A suicidally disillusioned liberal politician puts a contract out on himself and takes the opportunity to be bluntly honest with his voters by affecting the rhythms and speech of hip-hop music and culture.
Joe Pendleton is a football quarterback preparing to lead his team to the Superbowl when he is almost killed in an accident. An overanxious angel plucks him to heaven only to discover that he was not ready to die, and that his body has been cremated. Another body must be found without his death being discovered, and that of a recently murdered millionaire is chosen. His wife and accountant, the murderers, are confused by this development, as he buys the Los Angeles Rams in order to once again quarterback them into the Superbowl. At the same time, he falls in love with an English environmental activist who disapproves of his policies and actions.Written by
John Vogel <email@example.com>
Warren Beatty received four Academy Award nominations for this movie. The Oscar nominations were for Best Actor, Best Director, Best Writer (Adapted Screenplay), and Best Picture (Beatty was the producer). Reds (1981) was the second consecutive picture where Warren Beatty was Oscar nominated in four Academy Award categories for the one film. In Heaven Can Wait (1978), Beatty had been nominated for Best Actor, Best Director (co-director with Buck Henry), Best Adapted Screenplay (with Elaine May) and Best Picture (Producer). For Reds (1981), Beatty was nominated for Best Actor, Best Director (sole director), Best Original Screenplay (with Trevor Griffiths) and Best Picture (Producer). Of these eight nominations, Beatty only won just the one Oscar statuette, which was for directing Reds (1981). See more »
When Joe takes over the body of quarterback Tom Jarrett, the Super Bowl game is in sudden death overtime. However, all the players are wearing spotlessly clean uniforms. See more »
He's been drugged by those two downstairs. This is a murder. See how he's slowly sliding into the water?
See more »
After appearing the rare Mike Nichols misstep THE FORTUNE (1975), it took Beatty three long years to return to the screen with the genteel comedy/fantasy HEAVEN CAN WAIT (1978). In addition to essaying the lead role, Beatty also made his debut in the director's chair, with the assistance of legendary comedy writer Buck Henry (who also plays a supporting role in the film). A remake of 1941 semi-classic HERE COMES MR. JORDAN, HEAVEN CAN WAIT may not surpass the delightful whimsy of the original classic, but it emerges as somewhat of a modern classic in it's own right. The film was an instant hit with both critics and audiences, was nominated for an astounding 9 Oscars including "Best Picture," and remains a magical film that is almost impossible not to love.
Beatty not only proves himself to be a perfectly competent film director, and the picture also provides the star with one of his best roles as an actor. Beatty's good-natured football player Joe is the exact type of lovable stud that you cannot help but fall for. The film's screenplay takes Joe from earth to heaven and to back to earth again through an assortment of various bodies, and Beatty's easygoing charisma holds it all together and keeps viewers involved in the story and fixated on the screen. This is a star performance if there ever was one, and Beatty has rarely been more likable.
The rest of the cast is particularly winning. The still silver-tongued James Mason (in a part originally offered to the retired Cary Grant) as the heavenly Mr. Jordan and the endearing gruff Jack Warden are perfect as father figure-types for Beatty's Joe, and Charles Grodin and Dyan Cannon are absolutely terrific as the film's pair of villains. The only performer missing the boat is a blah Julie Christie, who is pleasant but unconvincing in the sadly underwritten role of the ecologist love interest of the body Beatty has temporarily inherited. It seems as though the creators thought dressing Christie in frumpy wardrobe and frizzy hairstyle was enough to give the character depth, but all they succeeded in was making a natural beauty look rather hideous.
The film is a joyous, comedic piece of whimsy that manages to incorporate slapstick comedy, romance, fantasy, and even an underdog sports story without ever feeling bloated or disjointed. The true emotional highpoint comes with Mr. Jordan's farewell to Joe, as well as Max failing to recognize him in his new body. The rather shallow development of Christie's character leaves the film's THE WAY WE WERE-like finale ringing a bit hollow, but it's still an effectively bittersweet coda nonetheless. This film launched a major revival of whimsical comedies that remained popular until the late-eighties, and it easily remains the best effort of this revival.
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