When I was ten years old I declared Foul Play to be the funniest movie ever made. Maybe now it’s not quite as amazing as I thought it was then, but it’s still pretty entertaining. After hitting gold with the scripts for Harold and Maude and Silver Streak, screenwriter Colin Higgins made his directorial debut with Foul Play. Like Silver Streak, Foul Play is a sorta romantic-comedy (slash) mystery-thriller hybrid. It both romanticizes the old style of Cary Grant and accepts the newer Saturday Night Live inspired raunch that has dominated American film comedies ever since. This was Goldie Hawn’s peak years, coming off of Shampoo and just before her signature performance as Private Benjamin. In her mid thirties, she was still playing the big eyed pixie to perfection and she matched Chevy Chase, in his first lead role (he had played some bit parts in The Groove Tube earlier). The film is definitely a time-capsule of disparaging styles, jumping between slapstick sex comedy and violent Hitchcock spoof, there is more would-be suspense than comedy, but when the comedy works I can see why ten-year-old me got so excited.
The plot is some kind of murder mystery that has something to do with an assassination attempt on the Pope or something. It really doesn’t matter. Goldie plays a beautiful San Francisco librarian, one of those unlikely lonely hearts who goes to see old movies by herself. Through a number of contrivances she ends up with a dead man as a date which puts her into a vast conspiracy including an albino hitman working for a corrupt Catholic church until bumbling cop Chevy Chase comes to her rescue. The two eventually put the case together (along with his trench-coated partner Brian Dennehy) and, of course, fall in love. And in-between their Charade-like pleasantries, there’s Burgess Meredith as her wacky karate-chopping neighbor, Dudley Moore as a sex crazed swinger, Billy Barty as a dwarf door-to-door salesman, a laughing snake, opera, car chases, murders, and an Oscar-nominated theme song by Barry Manilow. I may sum this up shallowly, as if I’m poo-pooing, but it’s actually with much affection.Continue Reading
The third and the best of the four movies Burt Reynolds directed and starred in, Sharky’s Machine is often written off as Burt’s attempt at a Dirty Harry like franchise starter since he and Clint Eastwood were often linked as rival '70s macho mega-stars. But where Clint would go on to reinvent himself as an awards bait elder statesman of economical directing, this would unfortunately be Burt’s last memorable movie as a major leading man. (Of course, sixteen years later he would score his only Oscar nomination for his great supporting performance in Boogie Nights). Sharky’s Machine now feels more reminiscent of '70s Italian crime flicks known as Poliziotteschi films than it does Dirty Harry, as these films often dealt with dirty and violent cops in the seedier side of politics, organized crime and prostitution. As Sharky, it’s one of those rare, less winky performances from Reynolds. Though he can’t help but ooze charm, he also creates a sometimes unlikable character as the film veers fairly effortlessly from rowdy Joseph Wambaugh type police station mayhem picture to a Rear Window inspired erotic thriller to a very gripping final confrontation.
Based on a book by the gritty novelist William Diehl (Primal Fear), Burt actually took over direction when his Deliverance helmer John Boorman got stuck finishing Excalibur. Atlanta narcotics cop Tom Sharky is one of those plays-by-his-own-rules badasses who has been bumped downstairs to vice when a sting goes wrong. He's surrounded by a motley crew of great character actors including Bernie Casey (Revenge of The Nerds), Richard Libertini (Fletch), John Fiedler (12 Angry Men and the voice of Piglet in Winnie the Pooh), Brian Keith (The Russians Are Coming, the Russians Are Coming, the original The Parent Trap) and the great Charles Durning (Dog Day Afternoon, Tootsie, at his most “Durningist”). They are stuck busting hookers to make the town look presentable to a candidate for governor, Donald Hotchkins (Earl Holliman of TV’s Police Woman). It turns out the politician is tied to a high-priced call girl ring led by the Italian sleazoid, Victor D'Anton (Vittorio Gassman, a major Italian actor whose resume before Sharky’s Machine spanned from Big Deal on Madonna Street to the Get Smart movie, The Nude Bomb!), who is killing off his own women with a hitman played by the always reliably creepy Henry Silva (one of the original Ocean’s Eleven!)Continue Reading