In Session Film
RETRO COMEDIES WORTH REVISITING
BY KRISTIN BATTESTELLA
JUNE 25, 2024
Some of these 80s and 90s romps were sleeper hits and others were reviled. However, the successful good humor or forgotten bad pastiche herein are both worthy of a new millennium viewing.
Can’t Buy Me Love
Wine stains on a borrowed without-asking dress and $1000 lawn mowing money saved for a telescope help nerd Patrick Dempsey (Grey’s Anatomy) buy being the boyfriend of cheerleader Amanda Peterson (Explorers) in this charming 1987 teen comedy. Arizona sunny moods and eighties colorfulness belie classism amid the fart jokes and cafeteria standoffs. The rich kids are popular but those who have to work toward college are not, despite the cliques all having started off as friends when they were kids. Somber moments in a vintage aircraft graveyard lead to astronomy flirtations as our mismatched couple ends up having fun together. Secretly sensitive Cindy hides writing poetry, actually liking geek to chic Ronald for who he was before he ghosted his real friends for a mischief night gone wrong and changed into someone he doesn’t really want to be. Rich mothers and dads with station wagons represent the generation out of touch yet all the teens act so mature with their cruel lies and pressure to be cool. Although there are a few surprising moments for PG-13, this does proceed as expected with stereotypical teen party exposés, school dances, hammy speeches, and the obligatory slow clap. Fortunately, there’s a certain only in the eighties idealism here with tender personality that does what it has to do and doesn’t overstay the humor and lessons learned. Who decides who is a geek anyway?
My Blue Heaven
Steve Martin’s (Only Murders in the Building) Vinnie Antonelli aka “Todd” can’t adjust to the sunny suburbs while in the witness protection program – leading to grocery store mishaps, mowing the lawn in expensive Italian suits, erroneous stakeouts, little league fundraising scams, and hijacking twenty-five copies of the same book “in case I want to read it more than once.” Yes, this 1990 fish out of water caper written by Nora Ephron (When Harry Met Sally) is based on the same material as Goodfellas, and the mob send ups are intentionally absurd thanks to the “Provolone trial,” over the top Italian stereotypes, and the lack of available arugula. There are so many mobsters in witness protection that the gang goes into business again, causing headaches for FBI handler Rick Moranis (Honey I Shrunk the Kids) and local district attorney Joan Cusack (Addams Family Values) before they both loosen up and let their hair down thanks to Vinnie’s backhanded wisdom. Memorable quips and perfectly timed music cues accent brief moments from Carol Kane (Scrooged), but “don’t worry, I didn’t marry her under my real name.” Though popular then and obviously now overshadowed by Goodfellas; the numerous sight gags, witty twists, merengue montages, and charming vignettes make this an easily digestible, pleasant, family friendly re-watch – save for the dog named “Fongool.”
Oscar
On his father’s death bed gangster Sylvester “Snaps” Stallone (Rocky) vows to go straight in this 1991 farce from director John Landis (Trading Places). Unfortunately, an embezzling accountant, fanatical wife, sassy maids, proposal triangles, a case of gems mistaken for a case of lingerie, and linguist Tim Curry (Clue) admiring rebellious daughter Marisa Tomei’s (My Cousin Vinny) diphthongs conspire against Snaps in fitting screwball fashion. Barber of Seville cues accent the source play folly, feisty Italian stereotypes, Old Hollywood send ups, and Prohibition colloquialisms alongside roadsters, fedoras, pinstripe suits, candlestick phones, and a grand townhouse setting. This is slow to get rolling, however, with unnecessary scamming bankers, idiot police, and rival mobster bookends. Stallone is somewhat flat; the straight man who still has to be funny in playing against type while the rest of the ensemble excels at the over the top, snappy dialogue and period hyperbole. Bumbling tailors in the library are mistaken for assassins who think their work is an art form, the consigliere’s now the butler, and henchman are in the kitchen baking muffins – but they’re still packing hidden pieces and brass knuckles. Chazz Palminteri (A Bronx Tale) makes every scene better as more familiar faces lean into the double talk, Lisa, Theresa, elocution, Italian slang, and cigar chewing. Self-aware, fourth wall winks pepper the witty performances, and despite its reviled, Razzie reputation; this is worth seeing for fans of the hysterical ensemble.
Ruthless People
Tycoon Danny DeVito (Twins) is happy not to follow Judge Reinhold (Fast Times at Ridgemont High) and Helen Slater’s (Supergirl) ransom demands when they kidnap his wealthy wife Bette Midler (Hocus Pocus) in this 1986 satire from directors David Zucker, Jim Abrahams, and Jerry Zucker (Airplane!). An opening monologue sets the ruthless mood as DeVito gleefully loathes his desperate to be thin wife and her poodle, and the superb ensemble is both clever and having a good time with the zany miscommunications, chloroform, and criminal cumbersome. Bright colors, angular Miami Vice fashions, and kitschy furniture make for a tacky time capsule – accenting the worthless expense to look good and modest home versus excessive mansion. Why be a decent person when you can be an ass and get rich? The $500,000 ransom keeps getting reduced as our feeling guilty kidnappers renegotiate with our not-so-loving husband, who feigns grief amid split screen conversations, payphone mishaps, and slapstick escape attempts. Bemusing visuals capture the absurd as backseat romps are mistaken for murderous screaming and inept police are caught in the blackmail misunderstandings. Brilliant phone gags elevate renewed demands for two million dollars while choice cursing sets off the witty interplay. Midler is deliciously over the top in the exercise montages, threatening the electric chair and prison weddings for her kidnappers. Size matters jokes and kicked in the crotch cowardice make for ineffectual men. A VCR costs $350, and nobody’s willing to jump to rescue until they see the money floating in the water. Although successful then, this shrewd dark comedy should not be forgotten now thanks to perfectly timed character farce, killer twists, and a feel good eighties finish.
