Cher & Robert Altman's Comeback in 'Jimmy Dean' 1982

Cher as Sissy, the tart with a heart. Robert Altman directed Cher in

"Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean,"

first on Broadway and then on film. 

Director Robert Altman was not an admirer of Hollywood’s star-making mythology. Which was exactly what drew the movie maverick to Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, novice playwright Ed Graczyk's look at the downside of star worship. Ironically, Altman cast the most sparkling of stars, Cher, as one of the leads. 

This was a surprising collaboration, but a compatible one, as both Altman and Cher were outspoken contrarians who loved bucking Hollywood norms. The director and star were also both at career crossroads, so they each had a goal: Altman to control his own work and Cher to show that she could act. 

Cher and Robert Altman, an unlikely duo, got on just fine for "Come Back
to the Five and Dime, Jimmy Dean, Jimmy Dean."

Altman was famously contentious toward the Hollywood studio system. He gained a lot of clout after 1975's Nashville. But he lost it all with a string of flops and a very disappointing blockbuster, Popeye. That, plus Altman's feuds and lawsuits made him persona non grata with film studios.

As for Cher, she had made a huge comeback as a TV superstar in the '70s. The downside was that her flamboyant image made it hard for many people to take her seriously. In fact, when Cher talked to Bob about her desire to act, famously blunt Altman asked her just how was he supposed to tell if she had any talent, from the crap that she had done on TV. Mind you, Altman got his start on television, directing Bonanza and Surfside 6, and other TV fluff. When discussing his movies, straight shooter Cher told him that he ruined Popeye for her. 

***Spoiler alerts from here on***

The Disciples of James Dean circa 1955, in 1982's "Come Back to the
Five and Dime, Jimmy Dean, Jimmy Dean."

Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean is set in a fictional small Texas town, September 30, 1975—the 20th anniversary of James Dean's untimely death. A local fan club, The Disciples of James Dean, is holding a reunion in his honor. The high school pals are a mix of those who got away from the dying town, and those who sought comfort in staying behind. Their reunion reveals broken dreams, resentments, and long-kept secrets. The gathering is informed by flashbacks of 20 years earlier, when James Dean came to nearby Marfa to film Giant. The local teens are thrilled, especially Mona, who takes idol worship to the extreme. With gay Joe as a willing sidekick, they go to Marfa to be extras on the film. Mona later claims that she became pregnant by Dean from one night stand. This is made more dramatic when Dean has his fatal car crash that September. Mona’s friends Juanita, Sissy, Stella Mae, and Edna Louise don't question this bold claim. Nor do the locals, as publicizing the son of James Dean is a short-lived boon to the dying berg. Joe, who has been outed in a traumatic way, fled town shortly after.

No, this isn't "The Witches of West Hollywood!" Director Robert Altman surrounded by his "Jimmy Dean" stars: Sandy Dennis, Karen Black, & Cher.

Altman and Cher worked on the stage and film versions of Jimmy Dean, and she made cameos in his The Player and Ready to Wear. Altman took a big chance casting acting newbie Cher in a Broadway play. Later, when Bob wanted to film Jimmy Dean, he approached Cher to star. She was already set to appear in Mike Nichols' Silkwood, and was ready to move on. When Bob said he couldn't get financial backing without her, she said yes to repay his faith in her.

Sandy Dennis and Karen Black had both worked with Bob Altman before and adored him. Like Sinatra, Cher is one of those stars who get bored easily. Altman's fast, improvisational style suited Cher, and she loved him, as well. One person who didn't love all this was the playwright, Ed Graczyk. He felt Altman's style was changing the play and complained about Cher's changing some of her lines. Graczyk, who passed away this April, 2026, aired his grievances in a DVD commentary interview a dozen years ago. He ignored the fact that if it wasn't for Altman, the play wouldn't have been brought to Broadway. And if it wasn't for Cher, his play wouldn't have been made into a movie. Ah, showbiz!

When Altman auditioned Cher, it was originally to read for Joanne, the flashy mystery woman. But Cher asked if she could read for Sissy, the good-hearted floozy—a smart move on Cher's part. The baroque Joanne might have made Cher harder to accept as an actress. But Sissy's brash warmth was perfect for Cher. This happened again later with The Witches of Eastwick, where Cher was to play the role Susan Sarandon eventually played. Again, Cher was better cast as the no-nonsense witch who could tell off Jack Nicholson's horny little devil. Not sure how Black and Sarandon felt! 

During the short Broadway run, two of the Jimmy Dean actresses came to Altman, saying Cher was "too alive" in certain scenes. Bob relayed this to Cher, who asked what she should do. Altman said, "Keep doing what you're doing."

Cher in rehearsals for the Broadway version of "Come Back to the Five and Dime,

 Jimmy Dean, Jimmy Dean."

Sandy Dennis was not one of those actresses. She was comfortable with big stars. Dennis and Elizabeth Taylor got on well in Who's Afraid of Virginia Woolf? They even had burping contests to relieve the film's tension. Sandy enjoyed Cher's potty mouth and raunchy jokes, and they became pals.

While the critics generally praised the actresses, the play got bad notices. Jimmy Dean was written in '76, made it to Broadway in '81, with the film version made in '82. The playwright was obviously inspired by mid-century giants Tennessee Williams and William Inge. They were both temporarily considered passé at this time, so someone writing something derivative of their era was certainly going to get dismissed. And the big reveal that Mona didn't conceive her love child by James Dean, but by gay pal Joe, felt a bit like the revelation about George and Martha's child in Edward Albee's Who's Afraid of Virginia Woolf?

While "Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean" was not a hit, 

it garnered good reviews for its stars, especially acting newbie Cher.

The critics may have been right, but there's still some merit to this play. The characters are authentic and so is the social landscape. The playwright lived in Midland, Texas for five years and visited Marfa, where Giant was filmed. 

The film version of "Come Back to the Five and Dime, Jimmy Dean,
Jimmy Dean" was essentially a filmed play, with some special effects
for the flashbacks. All done in 19 days!

And as someone who grew up in a small Upper, MI town and moved back much later, the characters and their attitudes feel authentic. Several of these remind me of local characters that I have known in my hometown of Manistique. I have not read the original play, but have seen it performed locally, and didn't find it radically different from Altman’s Broadway or filmed version. I didn’t think the play was trailblazing, but found it thoughtful and entertaining.

"Jimmy Dean" was a major first step in Robert Altman's career comeback.

Bob Altman's depiction of this slice of small town life is skillfully woven. A memory play, the use of the past is done with mirrors, windows, lighting, music, and dialogue cues, all expertly done. The past is always in our present, as director Joseph Mankiewicz once wrote, which Altman explores here.

Some simple but effective ways of showing flashbacks from 20 years prior, 

in 1982's "Jimmy Dean."

And I thought the decision to have the mature actors play their younger selves was an artistic and economical decision that works. Altman invested his own money for the play and the financing to film the play called for it to be done in just 19 days. I think Jimmy Dean is a beautiful presentation.

"Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean" is set 

September 30, 1975, and also 20 years earlier, the day James Dean died.

I was sadly surprised to find that many of the cast members of Jimmy Dean died prematurely. Sandy Dennis died in 1992 at 54, of ovarian cancer. Karen Black died in 2013 at 74 of ampullary cancer. Sudie Bond died in 1984 at 61, of a respiratory ailment. Marta Heflin died in 2013 at age 68 of a prolonged illness. Mark Patton is still with us at 66 of this writing, but has recurrences of AIDS-related illness. On the upside, Kathy Bates will turn 78 June 28, is slimmed down and starring in Matlock. And Cher, a first wave baby boomer, turns 80 May 20.

And director Robert Altman died in 2006 at 81. Writing all this reminds me of the final scene of Jimmy Dean, with the dime store later disintegrated with time, and characters faded away.

The entire cast is excellent of Jimmy Dean.  Robert Altman loved actors and always gave each of his their moment to shine.

Marta Heflin as sweet Edna Louise, in 1982's "Jimmy Dean."

Marta Heflin as Edna Louise: Heflin had huge expressive eyes and a great smile, which made her perfect for the sweet character that’s always pregnant. You'll love it when her child-like Edna Louise finally stands up to Bates' bossy bully, Stella Mae.

Kathy Bates as bully Stella Mae in 1982's "Jimmy Dean."

Kathy Bates as Stella Mae: This was the beginning of Bates trajectory to stardom. By the beginning of the next decade, Kathy would be a Best Actress Oscar winner for Misery. As Stella Mae, Bates mixes brash humor and a nasty edge as the alleged happy member of the group who needs to ridicule Edna Louise.

Sudie Bond as Jesus loving, fly swatting Juanita in 1982's "Jimmy Dean."

Sudie Bond as Juanita: Bond is gives a feisty, realistic performance as Bible-banging Juanita, proprietor of the fading five and dime store. She clings to religion and unrealistic memory of her late husband. Sudie plays the role even-handedly, both irritating yet empathetic. Bond would co-star next with Cher in Silkwood, as Thelma, as in "Thelma got cooked!"

Mark Patton as Joe, with Sandy Dennis as Mona, in 1982's "Jimmy Dean."

Mark Patton as Joe: The role of the bullied gay boy hit home for Patton, both in his early years in Kansas City, Missouri and in Hollywood. His life became fraught. Tired of hiding that he was gay, Patton left the biz after discovering he had AIDS. Patton recently came back, including a documentary on his life and how he's turned it around in Scream Queen! My Nightmare on Elm Street. 

Karen Black as the mysterious Joanne, in 1982's "Come Back to the Five and Dime,

 Jimmy Dean, Jimmy Dean."

Karen Black as Joanne: Black plays this tricky role straightforwardly for the most part. The play, director, and star handle the transsexual plotline realistically and empathetically. When Black makes her revelation, Karen goes a bit big, but it's not out of character in this type of small town melodrama. Black plays the Joanne's mixed feelings about her old friends authentically. And while everyone leaves with no hard feelings, it's not all warm and fuzzy. 

Sandy Dennis as the fervent fan of James Dean, in "Come Back to the Five and Dime,

 Jimmy Dean, Jimmy Dean."

Sandy Dennis as Mona: Dennis has her juiciest role since Honey in Virginia Woolf. Sandy's Mona is actually the starring role. The film and stage star gives one of her quirkiest performances, with her arsenal of Sandy-isms. One of the highlights is when Cher's Sissy mocks the mannerisms of Sandy/Mona. Yet her Mona has many powerful moments as her facade crumbles away like her beloved ranch from the Giant set.

Surrounded by well-meaning friends, Dennis' Delta Dawn is enabled to live her 20 year daydream that she gave birth to the son of James Dean. Her dysfunctional dream also perpetuates the lie that son Jimmy Dean is mentally challenged. Mona also uses her “severe” asthma to avoid any uncomfortable life situations. So when Sissy and Joanne burst Mona's bubbles one by one, you are treated to some stellar Sandy acting moments. While it's fun to watch Dennis go big, Sandy's just as skilled in the small moments, as when Mona slowly realizes Joanne really is actually Joe. Or when Mona confesses why she told her life-long whopper. Mona is one of Sandy Dennis' best misfit portrayals.

Sandy Dennis as Mona sees the light in 1982's "Come Back to the Five and Dime,

 Jimmy Dean, Jimmy Dean."

Cher as Sissy: For her only time on Broadway, Cher got some serious praise as the small town "tart with a heart." Some critics were amazed that Cher had any actual talent, while others were more reserved in their praise. To me, Cher had already evolved as a performer, from a deadpan teen idol in the '60s to an increasingly polished TV star in the '70s to a solo star on TV and in concerts. Why not Cher the film actress, too? It just showed how strong Cher's tabloid image had become once she left Sonny. This led Cher to go to NYC and study acting. A mis-dialed call from Cher's mom to her pal, Mrs. Altman, asking for Cher, got Mr. Altman to wondering what Cher would be like in his latest project. Though the production was short-lived, word of mouth was good about Cher. Mike Nichols came to see her backstage. He once questioned her talent and came with an apology gift, a role in Silkwood. 

Cher as Sissy, with Sudie Bond, in "Jimmy Dean." Cher really reminds me of future

 co-star Olympia Dukakis here.

First, Cher agreed to film Jimmy Dean. The reviews for the film were better. And there was some Oscar talk, but the best supporting actress category was filled with strong nominees that year. Still, Cher gives a strong performance as the tough-talking Sissy, who has a secret of her own. Cher's delightful, watching her tweak Bond's devout Juanita, while telling deluded Sandy’s Mona to snap out of it. But her big moment comes when Joanne dares her to tell what really has become of Sissy’s long distance marriage, among other things that are MIA. Cher perfectly plays her monologue, with her trademark stoicism and humor, which makes it even more touching. And she holds her own with Sandy Dennis in their increasingly angry blowouts. This is Cher pre-plastic surgery, and she is completely natural in appearance and performance. A part of me wishes that she would have continued on this path, but by the '90s, Cher realized there was more money to be made in her 401K years as “ageless” Cher. 

Cher as Sissy, was an acting revelation to many people, in 1982's "Jimmy Dean." 

But not to me!

While she wasn't in it for the long haul, Cher gave a string of solid performances in Jimmy Dean, Silkwood, Mask, The Witches of Eastwick, Suspect, Moonstruck, Mermaids, and Tea With Mussolini.

By the time the stage and film version of Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean was done, Robert Altman and Cher's careers gradually got back on track. Altman did a few more filmed plays before getting back to features like The Player and Gosford Park. He buried the hatchet with Hollywood when he received an honorary Oscar in 2006.

Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean may have not been a groundbreaking play, but there are some truths that director Altman and the cast illuminate beautifully with their collaboration. 

The gang of "Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean"

 sing "Sincerely" for old times sake.

My deep dive into Cher's memoirs: 

https://ricksrealreel.blogspot.com/2025/05/chers-memoir-brings-back-memories-for.html

A testament to the charms of Moonstruck is that it’s remained a favorite over the decades. My take on Cher's finest hour on film: https://ricksrealreel.blogspot.com/2021/05/cher-shines-in-modern-classic.html

Guided by Robert Altman, McCabe & Mrs. Miller comes together gracefully as one of the best films of the ‘70s. My look:

https://ricksrealreel.blogspot.com/2018/01/mccabe-mrs-miller-1971.html

My look at the Texas epic Giant here:

https://ricksrealreel.blogspot.com/2016/11/1956s-giant-timely-and-timeless-epic.html