There's the first one. There's the right one. And there's the one you never forget.

In the early 1960s, two very different New Jersey high schoolers share their first love in this bittersweet romantic drama, an early feature by writer/director John Sayles. Jill Rosen (Rosanna Arquette) is a sweet, overachieving Jewish girl heading for college to become an actor; "Sheik" Capodilupo (Vincent Spano) is a mysterious, confident Italian guy who pushes his way into Jill's already busy life. Sheik successfully woos Jill, and the story follows their ups and downs as teenage romantics. While that introduction is lighter fare than most Sayles material, the film trails off into some unexpected plot developments, providing an original take on the "different sides of the track" genre. Sayles directs the high school scenes with a combination of reminiscence and reality, balancing the excitement of cars and the prom with the heartache, anxiety, and classwork that goes along with it. The movie is injected with a mostly 1960s soundtrack, yet the videocassette lists that "some music has been changed" for home video -- the note apparently refers to four Bruce Springsteen cuts. Matthew Modine and Tracy Pollan appear in small parts, and Robert Downey Jr. also has a tiny role. This was the fiercely independent Sayles' first film to be made with a major studio (Paramount), and he claims it will be his last, as he lost final editing control.

Baby It's You is a 1983 American film written and directed by John Sayles.[2] It stars Rosanna Arquette and Vincent Spano.[3]

This was Sayles' first film for a major Hollywood studio. He based the screenplay on an autobiographical story by Amy Robinson.


ilm critic Janet Maslin discussed the music in the film and wrote, "Music is a major part of Baby, It's You, as the title may indicate. The score consists of rock songs that more or less correspond to the time, although Sheik's entrances are accompanied by Bruce Springsteen songs; these may be anachronistic, but they suit Sheik to a T. These touches, as well as the generally impeccable period details and the evocative cinematography by Michael Ballhaus (who shot many of R.W. Fassbinder's later films), suggest that Baby, It's You was a labor of love for everyone involved."[4]

Critic Dennis Schwartz wrote, "It was for indie filmmaker Sayles his first film to be made with financial backing by a major studio (Doubleday backed it and Paramount bought it), but he swore it would be his last as he was pissed that he lost final editing cut. For Sayles this is lighter fare than what he usually tackles, but he fights through all the teenage clichés to give his own spin on this romance, the significance of social-class differences, how it is to finally grow up by listening to your heart and to change with the times

ilm critic Janet Maslin discussed the music in the film and wrote, "Music is a major part of Baby, It's You, as the title may indicate. The score consists of rock songs that more or less correspond to the time, although Sheik's entrances are accompanied by Bruce Springsteen songs; these may be anachronistic, but they suit Sheik to a T. These touches, as well as the generally impeccable period details and the evocative cinematography by Michael Ballhaus (who shot many of R.W. Fassbinder's later films), suggest that Baby, It's You was a labor of love for everyone involved."[4]

Critic Dennis Schwartz wrote, "It was for indie filmmaker Sayles his first film to be made with financial backing by a major studio (Doubleday backed it and Paramount bought it), but he swore it would be his last as he was pissed that he lost final editing cut. For Sayles this is lighter fare than what he usually tackles, but he fights through all the teenage clichés to give his own spin on this romance, the significance of social-class differences, how it is to finally grow up by listening to your heart and to change with the times

Release Date: March 25, 1983


Distrib: Paramount


Boxoffice: $1,867,792 2014: $4,951,100