7.5/10
85,257
204 user 53 critic

My Cousin Vinny (1992)

Two New Yorkers are accused of murder in rural Alabama while on their way back to college, and one of their cousins--an inexperienced, loudmouth lawyer not accustomed to Southern rules and manners--comes in to defend them.

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ON DISC
Won 1 Oscar. Another 3 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Mitchell Whitfield ...
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Constance Riley (as Pauline Meyers)
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J.T.
Michael Simpson ...
Neckbrace
Lou Walker ...
Grits Cook
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Storyline

Bill Gambini and Stanley Rothenstein are two friends from New York University who just received scholarships to UCLA. They decide to drive through the South. Once they arrive in Alabama, they stop at a local convenience store to pick up a few snacks. But, no sooner than they leave the store, they are arrested. They had thought that they were arrested for shoplifting, but they were arrested for murder and robbery. Worse, they are facing execution for this crime. Bill and Stan do not have enough money for a lawyer, so the good news is that Bill has a lawyer in his family, his cousin, Vincent Laguardia Gambini. The bad news is that Vinny is an inexperienced lawyer who has not been at a trial. So, Vinny has to defend his clients and battle an uncompromising judge, some tough locals, and even his fiancée, Mona Lisa Vito, who just does not know when to shut up, to prove his clients' innocence. But he will soon realize that he is going to need help. Written by John Wiggins

Plot Summary | Plot Synopsis

Taglines:

Truth, Justice And The Gambini Way. See more »

Genres:

Comedy | Crime

Motion Picture Rating (MPAA)

Rated R for language | See all certifications »

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Details

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Release Date:

13 March 1992 (USA)  »

Also Known As:

Mi primo Vinny  »

Filming Locations:

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Box Office

Budget:

$11,000,000 (estimated)

Gross:

$52,929,168 (USA)
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Company Credits

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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Joe Pesci was 49, while Marisa Tomei was 27 when My Cousin Vinny (1992) was released. See more »

Goofs

When Stan and Billy are entering their cell for the first time they are carrying their bedding. In one shot Billy's sheets are folded one way and in the next shot the position of the white sheets changes. See more »

Quotes

Bill: At my cousin Ruthie's wedding, the groom's brother was that guy Alakazam. You know who I'm talking about?
Stan: The magician with the ponytail?
Bill: Right. Well, he did his act, and every time he made something disappear, Vinny jumped on him. I mean, he nailed him! It was like, "it's in his pocket", or "he's palming it", you know? Or, "there's a mirror under the table." I mean, he was like, he was like, "wait a second, wait a second, it's joined in the middle, and there's a spring around it, it pops it ...
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Connections

Referenced in Mike & Mike: Episode dated 7 May 2015 (2015) See more »

Soundtracks

Secretly
Written by Dick Manning, Al Hoffman & Mark Markwell
Performed by Jimmie Rodgers
Courtesy of Rhino Records, Inc.
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Frequently Asked Questions

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User Reviews

 
Underrated.
19 December 2007 | by (Oregon, USA) – See all my reviews

Underrated. I won't belabor relating and describing the plot, because that's been recited nicely by numerous others. I'll simply return to my one word point. Underrated. Even though Marisa Tomei broke through and won Best Supporting Actress at the Academy Awards for her performance, an award she earned and much deserved, I still say underrated. This film really never got on the public's radar the way it should have, probably because there are no big-name actors featured as box office draw. Joe Pesci was as good as it gets that way. In 1991 he was the hottest name in the cast. But has Joes Pesci ever established himself as a leading man who could carry a movie by himself? I ask that in open-ended wonderment, and certainly not disparagingly. Just asking, is it fair, has it ever been fair, to expect Joe Pesci to carry a film?

Regardless of Joe Pesci's latent starpower, this cast of players as assembled possessed remarkable chemistry in the performances they gave, not only in their interactions with one another, but also in the creation of a final product that excels way beyond the sum of its parts, beyond any of their individual levels of genius, certainly beyond anything that could ever have been reasonably expected of them. Competent though they may have been, these were not thespian heavyweights or comedic savants. You ever wonder why this singular performance 15+ years ago and counting remains Marisa Tomei's magnum opus? That might be one big reason why. The Germans have a word for this. It's called gestalt.

My inclination is to give most of the credit for this winning final product to director Jonathan Lynn. It seems obviously to be his creation. Who else singularly deserves it? Along the way it would have been such a cheap trick and easy thing to surrender to the obvious, but Lynn didn't do it. This is a story built around stereotypes. New Yorkers. Ethnic Italian New Yorkers. Southerners. Small town southerners. Southern justice. Southern small town justice with New York Italians in the dock. It would have been so easy to traffic in those stereotypes, to over-the-top cash in on them, to submerge the movie in them and to exploit them for all they were worth. These people could have been made into cardboard cartoons of themselves. Surely the Englishman Lynn was thusly tempted, but it was a temptation he mainly resisted. Oh, almost obligatorily, he dances us over to that edge and gives us a big whiff of all that, but instead of jumping in and wallowing in the stereotypes, he deftly pulls it back and carries it all off and away in a new and different direction, indeed in an uplifting direction. Just as there are no cheap tricks in this movie, there are no cheap shots either. People are not ridiculed for who they are or where they are from. It rises above that. Lynn raises it above that. Yes, the regional differences that exist are juxtaposed. And yes, we get the fact that cultural differences divide these characters. But the beauty of it is that no one is treated unfairly. In fact, the viewer comes away with the feeling that these are all good people.

Joe Pesci and Marisa Tomei are given a broad canvas to create great humorous art, bouncing one, two, three liners or more off of each other, at the other's expense. It's the game they play with each other, the nature of their characters' relationship, and it's fun to watch. And this must be said: not only does Marisa give an exquisite performance, she is an utterly delightful feminine creature to watch here. As for the southerners, in not taking the bait to exploit the southerners as dumb hicks, Lynne actually captures part of the true but rarely portrayed essence of the south: polite gentility. Lane Smith embodies that essence. And Fred Gwynne? He practically steals the show, and would have were it not for Marisa Tomei.

What has been going through Joe Pesci's and Marisa Tomei's heads for the last 15 years? What is wrong with their agents? These two needed a sequel. If not a sequel, then more film(s) together. The dynamic between them was too good to just be abandoned. We should have been treated to much more of them together.

As a trial lawyer let me say that the portrayal of courtroom events, while certainly not perfect, is more than adequate and passable. One thing that is accurately captured is the fish-out-of-water experience of a city lawyer when subjected to trying a case in a far-flung rural county. This depicton conveys the essence of what that's like.

This movie deserves more recognition. It is clever, funny, and fun. I recommend it. If you haven't seen it, do yourself a favor and indulge yourself.


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