It was 1994. Nicholas Cage hadn't yet become the king of "high-octane" meme-worthy performances, and Bridget Fonda was the quintessential 90s indie darling. The movie was It Could Happen to You. Honestly, if you watch it today, it feels like a fever dream of a New York City that doesn't exist anymore—one where people actually talked to each other on the subway and a lottery ticket was the only way out of a cramped apartment.
But here is the thing.
Most people think this movie is just another Hollywood fluff piece cooked up in a writers' room. It isn’t. Well, the romance part mostly is, but the core hook? That actually happened. In 1984, a police detective named Robert Cunningham asked a waitress named Phyllis Penzo to split a lottery ticket instead of leaving a tip. They won. $6 million.
The Reality Behind the Script
The It Could Happen to You movie takes some massive liberties with the truth, which is basically what Hollywood does best. In the film, Charlie Lang (Cage) is this saint-like NYPD officer. He’s married to Muriel, played by Rosie Perez in a performance so vibrantly loud you can almost smell the hairspray through the screen. Muriel is greedy. She’s the foil. When Charlie wins $4 million, she wants every cent.
In real life? It was way less dramatic but arguably more wholesome. Robert and Phyllis had been friends for fifteen years. There was no secret romance. There was no bitter divorce battle where a judge ordered the winnings to be split because of a "moral contract." Robert’s wife was actually totally fine with him sharing the money. They just... stayed friends.
But moviegoers in the mid-90s didn’t want a story about platonic friendship and sensible financial planning. They wanted the New York lottery dream. They wanted to see the "nice guy" win twice—once with the money and once with the girl.
Why the 90s Aesthetic Matters Now
There is a specific texture to this era of filmmaking. The lighting is warm. The streets of Queens look gritty but somehow safe. Director Andrew Bergman, who also gave us Honeymoon in Vegas, knew exactly how to lean into the "Capra-esque" vibe. He was basically trying to channel Frank Capra for the Gen X crowd.
You've got these long, sweeping shots of the city that feel like a postcard. The score is jazzy. It’s comforting. In a world where every modern movie feels like it’s part of a twelve-film cinematic universe, It Could Happen to You is just a movie. It starts, it tells a story about a tip, and it ends.
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Sometimes that's all we want.
The Rosie Perez Factor
We have to talk about Rosie Perez. Seriously. Her portrayal of Muriel Lang is a masterclass in being the character everyone loves to hate. She represents the cynical side of the American Dream. To her, the lottery isn't a blessing; it's a ticket to a life where she never has to see a "boring" person again.
Contrast that with Bridget Fonda’s Yvonne Biasi. Yvonne is drowning in debt. Her husband is a loser who ran off. She’s bankrupt. When Charlie comes back to the diner to give her the $2 million, it’s not just about the money. It’s about the fact that someone actually kept their word. That’s the real fantasy of the It Could Happen to You movie. It’s not the cash; it’s the integrity.
The Legal Drama and the Public Eye
The film spends a lot of time in the courtroom toward the end. This is where the script pivots into a morality play. The public (within the movie) turns against Muriel. They fall in love with Charlie and Yvonne. It's a bit on the nose, sure. But it taps into that universal human desire to see "good" people rewarded and "bad" people punished.
In the real 1984 case, there wasn't a massive court battle between the cop and the waitress. However, the film uses the courtroom to explore the idea of what a "promise" is worth. Is a verbal agreement over a cup of coffee legally binding?
Actually, in many jurisdictions, the answer is "it depends." Contract law usually requires "consideration"—something of value exchanged. In the movie, the "consideration" was the service provided by the waitress and the officer's lack of cash for a tip. It’s a thin legal argument, but it makes for great cinema.
Production Trivia You Probably Didn't Know
- The Title Change: The movie was originally titled Cop Gives Waitress $2 Million Tip. Not exactly catchy. They changed it to It Could Happen to You to make it feel more universal, though the original title is technically more accurate to the plot.
- The Diner: The "Kaye’s Diner" seen in the film was actually a set built in a vacant lot in Tribeca. It looked so real that people used to try to walk in and order breakfast while they were filming.
- The Real Robert and Phyllis: Both of the real-life inspirations had cameos in the film. They remained friends for decades after their win, proving that money doesn't always ruin everything.
Does It Hold Up?
Honestly? Yes and no.
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If you're looking for a gritty, realistic portrayal of New York policing or the complexities of sudden wealth, this isn't it. It’s a fable. It’s sugary. It’s the cinematic equivalent of a warm glazed donut.
But the chemistry between Cage and Fonda is undeniable. Cage, before he started doing movies about stealing the Declaration of Independence, was a really subtle romantic lead. He has this soulful, slightly tired look in his eyes that works perfectly for a beat cop who just wants to do the right thing.
The movie deals with themes that are still relevant:
- Class struggle in the city.
- The corrupting nature of sudden greed.
- The power of a simple random act of kindness.
We’re currently living in a time where everything feels transactional. You do something for me, I do something for you. The It Could Happen to You movie suggests a world where a promise made to a stranger is the most important thing you own. That’s why it still shows up on cable TV at 2:00 PM on a Sunday and people still watch it. It’s aspirational in a way that isn't about Ferraris or mansions. It's about being a "mensch."
Impact on the Rom-Com Genre
This film arrived right in the middle of the romantic comedy gold rush. You had Sleepless in Seattle in '93 and While You Were Sleeping in '95. This movie fits right in that pocket. It’s less "wacky" than some of its peers and more grounded in a blue-collar reality.
It didn't reinvent the wheel. It didn't need to. It just used the wheel to drive us to a happy ending.
What's fascinating is how the film treats the lottery itself. In most movies, winning the lottery is the end of the story. Here, it’s the inciting incident. The movie is actually about the fallout of winning. It asks: Who are you when you don't have to worry about rent anymore? For Muriel, she becomes a monster. For Charlie, he stays exactly the same, which is exactly why Muriel hates him and Yvonne loves him.
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Actionable Takeaways for Movie Lovers
If you're planning to revisit this classic or watch it for the first time, keep these things in mind to get the most out of the experience:
Check out the real story first
Read the 1984 New York Times archives about Robert Cunningham and Phyllis Penzo. Seeing the faces of the real people makes the "Hollywood-ness" of the movie more apparent and interesting.
Watch for the New York cameos
The film is a love letter to the city. Look for real-life New York personalities in the background and notice the locations. Many of the spots in the film have since been gentrified beyond recognition.
Compare it to Cage’s other 94/95 work
Watch this back-to-back with Leaving Las Vegas. It’s wild to see the range Nicholas Cage had in just a twelve-month span—from the sweetest man in New York to a tragic figure in Vegas.
Don't take the legal advice
If you ever find yourself splitting a lottery ticket, get it in writing. The movie makes for a great story, but in the real world, "I'll give you half" is a nightmare to prove in court without a signature.
Look for the "Fairytale" tropes
Notice how the color palette changes. When Charlie is with Muriel, things are often harsher and more cluttered. When he’s with Yvonne, the world opens up. It’s subtle directing that guides your emotions.
The movie reminds us that while we might not all win the lottery, the way we treat people when we have nothing—and when we have everything—is what actually defines us. It's a simple message, but a pretty good one.