Tender Mercies

Tender Mercies

Company type	Film
Industry	Motion picture
Founded	1983
Founder	Horton Foote (screenplay), Bruce Beresford (director)
Headquarters	United States
Products	Feature film
Parent	EMI Films (producer), Universal Pictures (distributor)

Tender Mercies is a 1983 American drama directed by Bruce Beresford with a screenplay by Horton Foote. The film features Robert Duvall portraying Mac Sledge, a former country music performer whose career and family relationships were devastated by alcoholism. As he recovers, Sledge attempts to reconstruct his life through a connection with a young widow and her child in rural Texas. The ensemble cast also includes Tess Harper, Betty Buckley, Wilford Brimley, Ellen Barkin, and Allan Hubbard.

Produced by EMI Films, the majority of filming took place in Waxahachie, Texas. After multiple American directors declined the script, Australian filmmaker Beresford accepted the project. To prepare for his role, Duvall traveled over 600 miles across Texas to immerse himself in local dialects and perform with country bands, even singing his own songs in the film. The production experienced tension between Duvall and Beresford, including an incident where the director briefly left the set and contemplated quitting.

The narrative delves into themes such as love, family, spiritual renewal, and redemption through Mac Sledge's embrace of Christianity. Despite poor results from test screenings, distributor Universal Pictures provided minimal marketing support—a decision Duvall attributed to the studio’s limited familiarity with country music culture.

Premiering on March 4, 1983, in select theaters, the movie did not achieve commercial success but was met with strong critical praise. It garnered five Academy Award nominations, including Best Picture. At the 56th Academy Awards, it secured wins for Best Original Screenplay (Foote) and Best Actor (Duvall).

Plot

Mac Sledge, a former country singer struggling with alcoholism, awakens in a dilapidated motel in Texas where he encounters Rosa Lee, the young widow who owns it and is raising her son Sonny alone. He offers to work for lodging on the condition that he abstains from drinking while working. Over time, as they share quiet evenings exchanging personal stories, a bond develops between them.

Determined to overcome his addiction and start anew, Mac eventually marries Rosa Lee and they begin attending a Baptist church together. A reporter’s visit uncovers Mac’s past through an article that includes comments from his ex-wife Dixie Scott, herself a country music star. The community becomes aware of Mac’s history; while a local country band shows him respect, Mac remains cautious. Secretly attending one of Dixie’s concerts, he hears her perform songs he composed years earlier. Backstage, he offers her manager Harry a new song and attempts to reconnect with Dixie, who warns him to keep away from their daughter Sue Anne.

Mac reassures Rosa Lee that his feelings for Dixie are gone, describing her as "poison." Harry later informs Mac that the music industry has evolved and rejects his new composition. Feeling hurt but determined, Mac resists relapse and remains devoted to Rosa Lee and Sonny. Eventually, both Mac and Sonny undergo baptism together.

Sue Anne visits Mac for the first time since infancy. She reveals that Dixie withheld her letters and opposed her visit but plans to elope with her boyfriend nonetheless. Mac confesses past abuse toward Dixie that contributed to their divorce. When Sue Anne asks about a song he once sang to her, after she leaves Mac quietly sings the hymn "On the Wings of a Dove," symbolizing spiritual salvation.

Sonny faces bullying due to his father’s troubled past, which strengthens his relationship with Mac. A local band requests permission to perform one of Mac’s songs; he consents and begins playing alongside them. His newfound happiness is shattered when Sue Anne dies in a car accident. Traveling to Nashville for her funeral, Mac comforts Dixie amid their shared grief while expressing frustration over her career focus during their marriage.

Back home, despite wrestling with sorrow, Mac sustains his renewed life with Rosa Lee and Sonny. In the closing scene, Sonny discovers a football gift from Mac as they play catch outside the motel while Rosa Lee watches from inside.

Cast

• Robert Duvall portraying Mac Sledge
• Tess Harper in the role of Rosa Lee
• Betty Buckley as Dixie
• Wilford Brimley playing Harry
• Ellen Barkin as Sue Anne
• Allan Hubbard as Sonny
• Lenny Von Dohlen in the role of Robert
• Paul Gleason as a Reporter
• Michael Crabtree portraying Lewis Menefee
• Norman Bennett as Reverend Hotchkiss

Writing

After the disappointing 1966 film adaptation of his 1952 play The Chase, despite Robert Duvall’s involvement, playwright Horton Foote contemplated abandoning screenwriting. However, the 1972 successful film version of his play Tomorrow, which also featured Duvall, rekindled his passion for cinema, provided he maintained some creative input over the final product.

Foote observed that unlike in theatre—where writers often wield considerable influence—in Hollywood, writers are typically treated as contractors who lose control once the script is handed over. Motivated by this, he crafted Tender Mercies specifically for film, aiming to confront Hollywood’s hesitance to produce deeply personal stories.

The narrative was partially inspired by Foote’s nephew’s difficulties within the country music scene. Initially centered on his nephew’s band, Foote redirected focus to an older musician who had supported the band, serving as the basis for the main character. A pivotal scene featuring a fan recognizing Mac Sledge was drawn from a genuine conversation Foote overheard, capturing Mac’s essence and history.

Foote depicted Sledge’s struggle with alcoholism through observations made in theatrical circles, deliberately avoiding exaggeration. He characterized Mac as “a deeply wounded man” who uses silence as a defensive mechanism. The title Tender Mercies, derived from the Book of Psalms, reflects Rosa Lee’s yearning for gentle moments rather than grandeur. Each character was designed to be authentic and imperfect yet relatable. Although spiritual themes permeate the script, Foote balanced them with realistic life situations.

Film scholar Gary Edgerton credits Tender Mercies with ushering Foote into his most prolific career period. Director Alan J. Pakula regarded the screenplay as instrumental in shaping late 1980s American independent cinema by encouraging personal narratives outside mainstream Hollywood conventions.

Development

Robert Duvall—renowned for his part in To Kill a Mockingbird (1962)—was engaged in Tender Mercies from its inception both as an actor and co-producer. He was attracted to the screenplay due to its universal themes and authentic depiction of central U.S. characters without caricature, which was uncommon in Hollywood. Contrary to rumors, neither Duvall nor Foote specifically requested that the role be written for him.

Foote introduced the script to Philip and Mary Ann Hobel of Antron Media Production, who had extensive experience in documentaries. They agreed to produce Tender Mercies as their first feature film project, obtaining funding from British company EMI Films on condition that Duvall starred and an appropriate director was secured. After several American directors declined, the Hobels forwarded the script to Australian Bruce Beresford, impressed by his 1980 work Breaker Morant. Beresford’s documentary-style filmmaking aligned well with their vision.

Seeking a Hollywood project with strong distribution prospects, Beresford quickly read Tender Mercies among numerous scripts. Although some questioned an Australian directing a story rooted in country music culture, he accepted after visiting Texas to ensure authenticity. He noted parallels between Texas rural areas and those in Australia, which deepened his connection to the material. Foote appreciated Beresford’s sensitivity toward rural characters, and Duvall’s contract included final approval of the director—a role Beresford secured.

The production operated on a $4.5 million budget (adjusted for inflation), modest by Hollywood standards at that time. Securing EMI’s investment took about a year; their 1981 release Honky Tonk Freeway had not performed well commercially. For Rosa Lee’s residence and motel/gas station setting, Beresford insisted on selecting a location free from visible neighboring structures. They chose an abandoned property along a highway near Waxahachie; its owner handed over keys without formal contract arrangements.

Beresford carefully planned each shot and set piece, producing storyboards and detailed sketches. Art director Jeannine Oppewall received acclaim for her meticulous attention—from curtains to quilt hues—and named the motel Mariposa (Spanish for "butterfly"), symbolizing Mac Sledge’s spiritual renewal. Australian cinematographer Russell Boyd contributed visually; Irish editor William Anderson, a frequent collaborator with Beresford, handled editing; and Elizabeth McBride made her feature debut as costume designer, later becoming known for her work depicting Southern characters.

Casting

Duvall had long aspired to portray a country singer, and there were rumors that Foote had specifically crafted the role of Mac Sledge with him in mind. Foote dismissed these claims, explaining that he preferred not to tailor parts for particular actors, though he hoped Duvall would be selected. For Duvall, Tender Mercies was a deeply personal endeavor, and he actively contributed numerous ideas to shape his character.

Initially, Duvall was Robert Altman’s preferred choice to play Haven Hamilton, the country singer in Nashville (1975), but he withdrew due to scheduling conflicts and disagreements about performing his own songs.

To prepare for the role, Duvall dedicated several weeks in Texas studying regional accents and behaviors, even joining a country band and driving extensive distances to capture authentic vocal nuances. He also had someone read the entire script into a recorder to help him perfect the accent.

Tess Harper was discovered during a casting session in Texas intended for a minor part but impressed director Beresford enough to be cast in the lead female role. Beresford appreciated her genuine rural demeanor without it feeling simplistic. Tender Mercies marked Harper’s first feature film appearance; after filming concluded, Duvall presented her with a blue cowgirl shirt accompanied by a note saying, "You really were Rosa Lee."

Allan Hubbard secured the role of Sonny following auditions held in Paris, Texas. Like Harper, his authentic rural background suited the character perfectly. Hubbard personally connected with Sonny’s storyline of losing his father early in life, although the filmmakers only learned of Hubbard’s own father’s passing after production began. Duvall established a strong bond with Hubbard, which enhanced their on-screen relationship.

Betty Buckley was chosen primarily for her vocal talents during an audition in New York. A native of Fort Worth near the Grapevine Opry, her family participated as extras during scenes filmed at the Cedar Creek Opry House in Seven Points, Texas. Duvall commended her portrayal of a frustrated country singer.

Despite limited film experience—her debut film Diner had not yet been released—Ellen Barkin impressed Beresford during a New York audition. Duvall noted that her edgy presence and authenticity made her well-suited for the part. Some reports hinted at a brief off-screen romance between Barkin and Duvall during production.

Wilford Brimley was cast based on Duvall’s recommendation to have an ally on set amid tensions with Beresford. Although Beresford initially thought Brimley appeared too old for the role, he eventually consented.

Filming

The majority of Tender Mercies was shot in Waxahachie and Palmer, towns located in Ellis County in north-central Texas. Beresford deliberately avoided Waxahachie’s characteristic Victorian architecture, opting instead for stark locations reminiscent of West Texas landscapes. The film’s setting remains unnamed; while Foote’s script did not originally envision such isolation, Beresford believed this atmosphere effectively supported the narrative.

Principal photography took place from November 2 through December 23, 1981. To prevent damage from freezing temperatures, plants used in garden scenes were brought indoors overnight. The demanding schedule involved seven-day workweeks with extended hours. Although the Australian filmmakers collaborated well with the predominantly Dallas-based crew, Beresford and lead actor Robert Duvall frequently clashed. Beresford’s precise directing approach conflicted with Duvall’s desire for creative autonomy. Their disagreements escalated to the point where Beresford contemplated leaving the project; however, after Duvall traveled to New York to reconcile differences, filming continued.

Beresford also encountered friction with Wilford Brimley, who resisted some directorial guidance concerning his character. Despite these challenges, Duvall believed that the creative tensions ultimately benefited the film, a view shared by Beresford who felt it did not compromise their vision for Mac Sledge.

Tess Harper observed that Duvall was profoundly immersed in his role, remarking she felt he understood Mac Sledge better than anyone else. Beresford found Duvall’s transformation so convincing it unsettled him during filming. Additionally, Duvall supported Harper throughout her debut by employing unconventional techniques to draw out genuine performances.

Cinematographer Russell Boyd focused on using natural light to enhance realism—a priority for Beresford. Known for his quiet demeanor on set, Boyd guided scenes with minimal verbal direction. The film’s final scene showing Mac tending his garden was captured in a single continuous long take to preserve its emotional intensity and showcase the expansive Texas backdrop. Despite studio requests for closer shots, Beresford insisted on retaining the uninterrupted take to emphasize Mac’s stoic endurance amid tragedy.

Music

Tender Mercies does not include an original score; instead, its soundtrack is composed entirely of country tunes and acoustic guitar pieces that are essential to the narrative. Director Beresford chose to eliminate a composed score, feeling it was overly sentimental and did not suit the film's authentic atmosphere. Robert Duvall exercised his contractual right to perform his own vocals, addressing early doubts from investors about his singing by submitting a recording of himself performing "On the Wings of a Dove." He worked closely with Beresford to choreograph this poignant scene, thereby intensifying its emotional resonance. In addition, Duvall authored two other songs for the character Mac: "Fool's Waltz" and "I've Decided to Leave Here Forever." Although Mac's persona drew influence from country music icons such as Willie Nelson, George Jones, and Merle Haggard, Duvall emphasized that the character was not modeled after any single individual. Waylon Jennings commended Duvall’s portrayal, describing it as "achieving the impossible."

Betty Buckley also lent her own voice to the film’s music; notably, the song "Over You," penned by Austin Roberts and Bobby Hart, earned an Academy Award nomination. While Buckley performed this track in the movie, country singer Lane Brody recorded it for radio distribution, and Mac Davis delivered a rendition at the 1984 Academy Awards ceremony. The soundtrack further includes tracks like Lefty Frizzell's "It Hurts to Face Reality," "If You'll Hold the Ladder (I'll Climb to the Top)" by Buzz Rabin and Sara Busby, along with compositions from Charlie Craig, Johnny Cymbal, Austin Roberts, and Craig Bickhardt.

Love and family

The path to Mac Sledge’s redemption is primarily depicted through his relationship with Rosa Lee and their eventual marriage. This reflects Foote’s recurring theme of loyalty, inspired by his own marriage to Lillian Vallish Foote, whom he credited for sustaining him through difficult times. The song "If You'll Hold the Ladder," performed by Mac’s new country ensemble, serves as a metaphor for Rosa’s supportive love fostering his personal transformation. Conversely, Dixie Scott’s musical numbers recall Mac’s former promiscuous lifestyle; his refusal to attend her concert signifies his rejection of that chapter. Rosa Lee’s rendition of "Jesus, Savior, Pilot Me" highlights her stabilizing influence within the home, enabling Mac to accept his role as head of the family. Sociologist Norman K. Denzin observes that the film mirrors key aspects of Alcoholics Anonymous recovery: hitting rock bottom, abstaining from alcohol, confronting one’s past, and experiencing spiritual renewal.

The motif of fatherhood is pivotal throughout. Mac achieves spiritual reconciliation through Christianity and reconnects with his biological daughter Sue Anne; her unexpected visit marks a vital milestone in his redemption arc. Scholar Rebecca Luttrell Briley notes that Sue Anne’s arrival prevents Mac from abandoning his new family and relapsing into alcoholism. When Mac sings "On the Wings of a Dove," it links divine forgiveness with healing within his earthly family. However, Sue Anne’s subsequent death underscores that some familial bonds may remain beyond repair.

Mac’s relationship with Sonny—whose name signifies “son”—explores fatherhood beyond biological ties. Sonny regards Mac as a paternal figure absent from his own life; when questioned about preferring Mac over his biological father, Sonny affirms this preference due to lack of experience with his birth father. The film’s final scene of Mac tossing a baseball with Sonny symbolizes Mac’s renewed opportunity at fatherhood. Additionally, Mac assumes a guiding paternal role toward younger band members who look up to him as a mentor even before meeting him in person.

Religion

Mac's journey toward redemption and personal growth coincides with his embrace of Christianity. Briley observes that "the focus on the Christian family is more pronounced in this script than in any previous Foote work." Motivated by Rosa Lee, Mac begins attending church services consistently and undergoes baptism alongside Sonny. During a church scene, he performs the hymn "Jesus, Savior, Pilot Me," which represents his new spiritual path. When asked after baptism if he senses any change within himself, Mac responds, "Not yet," reflecting his belief that true transformation will come through reconnecting with God. This turning point allows Mac to forge stronger bonds with his bandmates and cultivate his potential as a man. His reply to a fan—"Yes, ma'am, I guess I was"—implies he has left behind his former identity through baptism.

Rosa Lee’s steadfast prayers for both Mac and Sonny resonate with the message found in Romans 12 about living by God's mercies. Much of Mac's redemption arc, including his marriage to Rosa Lee, occurs off-screen, reinforcing the theme of faith in God's unseen grace. Jewett draws parallels between Mac’s experience and Abraham’s trust in God’s provision despite unmerited circumstances, emphasizing the undeserved mercy extended to Mac through Rosa Lee’s compassion despite his troubled history.

After the heartbreaking death of his daughter, Mac comes to understand that Christian faith does not exempt one from suffering. Prior to his redemption, he wrestles with why God allowed his daughter to die instead of himself—an illustration of theodicy confronting the existence of evil. Scholar Richard Leonard points out that suffering remains an unresolved challenge for believers, with no definitive answers. The film ends with Mac moving forward uncertainly, embodying Jewett's perspective that although ultimate certainty is lacking, maintaining faith in received mercies is vital.

Death and resurrection

Mac undergoes a spiritual rebirth as he faces death—both from the past trauma of Sonny’s father’s death in Vietnam and the recent tragedy of his daughter’s fatal car accident. This loss threatens to dismantle Mac’s newfound life, symbolized by him turning off the radio playing his new song upon hearing the news. Leonard remarks that despite the film’s somber atmosphere, its central message is about "the joy of being found," as Mac uncovers the life he longs for. In a significant moment, Mac confides in Rosa Lee that he once narrowly escaped death in a car crash, prompting contemplation about why he survived while others did not. Jewett emphasizes Mac’s skepticism toward happiness yet trust in the "tender mercies" leading him from death into life.

At the film’s opening, Mac hovers near death, awakening from a drunken stupor in an empty landscape—a visual metaphor for his spiritual emptiness. The dialogue highlights mortality’s looming presence, such as Mac’s statement, "Don't feel sorry for me, Rosa Lee, I'm not dead yet." Wide shots underscore the characters’ isolation and life’s fragility. Despite his daughter’s passing, Mac sustains his renewed existence alongside Rosa Lee and Sonny, illustrating Foote’s recurring motif of transcending tragedy to achieve personal growth and maturity.

Distribution

Philip and Mary Ann Hobel encountered difficulties securing a distributor for Tender Mercies. Robert Duvall, occupied with promoting Angelo My Love, was unable to assist in this regard. Ultimately, Universal Pictures agreed to handle the film’s distribution. Although test screenings elicited a notably quiet yet deeply engaged audience response, the feedback collected afterward was overwhelmingly negative. This led Universal executives to lose faith in the project, resulting in minimal marketing efforts. Foote remarked that the studio considered the film insignificant and expected it to be largely ignored. Industry insiders shared this pessimistic outlook; a Paramount spokesperson compared watching the film to "observing paint dry."

Festivals and theatrical run

Tender Mercies premiered on March 4, 1983, but only in three locations: New York City, Los Angeles, and Chicago. Vincent Canby of the New York Times observed that its release coincided with a period when studios typically debut films they anticipate will underperform during peak seasons. Although Angelo My Love premiered simultaneously and brought some attention to Duvall, it did not translate into benefits for Tender Mercies. Duvall attributed the studio’s limited promotional efforts to their lack of understanding of southern culture and country music, exemplified when a Universal executive dismissed Willie Nelson’s offer to assist with publicity. Tess Harper later stated that most of Universal’s advertising budget was allocated to Scarface, leaving little for this film.

The movie competed at the 1983 Cannes Film Festival, where it was seen as a comparatively hopeful counterpoint to darker films such as One Deadly Summer and Merry Christmas, Mr. Lawrence. It also screened at the 1983 International Film Festival of India held in New Delhi. The jury, chaired by director Lindsay Anderson, decided that no entry—including Tender Mercies—met the criteria for awarding the Golden Peacock. Film critic Jugu Abraham noted this outcome reflected divergent standards of cinematic excellence between international festivals and the Academy Awards, underscoring how definitions of quality cinema vary globally.

Home media

Following its brief theatrical engagement, Universal Pictures sold broadcasting rights to cable networks, allowing Tender Mercies to be shown on television. Nearly a year after its initial release, when it secured five Academy Award nominations, the studio attempted to re-release it in theaters; however, cable transmissions commenced roughly a week prior to the Oscars, undermining this effort. The film’s debut on HBO in March 1984 outperformed programming on the three major networks within cable households. It was subsequently made available on VHS and saw its first DVD release on June 22, 1999.

Box office

Financially, Tender Mercies did not achieve success at the box office. During its opening weekend (March 4–6), it earned $46,977 from exclusive showings in New York, Los Angeles, and Chicago. Eventually expanding to 37 theaters nationwide, it accumulated total earnings of $8.44 million.

Critical response

The critical reception was predominantly positive. Richard Corliss of Time declared it the "best American movie of the new year." Carol Olten from The San Diego Union-Tribune named it 1983’s top film and praised Robert Duvall’s performance. Janet Maslin of The New York Times appreciated its nuanced depiction of small-town life alongside Beresford’s understated direction. Vincent Canby described the movie as rediscovering a rare cinematic narrative style beyond conventional formulas. Leonard Maltin awarded three out of four stars, commending Duvall while noting that the screenplay resembled a series of vignettes. David Sterritt highlighted its values and subtle storytelling but mentioned occasional melodramatic elements and overly sentimental music.

Some reviews were less enthusiastic: David Ansen from Newsweek regarded the story as too modest; Linda Beath of The Globe and Mail found it "very slight" compared to Beresford's previous work; Gary Arnold from The Washington Post criticized its tone and pacing but acknowledged Betty Buckley’s strong performance.

Duvall’s portrayal received widespread acclaim. Sterritt described it as "one of the most finely wrought achievements" recently seen on screen. Corliss emphasized Duvall's nuanced performance that avoided melodrama. Ansen praised his ability to fully inhabit his character. Maslin noted his complete transformation and lauded supporting cast performances. People magazine applauded Duvall’s acting and singing abilities while calling Buckley’s role "bitchy and brilliant." Duvall himself regarded this as his first authentic romantic role with significant personal value.

A decade later, critic Danny Peary found Duvall's restrained approach frustrating and criticized most performances except Buckley’s. He omitted Tender Mercies from his alternate Oscar selections in favor of Michael Caine.

In June 2009, Roger Ebert included Tender Mercies in his Great Movies series, praising Duvall’s subtle acting, Foote’s minimalist script, and Beresford’s patient direction. Ebert remarked on how the film conveys more meaning through simplicity rather than elaboration.

Accolades

Approximately ten months following the release of Tender Mercies, the film received nominations at the 56th Academy Awards, despite very limited promotional efforts: only four Oscar campaign advertisements were placed in Variety, and Robert Duvall chose not to actively campaign. Both Bruce Beresford and studio executives were taken aback by the film securing five nominations, including a nod for Best Picture. Tess Harper was widely regarded as a potential nominee for either Best Actress or Supporting Actress but ultimately was not nominated.

Robert Duvall stood as the only American contender in the Best Actor category, competing against British actors such as Michael Caine, with whom he had previously worked on The Eagle Has Landed. Prior to the ceremony, Duvall stirred debate by criticizing what he termed the "Limey syndrome," implying that Hollywood tended to favor British productions over American ones. When presented with the Oscar by Dolly Parton, Duvall described his victory as "a nice feeling, knowing I was the home-crowd favorite." A 1989 profile in The New York Times highlighted that although Duvall had been nominated before, it was this particular win that brought him widespread acclaim for his transformative performance. Horton Foote, anticipating he might not win for To Kill a Mockingbird, made sure to attend the ceremony to accept his award for Best Original Screenplay. The film’s success afforded Foote considerable influence over upcoming projects, including veto authority on key decisions.

Award	Category	Nominee(s)	Result
56th Academy Awards	Best Picture	Philip S. Hobel	Template:Nom
	Best Director	Bruce Beresford	Template:Nom
	Best Actor	Robert Duvall	Template:Won
	Best Screenplay – Written Directly for the Screen	Horton Foote	Template:Won
	Best Original Song	"Over You" Music and Lyrics by Austin Roberts and Bobby Hart	Template:Nom
1983 Cannes Film Festival	Palme d'Or	Bruce Beresford	Template:Nom
David di Donatello Awards	Best Foreign Actor	Robert Duvall	Template:Nom
36th Directors Guild of America Awards	Outstanding Directorial Achievement in Motion Pictures	Bruce Beresford	Template:Nom
41st Golden Globe Awards	Best Motion Picture – Drama		Template:Nom
	Best Actor in a Motion Picture – Drama	Robert Duvall	Template:Won
	Best Supporting Actress – Motion Picture	Tess Harper	Template:Nom
	Best Director – Motion Picture	Bruce Beresford	Template:Nom
	Best Original Song – Motion Picture	"Over You"	Template:Nom
Kansas City Film Critics Circle Awards	Best Film		Template:Won
	Best Actor	Robert Duvall	Template:Won
1983 Los Angeles Film Critics Association Awards	Best Film		Template:Runner-up
	Best Director	Bruce Beresford	Template:Runner-up
	Best Actor	Robert Duvall	Template:Won
National Board of Review Awards 1983	Top Ten Films		Template:Draw
1983 National Society of Film Critics Awards	Best Actor	Robert Duvall	Template:Draw
1983 New York Film Critics Circle Awards	Best Actor		Template:Won
36th Writers Guild of America Awards	Best Drama – Written Directly for the Screen	Horton Foote	Template:Won
5th Youth in Film Awards	Best Young Supporting Actor in a Motion Picture	Allan Hubbard	Template:Nom

Related links

• Tender Mercies listed in the American Film Institute database