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As much as I would like to, I simply can't say "Pink Cadillac" is a good movie but I got to add that it's not a completely vain or useless one either. Plot is flimsy and incoherent and practically about 90% of the whole motion picture is more or less nonsense but if it entertains someone, what's the big problem? It should be enough. I have to admit I liked "Pink Cadillac" only because of my huge Clint Eastwood fanatism. Without him on the leading role movie would have been a very trivial experience for me. But although I love Eastwood's tough, violent and ruthless hard-ass characters with killer one-liners it's pretty pleasant to see him in an amiable, easy-going role in a genial, yet very stupid movie. Jim Carrey's uncredited appearance as a comedian who imitates Elvis is also worth checking out even though it's a very short one. You'll find the longer version in "Man on the moon". Amusing and very watchable "Pink Cadillac" is a film for people who just don't expect miracles every time they watch movies and naturally for hardcore Eastwood fans like myself who really don't care if the film isn't perfect as long as the man is on the screen. He has made movie history with so many astonishing films. I think we can approve couple of flicks that aren't part of it, can't we?
Q: What's hotter than a blond in a pink cadillac convertable? A: a blond
a pink cadillac convertable with a trunkful of money. So hot, in fact,
got her hapless husband, his white supremist buddies and a bounty hunter
This a true screwball comedy, not just because of the absurd situations and unlikely romance, but for its warmth, humor and intelligence. Some of the laughs are pure slapstick, others pure wit, but through it all, the lovers sparkle. Burnadette Peters, probably the best screwball actress of her generation, is a delight as the smart, silly Lu Ann. Eastwood displays a surprisingly light touch as the bounty hunter who gets drawn into the hurricane she's inadvertantly released.
If you're looking for the Great American Film, try Citizen Kane. If you want braindead humor, try Dumb and Dumber. But if you want a light, funny, sexy, smart flick, you might want to check out Pink Cadillac.
Someone who, as the result of long military deployment at the end of the Cold War, saw nearly every theatrical release of the time is familiar with the Eastwood Mayoral Late Bubblegum Period. Scholars define this as Clint's tenure as mayor of Carmel, between the Marine anthem "Heartbreak Ridge" in 1986 and Clint's Western opus "Unforgiven" in 1992. In 1988 he put a belated end to Dirty Harry in the "Dead Pool," in 1990 he had a PG-13 bondage scene with Sonia Braga in "The Rookie," and in between there was this streetwise chase caper that was, to our loss, his only work with Bernadette. Bounty hunter Tommy (euphemistically a "skip tracer" since he's chasing a girl) captures bail jumper Lou Ann in Las Vegas and becomes caught up in the chase for a cash stash hidden in her pink '59 Caddy convertible by her drug-addict husband & his white supremacist, counterfeiting friends. Clint is at his most likable in these average-Joe tough-guy roles, men who survive only by their wits in seedy jobs (bounty hunter, bank robber, detective, street boxer) & take their lumps when they fall for lost causes or damsels in distress. Peters is fantastic in a humdrum role, going from sullen to sassy to sexy to sensitive without letting us down for an instant. The film is pure fun for its first two thirds, featuring little besides the two stars (Clint mimicking Bernadette's unique soprano is not to be missed). Geoffrey Lewis, an essential in all Eastwood movies like this, is entertaining as ever, this time as an addled hippie forger. The story follows the formula of several movies of this period, the best of which was "Midnight Run" (Cop/bounty hunter finds initial quarry, who's a patsy holding the key to bringing down a really nasty criminal/terrorist outfit). Unfortunately, the bad guys are too psycho-nasty for the light-hearted script, which also features Lou Ann's baby as a hostage. The pre-"Sopranos" mob bad guys of "Midnight Run" brought just the right amount of humor to distill their menace, but if you can find anything funny about neo-Nazi redneck drug addict survivalist militiamen who kidnap babies, please seek therapy. Clint actually gives it a shot near the end, so never let it be said he's not up for a dramatic challenge. "Pink Cadillac" isn't worthy as the only vehicle for the Broadway star and the greatest tough guy of his day, but it was a pleasant way to spend a couple of hours at sea. Compliments to "Speed Channel's" Lost Drive-in for bringing this & other forgotten car movies back to the small screen.
I suppose this was part of the period when Clint Eastwood was intent on expanding his acting range from just squint-and-shoot. Actually I thought he did OK at it. Bernadette Peters was sooo cute and quirky, like she always is. There was one emotional scene where I cringed at her acting, but other than that once, she was great. The stereotypical white supremacists were laughable. Clint needs to come up with some better bad guys. These were just as bad as the biker gang from his orang movies; in fact, some of them might be the same ones.
Like most people I guess, I'd never heard of this movie (it not getting
a theatrical release in the UK). But I like Clint so when it came
around on late-night TV...
The leads are excellent, the script is witty, but the direction plods. The first third is so slow it almost had me reaching for the off switch. (A Pink Cadillac that runs on Valium, is no fun ride, me thinks.) Still I hung on in there and am not disappointed that I did.
Eastwood's attempt at playing "characters" was vaguely cringe-worthy. Let's face it, his best role is playing Clint Eastwood. Even so, he still has enough charm to get away with trying. Bernadette Peters adds subtlety, humor and integrity to her role. The film is well made. It hangs together. It was just never worth a special trip to the cinema. But fine on DVD or video with wine and a pizza.
I don't consider Pink Cadillac a terrible movie, just one I didn't care
for. It is a well made movie, with a beautiful car, a good soundtrack,
a few witty quips in the script, Clint Eastwood giving his all to the
role and Bernadette Peters all bubbly and fun. On the other hand, I
find the film rather dull, with a very sluggish first half, a mostly
incoherent plot, characters that don't have much substance and you
don't care much, some jokes that feel forced and lethargic direction.
Overall, Pink Cadillac was not as bad as I thought, but considering how much I respect Eastwood, both as an actor and a director and a large body of his films, it could have been better. 4/10 Bethany Cox
This was supposed to be a comedy, a bridge between the "Clyde" movies
and his later, more serious movies. Here, Clint is beginning to show
his age. HE just cant be as rough and tumble as he was in the 60's &
70's. Ms. Peters wasn't a very good actress in this movie, Its painful
to watch the baby bomb scene. She's better suited to Broadway.
Here, Clint played down his character. This was more of a parody of his "Gauntlet" role, just as the last Dirty Harry movie was a parody of the entire Dirty Harry series. The Caddy gets ruined much like the bus. The Brotherhood gang isn't as scary as the Black Widows, but they are as goofy, and they serve the same purpose: just a group of outlaws to give Clint someone to contend with. Clint had better adversaries in his Spaghetti Westerns.
The scenery is nice though. I graduated high school not long after this movie came out and it was an encouraging factor in all the road trips I took all over the American Southwest. I still haven't made it to the Sierras though.
The lesson learned here is, its better to make fun of yourself and have fun doing it before someone else does and possibly does it with venom.
*** This review may contain spoilers ***
I knew the leading actor was in this film because I had heard the title quite a few times, I didn't realise it was meant to be a funny as well as serious, and I had to see why it wasn't highly rated. Basically Tommy Nowak (Clint Eastwood) is a skip tracer, with a talent as master of disguise who fool a criminal on the phone or in person into thinking well of him, and then he makes his move to catch them for whatever crime they are wanted for. His latest target is Lou Ann McGuinn (The Jerk's Bernadette Peters) who has skipped bail, and she married to husband Roy (Timothy Carhart) who is Nazi inspired and has a stash of counterfeit money, which he hides in the pink Cadillac. Tommy does catch Lou Ann in Reno, Nevada, but he comes to like her with the time they spend, being chased by Roy's gang of thugs for example. It is when the bad guys kidnap her baby who was being looked after by sister Dinah (Frances Fisher), Tommy decides to help his new friend get her baby back and deciding to forget about her in to the police. While driving through the West and catching a few more criminals with the disguise tactic along the way, romance is blooming between Tommy and Lou Ann. Eventually after some adventure, they do eventually catch up to Roy and the other criminals, and in the end they do manage to get the baby back and Tommy and Lou Ann drive away in the pink Cadillac together seemingly as fugitives. Also starring John Dennis Johnston as Waycross, Michael Des Barres as Alex, Geoffrey Lewis as Ricky Z, William Hickey as Mr. Barton, Home Alone's Gerry Bamman as Buddy, James Cromwell as Motel Desk Clerk, Bryan Adams as Gas Station Attendant and young Jim Carrey as Lounge Entertainer. I will admit I did giggle a little at the moments where Eastwood was in disguise as the radio DJ, the rodeo clown, the casino hotshot and the trash pool player, Peters was also quite amusing as his female companion, and the car of the title is obviously nice, but the film is too long, the more serious side of the story is silly, and not all the jokes are funny, so all in all, a disappointing comedy drama. Adequate!
Pink Cadillac is directed by Buddy Van Horn, written by John Eskow and
stars Clint Eastwood, Bernadette Peters & Timothy Carhart. Story sees
Peters as Lou Ann McGuinn , who finally has enough of her no good
husband Roy (Carhart) and flees off with their baby in his treasured
pink Cadillac. Unbeknown to her the car contains a lot of money
garnered from illegal means by the white supremacist group that Roy was
hanging around with. Bounty hunter Tommy Novak (Eastwood) is then
brought in to capture her since she has skipped bail. Once locating her
an unusual friendship begins to form as both of them get deeper and
deeper into trouble as the gang close in.
Pink Cadillac was a flop on release, and now it's almost forgotten by not only the casual film fan, but also by many of Eastwood's loyal fan club. Yet it's hardly the disaster some have painted it out to be. Yes the plot is a thin one and has been done brilliantly before; notably Midnight Run a year previously. While there's not enough action and comedy to sustain the 2 hour running time. It's also not unfair to say that the villains here-an array of dunderhead white supremacists-are weak and in the case of Carhart ; badly acted. But Pink Cadillac does have its moments and in Eastwood & Peters we have a most engaging, unpredictable odd couple act that is easy to warm too. Peters turns in a fine comedy performance, both psychically and verbally. Her ability to blend cute and needy with spunky feistiness works well off of Eastwood's more rugged charms. It seems that finally having a co-star of some worth is loosening the big man up, for here he enjoys playing comedy with his series of caricature disguises that he uses to catch the bail jumpers that form part of the story.
Perhaps it's a little unsettling to some fans to see Eastwood not being overtly macho, but this does make for a nice change of pace for Eastwood. A return to his days with the Orangutan; which incidentally up to Pink Cadillac's release were his biggest hit movies. But breaking it down it's a neat character that Eastwood has taken on with Tommy Novak. Almost anti-macho yet able to single handedly protect Lou Ann and her baby. You feel that this was a personal and deliberate choice for Eastwwood in a decade that for him mostly consists of diminishing sequels and poorly scripted misfires. Pink Cadillac has been lumped in with the worst of his career, but viewing it now it holds up much better than nearly all of his 80s output. File it along side Bronco Billy as one of his most underrated performances.
Not breaking any rules of the genre, or showing technical prowess and sharp scripting, Pink Cadillac is still the kind of inoffensive fun that knows its limits. Boosted by a relaxed Eastwood and a perky Miss Peters it's just waiting to be reappraised by a new audience. 7/10
*** This review may contain spoilers ***
I didn't care for this movie when it first came out, but now it plays
much better than most late 80's action flicks. There is great chemistry
between Eastwood and Bernadette Peters. Eastwood has been canny about
who he teams up with. Pink Cadillac is in the mold of Two Mules For
Sister Sara, The Enforcer and The Gauntlet, in which Eastwood's macho
character gets saddled with a female partner, and has to make the best
of it. In fact, this plot device is used in Million Dollar Baby.
Pink Cadillac is simply good old-fashioned Hollywood film-making, no fancy cinematography or special effects, just a simple but well-told story with two characters that we like and care about. Eastwood is gracious in allowing his female characters to live and breathe and have unexpected reservoirs of strength and resilience. This is evident in movies like Tightrope with Genevieve Bujold and The Enforcer with Tyne Daly.
As for Eastwood, he makes it look effortless, but he is an underrated actor. Pink Cadillac gives him the opportunity to do some odd character acting bits, as he adopts eccentric accents and disguises in his job as a skip tracer. One gets the feeling Eastwood is enjoying himself immensely, and it is a joy to see him doing off-the-wall stuff, although it is also cool to see Eastwood being Eastwood during the action sequences.
Pink Cadillac also shares with other Eastwood films like Bronco Billy, Thunderbolt and Lightfoot, A Perfect World and Honkytonk Man an affinity with American people living on the margins. While most filmmakers (such as the smug Coen Brothers) treat rural American characters with contempt, Eastwood views all people with a measure of respect and affection (except for the white supremacists).
There is also a great sense of place in this film, as it captures off the beaten path locations in Northern California that are seldom used in film. Director Buddy Van Horn provides efficient craftsmanship that doesn't call attention to itself, but his eye always alert to the telling details of character and setting.
In all, an unexpected pleasure, and an underrated road film.
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