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>
Actor Steve Martin didn't watch any old movies nor the types of classic film noir and detective films that this picture featured or referenced because Martin, according to the picture's production notes, "didn't want to act like Humphrey Bogart ... [he] didn't want to be influenced". See more »
When Rigby is sitting in a chair with a drink while talking with Huberman (Ingrid Bergman)the film was reversed during editing resulting in Rigby appearing as a mirror image. Specifically, holding the glass in his right hand with his breast pocket and pocket square appearing on the right hand side of his suit, instead of the correct, left side. Between cuts, the image reverts to normal. See more »
After the Cast there comes the dedication: Dead Men Don't Wear Plaid was Edith Head's final film. To her, and to all the brilliant technical and creative people who worked on the films of the 1940's and 1950's, this motion picture is affectionately dedicated. See more »
Steve Martin's Affectionate Parody of 1940's Thrillers
Rigby Reardon, private eye, runs the gauntlet of hoods, femmes fatales and crazed Nazis as he investigates the death of beautiful Juliet Forrest's father. Who are the mysterious "Friends of Carlotta"? And why does Rigby keep dressing in women's clothes? And where did Juliet learn to do that trick with her lips? This celebration of the black and white movies of the 1940's and 50's is a very clever and very amusing film. Extracts from celluloid classics are skilfully spliced into the action (check out the architectural detail on the doorframe in the Alan Ladd sequence). The film is a vehicle for Martin's comic talent and he carries it off beautifully. Rachel Ward as Juliet is terrific: she can hold her own with the screen goddesses who so liberally populate the film (Bergman, Davis, Turner and Crawford all make inserted appearances). A project like this could easily have come a cropper, but thanks to the brisk direction of Carl Reiner (who has a great cameo) and Steve Martin's ability to dominate the screen, the movie is a resounding success. It's also very funny.
67 of 70 people found this review helpful.
Was this review helpful to you?
| Report this