With the help of a talking freeway billboard, a "wacky weatherman" tries to win the heart of an English newspaper reporter, who is struggling to make sense of the strange world of early-90s Los Angeles.
Richard E. Grant
Juliet Forrest is convinced that the reported death of her father in a mountain car crash was no accident. Her father was a prominent cheese scientist working on a secret recipe. To prove it was murder, she enlists the services of private eye Rigby Reardon. He finds a slip of paper containing a list of people who are "The Friends and Enemies of Carlotta." Searching for answers, Rigby encounters assorted low-lifes: dangerous men and women who were the hallmarks of the classic detective movies of the 40's and 50's. Filming in black and white allows scenes from old movies to be cut into this film. It is through this process that Rigby's assistant is none other than Philip Marlowe himself. Written by
Tony Fontana <email@example.com>, Ed. by Peter Victor <firstname.lastname@example.org>
Rigby Reardon (Steve Martin) tells Lana Turner he left her sitting at a counter at Schwabs. Turner is rumored to have been discovered sitting at the counter in a Schwabs drugstore. See more »
When Rigby (Steve Martin) is exchanging a $5 bill for a $1 bill with Ray Milland through the cracked open doorway, you can clearly see that the bill is marked "Series 1969" which is about 25 years after the time the film is set in. See more »
Along with "The Jerk," one of Steve Martin's top two finest films
I remember reading reviews in The New York Times and elsewhere in 1983 fawning over Woody Allen's brilliant and wholly original idea of inserting himself into old film footage in "Zelig." They'd not noted, of course, that everyone from Ernie Kovacs to John Zacherle had already done that "brilliant and wholly original idea" on television -- and, most notably, Steve Martin did it in a feature film, "Dead Men Don't Wear Plaid," one year prior to "Zelig." While "Zelig" has its moments, it is ultimately tedious, running about twice as long as it's one-note gag treatment can sustain. In sharp contrast is the far more clever, inspired, fully developed, insightful and witty DMDWP, which, as noted. came out one year earlier. As often happens with groundbreakers set somewhere outside the norm, DMDWP was not exactly a box office hit -- a key reason why no sequels were ever made. That's unfortunate, as Martin's character was one of his finest creations and could have sustained more installments in the series. (Steve was never better on film than he is here.) It's good that the people behind "Police Squad" did not give up on it after it failed to fit within the confines of standard TV concepts around the same time. Reborn as "The Naked Gun" series of feature films, the "Police Squad" concept turned into three of the greatest comedy motion pictures of all time. DMDWP deserved a lot better than it got in 1982 as well, and I'm glad to see that it has finally found respect and its audience through television exposure (much like a previous box office bomb, "It's A Wonderful Life"). The kind of creativity Martin, Carl Reiner and the rest of the DMDWP crew put into their project needs to be strongly encouraged -- as it represents excellent comic film-making, as opposed to the witless parade of routine crudities that Hollywood ordinarily churns out.
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