Garry Marshall (US, 1988, 123 min.)
After the opening Bette Midler number that begins this tear-jerker, we travel back in time to Hilary and Cece's youth, when they met on the boardwalk in Atlantic City. The young Cece, played by Mayim "Blossom" Bialik (in a moment of brilliant casting), a child "star" in the making, befriends the prissy, well-to-do Hilary, and they cement their friendship by taking photos in a photobooth, which they exchange with their addresses on the back. The rest of the movie concerns their relationship as adults, and as predicted, the photos make a return appearance near the end of the film.
Contributed by Brian
Hilary and CeCe run to the booth, as the camera, placed on the other side of the booth, captures them through the open curtains.
The requisite goofy pose.
The smiling pose.
Not sure what this one is.
The photos come out, and either they're the actual photos we just saw being taken, or the producer have done a very good job making them match the poses the girls made. This sort of continuity usually gets lost in the shuffle, but they do it well here.
The girls rip the photos in half and write their addresses on the backs.
The top of the booth is visible as the camera cranes up to follow the girls as they leave.
CeCe wears her photos in her shirt at lunch.
Years later, she fins the photos framed on Hilary's desk as she visits her ailing friend.
Close-up on the photos.
CeCe shows Hilary the photos.