Skip tracer Tommy looks for bail-jumper Lou Ann. Her crime is marrying Roy, who left counterfeit money in their mobile home and got her arrested. She leaves Roy in his pink Cadillac full of money. His psycho friends want their money back.
Skip tracer Tommy Nowak (Clint Eastwood) is tracking Lou Ann McGuinn (Bernadette Peters) for a bail bondsman in California. Lou Ann is also being chased by her husband Roy McGuinn (Timothy Carhart) and his birth right/neo-nazi friends for taking their counterfeit money. Nowak eventually captures Lou Ann in Reno, Nevada, but agrees to stop at her sister's on the way back to see her baby. There, she finds her husband and his whacked out friend. A struggle begins and Roy takes off with her baby. Now it's up to Tommy to get the baby back.
This movie was not a filmed adaptation of Robert Dunn's 2001/2002 musical novel "Pink Cadillac" (which would have required time travel in order to happen). This was the first of four musical novels by Dunn, followed by "Cutting Time", "Soul Cavalcade", and "Meet the Annas". See more »
When the villains catch up to the Pink Cadillac at the car wash, a gunshot is fired into the windshield. Later, the windshield is perfectly intact. See more »
Helping you with your legal case is absolutely not my business, my job just to follow you, find you... and Federal Express you home
Lou Ann McGuinn:
The three f's uh?
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UK 12-rated cinema and video versions were cut by 27 secs by the BBFC to remove all shots of cocaine and speed snorting. The cuts were restored in 2003 for the 15-rated DVD. See more »
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.
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