A morgue attendant is talked into running a brothel at his workplace after a deceased pimp is sent there. However, the pimp's killers don't look too kindly on this new 'business', nor does the morgue's owner.
Four mental patients on a field trip in New York City must save their caring chaperon, who ends up being taken to a hospital in a coma after accidentally witnessing a murder, before the killers can find him and finish the job.
An ice hockey star is accosted by a youth gang who attempt to rob him; after he chases them off he catches the youngest member and gives him a ride home, where he meets the boy's mother. A ... See full summary »
Maria Conchita Alonso,
A nebbish of a morgue attendant gets shunted back to the night shift where he is shackled with an obnoxious neophyte partner who dreams of the "one great idea" for success. His life takes a bizarre turn when a prostitute neighbour complains about the loss of her pimp. His partner, upon hearing the situation, suggests that they fill that opening themselves using the morgue at night as their brothel. Against his better judgement, he gets talked into the idea, only to find that it's more than his boss that has objections to this bit of entrepreneurship. Written by
Kenneth Chisholm <email@example.com>
Ron Howard reportedly approached his friend and Happy Days (1974) co-star Henry Winkler with the script during Winkler's lunch hour on the Paramount Pictures lot. Although Howard gave him the choice of either of the film's two lead roles, Winkler chose the part of "Chuck Lumley". Winkler welcomed the departure from his Happy Days (1974) character, Arthur "The Fonz" Fonzarelli, and promotional materials claimed that he shed fifteen pounds for the film. See more »
As Bill is showing Chuck his new car, they keep driving past the same buildings (Con Ed Plant in particular) on the FDR highway. Even though they're driving north, at the end of the sequence they are passing by the Manhattan Bridge/Chinatown area, which is south of where they started. See more »
[points to morgue cold chambers]
What's in here, just stiffs and stuff?
Uh, no, we call them "corpses."
Can I take a peek?
I think there's one in #7.
Hey, this Carboni guy! What's he, like, our boss or what?
No, no, he's the supervisor. He's not here at night.
Nuh-uh! Get outta town! Just you and me and the stiffs alone? Here? That's gonna be radical, Chuck!
[Chuck opens morgue drawer]
[...] See more »
Even fresher and funnier now than when first released
This was one of Howard's early directorial efforts (he even gives himself a Hitchcockian-style cameo in an alley kiss near the beginning), and one of his straight-out funniest. Many have commented on Keaton's top-notch breakout performance -- and it truly is one of the funniest supporting performances since Matthau's Whiplash Willie Gingrich. But, there are many other wonderful tidbits to enjoy thoroughly -- beginning with an incredibly clever script by Ganz and Mandell -- so many classic lines I almost don't know where to begin. Gina Hecht is also magnificently memorable in her supporting role as Winkler's neurotic girlfriend, and Nita Talbot is a gem as the domineering mother. Winkler is perfect as the understated nebbish lead, and the contrast of the low-income realities and the humor found in the script is marvelously unusual in American movies beyond "Little Shop of Horrors". In fact, the movie deftly blends reality and absurdity in a manner few have succeeded at. Finally, the ahead-of-its-time cast includes Shannen Doherty as a junior girl scout, Richard Belzer as a grotesque gangster pimp, Kevin Costner as a frat boy, Clint Howard (Ron's younger brother who starred in Gentle Ben and a classic Star Trek episode) as Keaton's first limo customer, Murphy Brown's Pat Corley as Hecht's father, and Ghost's Vincent Schiavelli as an obnoxious deliveryman. And, I do disagree with mainstream thought that Shelley Long was miscast -- she actually imbues her character with some underappreciated mannerisms that ring very true for me that transcend the hooker-with-a-heart-of-gold cliche. All in all, a funny and harrowing film much better than it is generally given credit for.
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