'17 Again' Takes Flight
The lights came up in the executive screening room at Universal Pictures sometime in the early fall of 1981. Sidney Sheinberg, the sharp, decisive President and COO of MCA/Universal, turned to Thom Mount, President of Universal Pictures. They had just watched the final cut of '17 Again'.
"Well, Thom," Sheinberg began, a hint of satisfaction in his voice, "the kid delivered again. And Zemeckis... he handled the tone well. It plays."
Mount nodded in agreement. "It does, Sid. It holds together. Comedy's there, the heart's there. Hayes really carries it, makes you believe the premise. "
"Smart supporting cast all around," Sheinberg added. "Jaclyn Smith gives it that emotional anchor it needs in the present day. And getting Redford to open the picture... still can't believe Ovitz pulled that off. Genius stroke. Gives it instant class."
"Agreed," Mount said. "It hits the teens, obviously, with Hayes and the high school setting, but that family angle, the second chance theme... I think it broadens it out. Could play really well through the holidays if the word-of-mouth is good."
"My thinking exactly," Sheinberg replied. "Which brings us to release. The summer's gone. Christmas is crowded. That Thanksgiving slot we decided feels perfect. Family-friendly, four-day weekend push."
"I agree, Thanksgiving is perfect timing," Mount confirmed. "The question is scale. How wide do we go out of the gate? We could try to saturate with 1500 screens..."
Sheinberg considered it, tapping his pen. "No," he decided. "Let's be confident, but smart. It's not 'Superman II'. Let's build some heat, make it feel like an event, not just wallpaper. Keep the per-screens strong. What about... just about a thousand screens?"
Mount thought for a moment. "A thousand? That's a solid number. Respectable wide release. Gives us national reach, enough screens to make a real impact if it hits like we think it will, but doesn't overextend us on prints and advertising costs right away."
"Exactly," Sheinberg affirmed. "Confident, targeted. We can always expand aggressively in week two if it explodes like 'Can't Buy Me Love' did. But a thousand screens for Thanksgiving feels right."
"Okay, Sid," Mount agreed. "A thousand screens it is. Thanksgiving weekend launch. Let's get marketing briefed."
With the release strategy solidified based on their confidence in the film, Universal moved forward.
******
The premiere unfolded on Wednesday night, November 25th, 1981, at a glittering Hollywood theatre. The atmosphere crackled with anticipation, noticeably grander than Alex's previous premieres. A large contingent of photographers lined the red carpet, their flashes illuminating the arriving stars. Alex, looking confident in a sharp suit, navigated the press line with his aunt and agent, Nancy Jones, by his side.
Inside the packed lobby, Alex was greeted warmly by Thom Mount and Sidney Sheinberg. "Alex, great night!" Sheinberg beamed, shaking his hand. "The film looks terrific. We think we have a real winner for the holiday!"
"Thanks, Mr. Sheinberg, Mr. Mount," Alex replied gratefully. "Everyone worked really hard. Fingers crossed!"
He then spotted Jaclyn Smith, looking radiant. As a key co-star whose role as the adult Scarlet provided the emotional core of the present-day storyline, her presence was crucial. They shared a warm hug. "Nervous, Alex?" she asked with a knowing smile.
"A little!" he admitted. "But mostly excited. You look amazing, Jaclyn."
"You too," she replied kindly. "You carried this picture wonderfully. Let's hope they love it tonight."
A bigger stir went through the lobby as Robert Redford made his entrance. Alex managed to get a brief moment with him amidst the throng. "Congratulations, Alex," Redford said, his eyes twinkling. "Heard good things about the final cut. Break a leg tonight."
"Thanks so much for being here, Mr. Redford," Alex said sincerely. "And thanks again for... everything on set." Redford simply gave him a warm, knowing smile and a nod before being swept along. Nearby, Alex saw Michael Ovitz and Ron Meyer from CAA holding court, quintessential Hollywood power brokers working the room.
Soon, the lights dimmed, and the audience settled. The film began, opening directly in 1962. On screen, a young Mike O'Donnell (Alex) receives the life-changing news from his girlfriend, Young Scarlet (Phoebe Cates), that she's pregnant, moments before his championship basketball game. The audience watched as he plays briefly, then makes the fateful decision to walk off the court and propose to Scarlet, setting the course for his future.
The film jumped forward 19 years to 1981. Cheers erupted as Robert Redford appeared, perfectly embodying the despair of the adult Mike O'Donnell. The audience saw his crumbling marriage to the weary but still luminous adult Scarlet (Jaclyn Smith), his strained relationship with Maggie (Cynthia Gibb) and Tom (Nicolas Cage), and his move into Ned Gold's (Christopher Lloyd) geek-paradise mansion. Laughter filled the theatre during Ned's eccentric attempts to help Mike and later, Mark.
Following the mystical transformation on the bridge, Alex reappeared as Mark Gold, Mike's 17-year-old self. His stylish, confident entrance into the high school elicited appreciative sighs and whispers from the audience, especially the younger women. More laughter followed Mark's awkward attempts to navigate modern teenage life and his interactions with Ned. The audience cheered during the party scene when Maggie kicked Stan in the balls after Mark intervened.
The emotional high point remained the divorce court scene. As Alex, playing Mark, read Mike's letter of apology and love to Scarlet, the theatre fell silent. His controlled emotion – the cracking voice, the unshed tears – combined with Jaclyn Smith's powerfully expressive face registering shock, pain, and dawning doubt, drew a collective "Aaww" and quiet sniffles from the crowd.
The film culminated in Mike's second chance choice – chasing after Scarlet instead of the scholarship during the final game, transforming back into his adult self (played by Alex), and their heartfelt reconciliation. The epilogue, set six months later, showed the happy, reunited O'Donnell family, Mike starting his new job as the high school basketball coach, and Ned finding romance with the principal. To explain Mark Gold's disappearance to his friends and the school, a brief line clarified that everyone was told Mark had "moved to Europe to be with his mom."
As the credits rolled to sustained applause, the feeling was undeniable: the movie worked. People left the theatre smiling, discussing favorite moments. It clearly appealed across demographics – the teens loved the high school antics and romance, the parents connected with the themes of regret and family, and the kids enjoyed the comedy and magic.
In the glittering theatre lobby afterward, amidst the celebratory buzz, key players exchanged relieved smiles and congratulations. Robert Zemeckis, beaming, shook Alex's hand vigorously. Jaclyn Smith gave Alex a warm hug, saying, "We did it, Alex! They loved it!" Even Robert Redford sought Alex out before leaving, offering a simple but meaningful, "Well done, kid. You pulled it off." Alex felt a warmth spread through him, sharing nods and smiles with his director and co-stars, acknowledging their shared success.
Observing the scene with quiet satisfaction were Michael Ovitz and Ron Meyer. They exchanged a knowing glance; years of experience told them this film had all the signs of being a significant hit. The positive audience reaction was palpable, and they were already calculating how best to capitalize on this success for their client and the agency.
Similarly, Sidney Sheinberg and Thom Mount couldn't hide their pleasure. They watched the happy crowds, saw the smiles on the faces of the cast and crew, and felt vindicated. Their continued cooperation with Alex Hayes, doubling down after the success of 'Can't Buy Me Love', had indeed paid off on its gamble once again. They had another hit on their hands, perfectly positioned for the holiday weekend.