Purple Rain the movie began as as the start of a concert film from Controversy calle the 2nd Coming, from there in Prince's famous purple notebook he began developing a movie called Dreams which Albert Magnoli title Purple Rain. the electricity of this era was magnified by the movie. What fans of Prince:For U-199 the Time & Vanity 6 understood about "Uptown" came to the big screen. And exciting time, the deleted scenes, the music, that intended music, the script with Vanity written in. the explicit scenes and the whole background including the infamous 1983 1st Avenue show that premiered live music that became the Purple Rain sound strack.Background myths and drama. Introducing the white cloud.


"We were all such babies, so hungry for success. With Purple Rain it
became a total family affair." JJ (Jill Jones)

P U R P L E R A I N

Screenplay
by
Albert Magnoli


Formerly Dreams by William Blinn




BEFORE HE CREATED THE MUSIC, HE LIVED EVERY BIT OF IT



^
|
+
o
[Edited 4/16/10 21:36pm]

"To me, Prince and the Time's entire thing is visual. The microcosm they've developed 4 themselves was a movie begging to be made.

There's music. That means there's night, there's bars, there are alley's. All of a sudden, a story begins to emerge.

They're exaggerations or minimizations developed to fit a story that never happened, yet, in a strange way, a story that is their reality." - Albert Magnoli on Purple Rain


[Edited 4/14/10 8:51am]

The Purple Rain era:

What can you tell us about the overall vibe of Prince and the whole band on, the night you debuted the Purple Rain tracks at First Ave in Minneapolis? What do you remember of that day before the show and that night after this legendary performance? How nervous do you remember Wendy being before her first gig with the band that night?

We were so well rehearsed that any opening night jitters melted away after the first song was played. I think Wendy was more excited than nervous.


Tell us about your experience the day that Purple Rain premiered at Hollywood's Mann's Chinese Theater in California. What was going through your head seeing yourself on the big screen?

The whole thing was so surreal that day that the memory of it still seems like a dream. Seeing oneself on the big screen for the first time is also a dream come true. Of course, you hope that your complexion is looking OK on a close up.

Dr Fink w/Taja Sevelle

Benefit Concert For The Minnesota
Dance Theater Company

August 3,1983 1st Avenue



1.Let's Go Crazy
2.When You Were Mine
3.A Case Of You
4.Computer Blue
5.Delirious
6.Electric Intercourse
7.Automatic
8.I Would Die 4 U
/Baby I'm A Star
9. Little Red Corvette
10.Purple Rain
11.D.M.S.R

Wendy opening chords and solo 4 Purple Rain at the August 1983 show
I love the 3 minute soloing before the song got started.
Listening to the performance, it's definitly almost the exact same song rel on the album very energetic electric tight performance


[Edited 4/16/10 20:58pm]

That's a great concert, the version of A Case Of U kills me. Love it.

OldFriends4Sale said:

Those who got to experience this in 1984 were very lucky people..

Film
Purple Rain is the story of the Kid (Prince), a Minneapolis musician who fronts the rock group The Revolution (keyboard players Lisa Coleman and Matt “Doctor Fink, bassist Mark “Brownmark” Brown, drummer Robert Zajonic and guitarist Wendy Melvoin), one of the house bands at the First Avenue Club and Seventh Street Entry. The crowds at the club are not really fans of The Revolution and the band itself is falling apart due to in-feuding, mainly between the Kid and the women of the band who want to write and perform their own songs. But the Kid has no interest in material other than his own.

The Revolution's internal fighting is not helped by the popularity of the rival house band The Time, fronted by Morris Day (himself) and percussionist Jerome Benton (himself). Rivalries reach breaking point when Apollonia (Apollonia Kotero) arrives in town and catches the interest of both the Kid and Morris. Apollonia is interested in the Kid, but Morris can offer her a start in the music business. The Kids jealousy abounds when Apollonia joins Morris’s all girl group, Apollonia 6.

The Kid’s situation isn’t much better at home, with his parents constant abusive fighting and then heart-warming reconciling creating a spin cycle on the Kid’s mind. With his would-be girlfriend working for his rival, his parents fighting, his band falling apart and the owner of the First Avenue Club threatening to cancel the Revolution’s slot at the club, the Kid is in major trouble. Will everything work out in the end?

Purple Rain is a flawed film, but every flaw cannot diminish the fact that it’s a great film. No really, it’s a great film! Prince has said that the whole Purple Rain situation was a time period and he’s right; if Purple Rain had been released in say 1987, it may not have been as successful. MTV began in 1981 and by 1984, the music video was just becoming a bona-fide art form and artists were becoming known for their style rather than their music. Purple Rain was released at the perfect time when music videos were just becoming a major part of popular culture. Purple Rain fuses a superb soundtrack, an immensely talented (with an ego to match) musical star with a groundbreaking visual style to make a gloriously entertaining 'rock musical' that is unrivalled in its success.
[Edited 4/14/10 17:45pm]

bassmungus said:

I second that and want to give a shout out to his performance of Electric Intercourse. He knocked that out the park!

all i have to say is that i loved his Computer Blue outfit!

(1) Black Screen

SOUND under: MUSIC building in INTENSITY
as--

PRINCE
(over)
Dearly belov`ed,
We are gathered here today
To get through this thing
called life.
Electric word life,
It means forever and that's a
mighty long time.
But I'm here to tell you that
there's something else -- The
afterworld.



Then huge CU of EYES opening, gazing
into mirror, HAND applying makeup,
sudden BLACKNESS, then--

PRINCE
(con't)
That's right...a world of
never-ending happiness,
You can always see the sun --
Day or night.

BURN IN MAIN TITLE: PURPLE RAIN





PRINCE
(con't)
So when you call up that
shrink in Beverly Hills,
You know the one -- Doctor
Everything'll Be Alright--
Instead of asking him how much
of your mind is left,
Ask him how much of your time,
`Cause in this life,
Things are much harder than in
the afterworld,
In this life, You're on your
own.



Now, pulsating COLOR -- FLASHES of hot,
white LIGHT...



PRINCE
(con't)
And if de-elevator tries to
bring you down,
Go crazy, punch a higher
floor.

and the BEAT provocative now,
relentless, BUILDING with fierce intent
to--





(2) INT. CLUB (1ST AVE. ST. BAR) -- NIGHT

The MECCA! The last stop for a band
before national fame.

The HUGE cavernous HALL is PACKED!
PEOPLE are DANCING like MAD! VIDEO
SCREENS with WILD GRAPHICS hang
suspended from the ceilings. Beautiful
WAITRESSES criss-cross the floor in a
frenzy.

PRINCE is CENTER-STAGE -- LIPS caressing
the mike, black, lustrous hair shining,
eyes dancing -- SINGING "Let's Get
Crazy" as the CROWD pulsates beneath the
LASER LIGHTS.





The MUSIC continues as we ...

CUT TO:


(3) EXT. STREETS #1 -- NIGHT

A TAXI pulls UP with a SCREECH. VANITY
slouches in the backseat. Black boots,
black skin-tight pants, and a mane of
thick, black hair presents a beautiful
and imposing figure. Her eyes are
large and dark -- her look open and
ripe. She knows what she's got, and
doesn't make any excuses for it -- but
the fact is she's scared as hell,
possessing a vulnerability that
surprises her by its suddenness. An
expensive gold chain is fastened on one
boot.

She scrounges through her bag -- pulls
out her remaining cash. It's drastically
short of what she owes and she knows it.
She tosses it onto the front seat,
JUMPS from the cab, streaks across the
street. The CABBIE lets out a YELL and
JUMPS out after her.

"Let's Get Crazy" continues as we ...

CUT TO:


(4) INT. SHOWER, MORRIS' APT. -- NIGHT

MORRIS DAY stands in the shower, steam
whirling about his face. He's 22 years
old, matinee-idol sexy with large, dark,
bedroom eyes. He headlines a slick
techno-funk group called THE TIME which
sports gangster suits and wide-brimmed
hats. He's gifted with a wealth of self-
laudatory humor which he uses like a
knife, moving through life with a calm,
but ruthless grace.

Make no mistake, Morris is nobody's
fool. His seeming out-raceousness, his
charm -- every move he makes is for a
calculated effect. He knows exactly
what the ladies need, and doesn't mind
reminding them should they forget ...



He breaks into a wide grin. Hair
standing up like Don King, he wipes off
a hand mirror, regards himself
unabashedly as he brushes his teeth.



"Let's Get Crazy" continues as we...

CUT TO:


(5) INT. BASEMENT, PRINCE'S HOME -- NIGHT



Prince sits in front of the mirror,
finishes applying his makeup. Black
hair flowing, eyes wide and fantastic,
he regards himself a moment before
jumging up. He puts on a high-collared
overcoat, grabs his guitar moves
quickly to the basement window. He
hoists himself through it, disappears
into the night.



"Let's Get Crazy" continues as we ...

CUT TO:


(6) EXT. CORNER, STREETS #1 -- NIGHT

A POLICE CAR, lights FLASHING, sits at
the curb. A small CROWD has rathered
about. The Cabbie stands on the
sidewalk gesticulating angrily to a COP.
Vanity stands by the police car,
obviously board, another COP by her
side. Her eyes are fastened on a good-
looking BUSINESSMAN standing nearby...

A silent negotiation seems to be going
on. Understanding wafts between them
like a passing breeze.

Without taking his eyes off her, the
Businessman approaches the Cabbie,
starts talking ...

"Let's Get Crazy" continues as we...



CUT TO:

(7) INT. MORRIS' BEDROOM -- NIGHT

Morris moves lasciviously into the
BEDROOM wearing a red muscle T-shirt,
orange baggy shorts, and green knee-hi
socks fastened to garters. A yellow
bandanna holds up his hair.

The bedroom is a MESS. A VACUUM CLEANER
stands like a sentry in the middle of
the floor. He turns it on, blazes a
path to his closet. He yanks out a well-
pressed suit, holds it against him,
strikes a sexy, half-lidded pose only a
mother could love--


MORRIS
(awed)
Oh, Lord ...

"Let's Get Crazy" continues as we ...

CUT TO:





(8) EXT. CLUB (1ST AVE. ST. BAR) -- NIGHT

The STREETS are swollen with TRAFFIC.
KIDS are packed onto the sidewalk,
waiting to get into the club. Prince,
riding his MOTORCYCLE, weaves between
jammed cars, then blasts down a narrow
alley leading to the rear entrance. His
guitar is slung across his back. He
chains up his bike, moves past a CROWD
of KIDS, cuts inside.

'Let's Get Crazy" continues as we ...

CUT TO:



(9) EXT. STREETS #2 -- NIGHT

A SEVILLE sweeps to a stop. The
Businessman is at the wheel. Vanity
steps from the car languidly and offers
a curt wave goodbye. The car pulls
away.

She stands serenely a moment as the CAR
twists around the corner. She grabs
her bag, rushes into a dark alley. She
pulls a handful of CASH from her pocket,
counts through it quickly.

'Let's Get Crazy" -continues as we ...

CUT TO:


(10) EXT. MORRIS' APARTMENT -- NIGHT

The DOOR opens -- Morris steps
confidently into the night. The change
in his appearance is breathtaking. A
cashmere coat is draped over his
shoulders, a white scarf hangs loosely
about his neck. Wearing a sharp,
gangster-style suit, his hair is a
pompadour, and Stacy Adams on his feet -
- Morris is the very picture of
elegance. He doesn't just walk to the
curb, he slides -- his promenade
punctuated with a dip at the knees you
could snap your fingers to.

JEROME is at the curb, buffing down the
bumper of a yellow, 1970 Fleetwood
Cadillac. Jerome is solidly built,
smooth-faced handsome with a boyish
charm all his own. He's a member of The
Time, and acts as Morris' chauffeur,
valet, and all-purpose shadow.

He moves quickly to the door, holds it
open as Morris settles himself into the
backseat. He closes it with a flair,
hops behind the wheel, pulls out.

'Let's Get Crazy" continues as we...



CUT TO:


(11) INT. DRESSING ROOM, CLUB -- NIGHT

Prince is BACKSTAGE, practicing spins in
front of the mirror. The other MEMBERS
of his CROUP are scattered throughout
the room. BOBBY sits off to the side,
his drumsticks tapping against his knee.
MATT puts on his doctor's smock. LISA
and WENDY finish applying their makeup.
MARK runs his fingers up and down the
neck of his bass guitar.

Suddenly a STAGEHAND pokes his head into
the room, holds the door open as Prince
and his band cut quickly to the stage.

'Let's Get Crazy' continues as we...



CUT TO:


(12) INT. MOTEL ROOM -- NIGHT

The DOOR opens -- A LIGHT goes on.
Vanity stands in the hallway, peers
cautiously into a squalid, rundown room.
She hesitates briefly, seems to sigh,
then indicates she will take it. The
MANAGER closes the door as he leaves.

She stands a moment, surveys the room.
A bed and bureau, sink, a chair,
hotplate -- simply the essentials. She
pulls a dress from her bag, a pair of hi-
heels, some gloves, underwear. She
hangs the dress on a rod, places the
shoes beneath it, arranges the rest in a
bureau drawer. She looks around once
more -- flowered wallpaper peels from
the walls.

She rushes to the window, tears open the
shutters -- iron bars obstruct her
view...


(13) EXT. CLUB -- NIGHT (VANITY'S POV)

... KIDS are crowded in front of the
CLUB. A YELLOW CADDY SCREECHES up in
front. TRAFFIC is jammed all around.
The night is electric -- the scene
beckons ...


(14) INT. VANITY'S HALLWAY -- NIGHT

She runs from the room, cuts down the
hallway, slanming the door behind her
...

"Let's Get Crazy" continues as we...

CUT TO:


(15) EXT. CLUB (1st AVE. ST. BAR) -- NIGHT

Jerome opens the door of the CADDY,
helps Morris out. The CROWD recognizes
them immediately, rushes in for a closer
look. Morris loves the attention,
plays to their enthusiasm with a relish.
Jerome snaps a comb into his hand, holds
up a pocket mirror ...

Morris combs his hair dramatically, the
Crowd encouraging him on. Jerome gives
him the OK sign, ushers him into the
club.

"Let's Get Crazy" continues as we...

CUT TO:


(16) INT. CLUB (1st AVE. ST. BAR) -- NIGHT





Prince onstage performing "Let's Get
Crazy." He's locked into a guitar
solo, moving provocatively with Wendy.
The CROWD is packed onto the DANCE
FLOOR, thick against the stage.



Jerome makes his way through the crowd,
blazing a path for Morris who is
surrounded by a dozen BABES.
Occasionally Morris glances at Prince --
discloses by his look that he doesn't
care much for his act -- or his music...

He breaks off from the Girls, follows
Jerome to the backstage entrance where
they're joined by other MEMBERS of The
Time -- JESSE and JELLYBEAN among them.
Morris casts another glance toward
Prince, breaks into a self-satisfied
grin--


MORRIS
We're going to slay him...
(screams)
Whawhak!

"Let's Get Crazy" continues as we...

CUT TO:


(17) EXT. CLUB -- NIGHT

COMMOTION! The CROWD has become
unwieldly -- TRAFFIC is snarled all
around. HORNS are BLARING. COPS try
desperately to ward off the inevitable
grid lock.

Vanity runs against the light, moves to
the head of the queue to the
accompaniment of JEERS and CATCALLS.
She doesn't budge an inch, KNOCKS
rapidly on the glass door, catching the
attention of CHICK, a burly, 6'5", 285
pound bouncer with a white beard and
long flowing hair. An ex-Marine,
Chick's function is obvious. He cracks
the door--


CHICK
What?

VANITY
I have an appointment with the
manager.

CHICK
No you don't -- he doesn't see
anybody.




Suddenly a FIGHT breaks out at the
INSIDE MONEY WINDOW. Chick spins
instantly, SLAMS the door -- but Vanity
jams her boot into the narrow space.
The door crashes against her instep, she
winces in pain --but Chick doesn't
notice. He's already upon the
OFFENDERS, heaving them against the
wall.

Vanity streaks inside, blazes up the
stairway, ducks behind a GROUP of
GIRLS...

CHICK turns instantly -- the door is
closed -- VANITY, gone. His eyes dart
up the stairway -- nothing. He shrugs,
drags the Two Guys off.



(18) INT. CLUB -- UPPER BAR AREA -- NIGHT

VANITY watches as he moves away. She
jumps up, lunges onto the dance floor,
CRASHES into a waitress, JILL, whose
tray SMASHES to the floor--

JILL
What are you retarded or
something?! Why don't you look
where you're going?

She's 18 years old, blonde and pretty in
a cute, innocent way. A Daisy Mae-type
whose emotions form so quickly, she has
trouble sorting them out. Right now
she's mad as hell -- she thinks--


VANITY
Sorry ... where's the office?

Jill squats, picks up the broken glasses-
-

JILL
Do you think you can just come
in here and take over?

VANITY
I said I'm sorry -- what do
you want me to do? Where's
the office?

Jill points -- Vanity hurries away --

JILL
(triumphantly)
No one's in!

Vanity stops dead in her tracks, does a
slow burn. She walks back to Jill--

VANITY
Okay, so you got me back,
fine. Listen, I'm from out of
town. I have to see the
manager, it's important. I'm
a real good singer and dancer.
I know he could use me.

JILL
Do you have any experience?

Vanity simmers, enunciates every word--

VANITY
Yeah...definitely.

JILL
Follow me.

And she turns on her heels, makes her
way through the club, moving into the
vicinity of the stage. Vanity follows
her reluctantly, casts a look to the
band. She spots Prince for the first
time -- stops instantly...





His effect on her is instantaneous.
Passion surges through her like a tidal
wave. His hair, face, eyes -- it all
conspires to make her weak. It's like
meeting someone for the first time, but
seeing so much of yourself in them, that
their lips, eyes, mouth -- you're
certain you have touched, and the desire
to be with them becomes so strong that
the very act of touching will release
you in a way you never thought
possible...

Prince brines "Let's Get Crazy" to a
rousing, blistering end. Suddenly the
stage is plunged into darkness. The
CROWD goes WILD!
[Edited 4/16/10 21:08pm]
[Edited 4/24/10 17:25pm]

Wow!!!

OldFriends4Sale said:

I've always loved this pic of her. It's always the beautiful ones.

all right i might as well be honest ive never seen this movie

PurpleDiamond2009 said:

WHAAATTT!?!?!

your Prince experience is not complete until you've seen this movie

you need to listen to Purple Rain Ice Cream Castles & a few songs from Apollonia:Blue Limousine, Sex Shooter, A Million Miles. Only the 2nd one is in the movie but the other 2 are just representative of Purple Electricity

then watch the movie

i listened to the entire Purple Rain album and I have heard Apples Sex Shooter i dont know what Ice Cream castles is either sorry oh and i havent seen the film yet either dang i feel guilty for not seeing it

PurpleDiamond2009 said:

lol U should feel guilty

Ice Cream Castles is the Time(Morris Day): Jungle Love, the Bird and a bit of Chili Sauce are in the movie

ooo ok lol but next time it comes on ill watch it

i mean ive seen bits and pieces of it but as far as watching the entire film and knowing what the film is about i dont know anything about it

but i still loved his Computer Blue outfit! his 2nd piece of sexiest clothing

Everybody did a great job making the movie..."Purple Rain," makes 1984 timeless.

2 smooth anyones confusion, I'm posting the unedited PR screenplay-w/Vanity and pics from the movie Purple Rain w/Apollonia



[Edited 4/15/10 7:22am]

PurpleDiamond2009 said:

Dont feel guilty about it, just go and buy it, it can be had on dvd 4 much cheapness.

OldFriends4Sale said:

Can't wait for this.....

Purple Rain Movie Mistakes -

Continuity: Prince concentrates on the chalk mark of his father's suicide attempt in the basement just before he flips out. Funny, but I thought they only made chalk outlines for people who actually died.

Continuity: Apollonia jumps into the lake. She is soaking wet, naturally. However, soon after, she's riding on the back of Prince's motorcycle and her hair is completely dry.

Continuity: When Apollonia originally tries to get into the club, the door slams on her foot. When she opens the door and sneaks in later, the door slowly closes behind her.

Continuity: During the "Lake Minnetonka" scene, Prince's motorcycle tire automagically changes from knobby to street and back.

Continuity: The Kid receives a white guitar from Appolonia placing it in his lap. They kiss. His arms are still placed on the guitar. She tells him that she is going to join Morris's group. As he jumps up and slaps her in the face, the guitar is gone.

Continuity: When The Kid goes home and sees his mother's crying in the front yard it is daytime. He immediately goes inside to confront his dad and the windows show that it is now night.

Continuity: When the woman confronts Morris and Jerome on the street about how long she waited the night before for Morris, she first appears without an over the shoulder pocketbook. The camera angle changes and you can see the strap on her shoulder. The camera angle changes again and the strap is gone.

Continuity: When The Kid goes home after playing at the club, he arrives home without his guitar that he left the house with, and the guitar is seen inside the house later on.

Continuity: When the waitress posts Apollonia's card on the board, the large white folded paper that was seen on the board in the previous shot of The Kid seeing her for the first time is no longer there.

Continuity: When Morris first meets Apollonia he sits at her table and if you notice the straw in her drink, it changes positions during the entire scene and she never touches it.

Visible crew/equipment: When Morris turns to face the mirror to see what the suit that he is holding will look like pressed against him, as soon as he turns and faces the mirror, look at the right side of the mirror where the edge of the open door is, you can see a crew member with the white baseball cap ducking behind the door trying to stay out of the shot.

Continuity: When Prince arrives at First-Avenue, the box office area is well-lit. After Apollonia checks into the Huntington Hotel, she looks down at the venue and it's dark. When Morris arrives, it's bright again.

Audio problem: Morris addresses The Kid: "Why don't you stay a while to see how it's done?" Then Jerome is mocking The Kid, saying, "So sexy!" Part of Jerome's line can be heard right before Morris' line.
Time
Continuity: Right after The Kid rescues Apollonia from Morris in the alley, he drives her to a secluded area where the makeup on her face is now brighter and heavier than it was in the alley.

Continuity: When The Kid knocks Morris into the pile of boxes in the alley, you can see that the stunt double taking the fall is white, and when he lands in the pile of boxes he is seen in the next camera angle laying on a different set of boxes.

Continuity: When The Kid Looks at Apollonia's card that the waitress is holding, it states that she is 5'7" and her weight is also filled out. Later when he looks at the card when it's posted on the board it now says 5'6" and her weight is not there.

Audio problem: When The Kid and Apollonia first arrive at the lake, you can hear them talking, but their mouths are not moving as they walk along the edge of the lake.

Continuity: When The Kid looks at Apollonia's card on the board after Morris talks to the club owner, when he turns to walk away, you can see that the card on the board is not the same one he was just looking at.

Audio problem: During the opening song, none of the instruments are plugged in but sound is coming out of them.

Continuity: When The Kid first takes Apollonia for a ride on his motorcycle, his white scarf is blowing in the wind. The camera angle changes and the scarf is tucked into his jacket. The camera angle changes again and the scarf is blowing in the wind again.

Continuity: Right after The Kid sees an image of himself hanging in the basement, he grabs a stick and starts smashing food jars on a shelf. The camera angle changes and he's seen smashing the same jars again.

Factual error: Right after The Kid's father shoots himself, The Kid is seen in the basement being interviewed by two police officers in uniform and one detective. One of the police officers is asking the questions while the detective is writing in his notepad. Standard procedure is for a "Lead Detective" to be assigned to the case and he conducts all interviews.

Continuity: When The Time are first introduced, they start walking onto the stage and the camera cuts to Apollonia who is standing at the bar. The guys behind her are moving their heads and bodies to the sound of music, but The Time hasn't started playing yet.

Continuity: After The Kid runs off the stage while singing "Darling Nikkie" he is seen in his dressing room with sweat on his back and chest. When the club owner goes in to yell at him for leaving the stage, he is now completely dry.

Continuity: When Apollonia tells The Kid that she is going to join Morris' group, he slaps her and makes her fall into the dresser where you see what looks like a red shirt hanging from the top of the second draw down the length of the dresser. The camera angle changes and the shirt is now seen much shorter in length.

Continuity: When The Kid is at home he puts Wendy and Lisa's tape in his player and you see him put the tape holder on the player in front of the small lamp. The camera angle changes to a close up and the tape holder is now on the side on the lamp which has moved to allow the holder to be on the side.

Continuity: When The Kid starts smashing the food jars in the basement with a stick, he starts with the first shelf and then he smashes the jars on the 2nd shelf and then there is a close up of him smashing more jars on yet another shelf. (The jars are different). When the camera angle changes to a wide-shot, none of the jars on the 2nd shelf are damaged, and where did the third shelf come from? He is then seen smashing the jars on the 2nd shelf again.

Continuity: In the scene where The Kid "flips-out" and destroys his basement with a stick, he deliberately breaks several mason jars of preserves that are sitting on two adjacent bookshelves. Near the end of that scene just before he finds his father's music sheets, you can see that the same jars he just exploded all over the basement are now back on the bookshelf perfectly intact.

Continuity: When Morris and Apollonia are in the car in front of the club, you can hear them talking, but when Morris says something to Jerome, Morris' lips move but you can't hear him.

Continuity: When Apollonia fills out the form at the club, you can see when she's holding it in her hand after she's done that she wrote "singing and dancing" on it. Later, when Prince looks at it on the wall, that particular line isn't filled out.

Deliberate "mistake": Before going on stage in the infamous purple coat for the first time in the movie, the Kid is in his dressing room. The silver jewelry/decoration on his coat is on the left shoulder. In all subsequent shots, the silver jewelry/decoration is on his right shoulder.

Continuity: While enroute to the 'Lake Minnetonka' scene, Prince, or his stunt double, is seen from the helicopter cam as wearing the purple coat. As the truck cams show Prince and Apollonia on the bike, he's wearing the black coat. This is best seen after Prince passes the horses.

...Vanity snaps out of it. Jill is
tugging at her arm, a puzzled look on
her face--

JILL
Here, fill this out -- I'll
have him call you.

VANITY
I don't have a phone. When
will he be back?

JILL
Well...you can try tomorrow.

VANITY
You can count on it.

Vanity hands the card back to her --
Jill reads the name, address -- looks up
puzzled--

JILL
Vanity??







BACKSTAGE
as Morris and The Time pass Prince on
their way to the stage--

MORRIS
Why don't you stay awhile, see
how it's done.

The Band Members bust up -- but Prince
ignores them, then--

MC
Ladies and gentlemen -- please
welcome The Time.

Joseph E. Ferraro ... First Avenue M.C.

CLUB
Sudden APPLAUSE and CRIES. Vanity and
Jill turn directly into the path of
Prince, descending the Steps of the
stage. Vanity gasps, LOCKS eyes with
him. Jill seems to jump out of her skin
-- it's obvious she has a crush on him
something awful--



JILL
Hi ya, Prince -- God I liked
that song, it's real fun.

She fidgets uncontrollably, Vanity's
card buring a hole into her hand.
Prince glances at the card, then stares
at Vanity, the ripeness of her look
paralyzing. He tears his eyes away,
puts on his sunglesses, looks toward the
stage.






18A) INT. CLUB -- NEAR STAGE -- NIGHT

MORRIS and The Time rip into a funk tune
called "Jungle Love." Their stranglehold
on the audience is instantaneous.
Morris struts across the stage like a
panther, playing to the audience with a
relish. His eyes fastened on Prince --
his pride umistakable.

PRINCE watches Morris a moment, then
eyes Vanity again. The heat between
them is apparent. Vanity's heart is
pounding, she's not sure what to do.
She keeps her eyes on Morris, hoping
that a Solution will present itself.

PRINCE watches as Jill tacks the card to
a board behind the bar. Sizing up the
situation quickly, he again glances at
Vanity -- but her eyes are fastened on
Morris. Feeling terribly shy and
thinking there's nothing he can do to
divert her attention away from him, he
reluctantly heads for the front door.
Vanity finally hits upon something to
say, turns--

VANITY
I really liked your song
too...

But he's gone. Her eyes scan the room
frantically -- catches a glimpse of him
leaving. She takes a sudden step, then
stops, paralyzed with indecision. Jill
regards ger coldly.


MORRIS meanwhile is beside himself.
Some gorgeous, dark-haired babe, eyes
wide as saucers was starlng at him from
the bar. Prince has left, and this girl
is his. He motions to Jerome, and they
direct their act in her direction.

JILL gazes at Vanity, fidgets intensely,
suspicious and resentful of her. She
glances up and notices Morris, look.
She seizes upon an idea, forces a
friendly smile, taps Vanity on the
shoulder--

JILL
Hey ...

She points to the stage. Vanity looks
at Morris, and he goes crazy,
entertaining her with his own special
blend of showmanship. The CROWD loves
it! Vanity is held a moment, but her
thouchts are elsewhere. She finally
comes to a decision, pulls away, cuts
through the club.


(18B) INT. FOYER AND STAIRWAY -- NIGHT

as she runs down the stairs, cuts behind
Chick, BURSTS out the door.


(19) EXT. CLUB -- NIGHT

FRANTIC! The STREETS are thick with
TRAFFIC. She scans them wildly --
nothing. Suddenly Prince, astride his
motorcycle, BLAZES past her from the
opposite direction. She starts running,
shouts--

VANITY
Hey wait!

But Prince is too far away, the traffic
too coneested for him to hear. He whips
down the street, disappears around the
corner.

Vanity continues running, then slows,
dejection overcoming her in waves. She
looks around -- KIDS are staring at her,
passing jokes. Embarrassed, She moves
to the front door but Chick is there,
his eyes upon her cold, impassionate.

Exhausted and slighlty tearlul, she cuts
across the street, heads back to her
apartment.
[Edited 4/16/10 6:52am]

Purple Rain: when Prince became the "Elvis of the 80s", I mean, an insanely successful pop/rock artist with a killer soundtrack and a bad, but entertaining pop film, just the kind of material that The King released during the late 50s...

The soundtrack is one of Prince's five best albums (at least for me) and though the movie is weak, it's the perfect companion piece of the soundtrack, and it's still fun to watch it from time to time as a piece of early 80s nostalgia...

Oh, and I agree with Prince: this movie wouldn't have been as successful had it been released in the late 80s.


Anyway, I'm glad that Prince left the pop/rock-movie star projects behind after 1984...
[Edited 4/15/10 13:47pm]

20) EXT. PRINCE'S HOUSE -- NIGHT

Prince WHIPS down the street, cuts his
motor, coasts up the drive. He comes to
a stop against a wooden gate. His house
is a nondescript, one-family structure
with a wide front porch. He lives in a
neat and tidy, homogeneous, lower middle-
class neighborhood whose occupants are
hard-working type fiercely protective of
their privacy.

He climbs the steps to the porch, opens
the front door...

...his mothers SCREAM is like ice in his
veins. Fear trickles into the hollows
of his body like cold water, His pain
commands him to move, but the impulse
short circuits somewhere at the waist,
leaving his legs twitching
uncontrollably. Then another SCREAM
from his mother, and his father's voice
now, LOUD and FURIOUS--

FATHER (O.S.)
Listen to me! You come home
when I say come home! You've
got no business in the
streets!

WHACK! His mother SCREAMS -- Prince
BURSTS into the room.


(21) INT. Prince's LIVING ROOM -- NIGHT


Prince's MOTHER is at the far side of
the living room CRYING uncontrollable.
She's in her early 40's, a dark-haired,
faded beauty, with large, wild, anxious
eyes. There's a detectable scent of
liquor in the air, and her slurred
speech pins her as the source.

His FATHER is in his late 40's, a squat,
but solidly built black man, with a
cherubic face, and graceful expressive
hands.

He's upon her now, WHACKING! at her
horribly, trying to get to her face--

FATHER
You do what I say, do you hear
me?! You've got to keep this
place clean! You here, no
place else!

MOTHER
You're crazy!

WHACK!

MOTHER
Asshole!

WHACK!

MOTHER
Motherfucker!!!

The Father lunges, WHACKS! her across
the face. She topples to the floor, a
lamp CRASHES to the ground. Prince cuts
through the room, lunges desperately in
front of him--

PRINCE
(pleading)
Please, Dad...she's heard you.
She's had enough!

His Mother drags herself up along the
wall--

MOTHER
(hysterical)
He's trying to kill me! He's
crazy! Look what he's doing
to me!

PRINCE
(tearfully)
Dad, please ... she's--

WHACK! Prince's head snaps back, his
feet lift from the floor, his body
CRASHES in a heap by the door...





Stunned SILENCE. Prince, flat on his
back, fights vertigo with everything
he's got. His Mother lets out a YELP,
rushes into the bedroom, SLAMS the door.
His Father stands motionless, sullen--

FATHER
Get up...you ain't hurt.

Prince opens his Mouth, BLOOD gushes
from a gash in his tongue. He hoists
himself up slowly, using the wall for
support. He moves into the kitchen,
disappears down the basement steps.
[Edited 5/14/10 16:40pm]

I bought a Purple Rain VHS for $1.99 and the motherfucking VCR is too dirty to play it!
[Edited 4/15/10 18:21pm]