattan landmarks and buildings. The New York County Supreme Court at 60 Centre Street and Worth Street served as a primary location for courtroom sequences.[14] Henry Turner's upscale apartment was depicted at 1 East 82nd Street and 5th Avenue, while exterior shots utilized nearby 5th Avenue and East 82nd Street. Other notable New York spots included a phone booth at 8th Avenue and West 45th Street, the Capri Cinema at 738 8th Avenue (between West 46th and 47th Streets), the New York Public Library on 5th Avenue (between 40th and 42nd Streets), The Plaza Hotel at 750 5th Avenue and Central Park South, and The Ritz-Carlton Hotel at 50 Central Park South and 6th Avenue.[14] Additional New York locations encompassed Millbrook for the daughter's school scenes at Millbrook Private School, as well as White Plains and Wappinger Falls. Some interior work was completed in Los Angeles, California.[12][13] Harrison Ford, starring as Henry Turner, initially hesitated to accept the role due to concerns over typecasting as a lawyer, having recently portrayed one in Presumed Innocent (1990). He ultimately proceeded after noting that the pre-injury lawyer phase in Regarding Henry would be relatively brief. To prepare for the character's post-trauma vulnerability, Ford met with a real-life lawyer who had suffered severe brain damage in an accident; the encounter provided insights into the emotional and relational impacts of such injuries, influencing Ford's portrayal of Henry's regression and recovery.[15]Music
Film score
The film score for Regarding Henry was originally composed by French composer Georges Delerue, a frequent collaborator with director Mike Nichols, who crafted a romantic and melancholic soundscape featuring lush strings, woodwinds, and a lyrical violin theme to underscore the film's emotional journey of redemption and rediscovery.[16] However, following poor test audience reactions to early screenings, Delerue's complete score was rejected, marking a significant disappointment for the composer, who passed away less than a year later in 1992. Delerue's rejected score was released on CD in 2011 by Universal France as part of a limited edition of 3,000 copies, paired with music from Something Wicked This Way Comes.[16][17][18] Hans Zimmer was swiftly brought in to replace Delerue, delivering a new score that blended light jazz elements with dramatic undertones, creating a contemporary and accessible atmosphere suited to the film's themes of personal transformation and family reconnection.[16] Zimmer's composition incorporated synthetic textures, vocals by Bobby McFerrin on the opening track "Walkin' Talkin' Man," an erhu-like violin for poignant moments, muted trumpet for subtle elegance, and acoustic double bass for rhythmic warmth, resulting in a smooth, conservative sound that avoids overt sentimentality while emphasizing the protagonist's gradual emotional awakening.[16] The score's tuneful motifs, such as the charming theme introduced early on, provide an uplifting and cozy backdrop, with jazz-inflected tracks like "Ritz" and "Blowfish" evoking urban sophistication and introspection.[18][19] The official soundtrack album, released by EMI Records in 1991, runs 36 minutes and 45 seconds and features 10 tracks, including "Henry vs. Henry," which highlights the internal conflict of the amnesiac lead character through layered percussion and vocal harmonies, and "Gotta Get Me Some of That," a playful closer that reinforces the film's redemptive arc with upbeat rhythms.[19] Zimmer's work, produced in collaboration with Jay Rifkin, has been praised for its earworm quality and emotional restraint, earning an average viewer rating of three out of five stars for its serene and entertaining integration into the narrative, though some critics noted its saccharine tendencies in quieter scenes.[18][16]Soundtrack album
The soundtrack album for Regarding Henry, titled Regarding Henry (Music from the Motion Picture Soundtrack), was composed by Hans Zimmer and released by EMI Records on August 6, 1991. The album primarily features Zimmer's original score, which replaced an earlier version composed by Georges Delerue after director Mike Nichols opted for a rescore to better suit the film's tone.[18] Recorded in early 1991, it runs for a total of 36 minutes and 45 seconds across 10 tracks, blending orchestral elements with synthesizers, keyboards, and subtle jazz influences to underscore the film's themes of redemption and family.[19] Zimmer handled composition, arrangement, keyboards, synthesizers, and programming, with additional contributions from musicians including violinist Kathy Lenski and drummer Nick Glennie-Smith.[20] The album's tracks emphasize melodic motifs that evolve from tense, urban atmospheres to warmer, introspective passages, reflecting the protagonist's transformation. Key personnel include executive producer Mike Nichols and mastering by Stephen Marcussen at Precision Mastering.[19] It was issued in formats including CD (EMI CDP 7 97496 2) and vinyl LP (EMI E4-97496).[21]| Track No. | Title | Duration |
|---|---|---|
| 1 | Walkin' Talkin' Man | 3:36 |
| 2 | A Cold Day in NY | 2:21 |
| 3 | Blowfish | 3:09 |
| 4 | Ritz | 4:48 |
| 5 | Henry vs. Henry | 3:12 |
| 6 | Ritz Part II | 3:11 |
| 7 | I Don't Like Eggs | 3:18 |
| 8 | Gotta Get Me Some of That | 3:31 |
| 9 | Central Park, 6PM | 4:20 |
| 10 | Buddy Grooves | 5:19 |