USA Up All Night (also known as Up All Night and Up All Night with Rhonda Shear) is an American…
Dead Men Don't Wear Plaid
Laugh...or I’ll blow your lips off!
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."
There are these moments in comedies where you just can't explain why you have to laugh hysterically every time you watch them.
Steve Martin making coffee in this film is one of those moments for me. It kills me every single time.
Apart from that, this film is hilarious, with Martin's dead pan comedy blending in perfectly with all those fantastic moments from classic Hollywood.
This film is a gem and one of Martin's best.
If this film stuck to mocking film noir throughout with a vicious sneer, it might have worked, not because film noir deserves such contempt, but because so much of the so-called humor in this film derives from playing up the sexist aspects of the genre, which are its greatest failing. The femme fatale jokes might seem on point if there weren't so much evident respect for the genre in this film. (The humor in choking the shit out of women falls short for me, though.) Instead, they seem to just heighten the uncomfortable nature of the trope by making light of it, over and over and over again.
The most impressive and lauded aspect of this film seems to be…
It feels like when I was a kid Noir pastiche voice overs and bad Bogey impressions were everywhere. Be it sketch shows, adverts, cartoons or semi serious detective shows every writer seemed to want to break out his inner Chandler once a series and riff off movies that I had never actually seen.
I remember watching this on VHS with my parents and not quite getting it while still finding it funny. I saw 'Play it again Sam' late one night on TV with my dad in the same period.
I don't know if all that led me somehow to actually loving Noir, I'm not sure someone growing up even a decade later would have had the same grounding in…
Cleverly constructed around fragments of noir pictures of the '40s & '50s, this is one giant cavalcade of cinephile inside jokes. The non-diagetic gags (Rachel Ward's bullet-sucking abilities, "your py-yamas!" and Martin's aversion to cleaning women) have a high hit-to-miss ratio, and the cameos are consistent delights. The trade-off leads to a slack structure that drags as the picture continues; at least now I know about The Bribe, which looks like a hell of a lot of fun.
It's intriguing that this came as a follow-up to Pennies from Heaven. In that picture, showcasing the inner-lives of down-and-out characters through the language of the period before slamming back to reality evokes all sorts of pathos; Martin & Peters inhabiting a Rogers & Astaire musical is downright magical. Characters are at the center of Pennies while gags form the crux of Dead Men. I enjoyed a lot of this but can't help making the comparison.
Immediately upon seeing this movie years ago, I fell in love with it.
Director and co-star Carl Reiner (father of spinal taps Rob), Steve Martin and a simmering Rachel Ward hit pay dirt in a sweet as a nut comedy that blends laughs and parodies classic noir without tainting it or taking the proverbial, one of my favorite genres that I am quite terrible at reviewing.
Germinated around a table while Martin and Reiner were having a meal, Martin mentioned that he had written a screenplay where he used a scene from an old movie as part of the plot. From this, he and screenwriter George Gipe trawled through countless old noir movies looking for lines that were, in their…
Watch out Lauren Bacall, Humphrey Bogart and Steve Martin have great onscreen chemistry.
"That's one thing I've learned about clients. Dead ones don't pay their bills."
"Forget the pijamas!"
The noir imagery is immaculately produced, still sort of impressive and an awful amount of fun. But the film's dedication to the look and feel on noir is also its greatest weakness, since it mostly seems to hold the film back from being truly hilarious. Still, Steve Martin's performance is more deadpan brilliance (He slides right into the hardboiled way of speaking with obvious glee), and "I haven't seen a body like that since I solved the case of The Girl with the Big Tits" is an all-timer the way "He hates these cans" is an all-timer.
Giocattolo per cinefili che fa il verso (omaggiandolo) al noir degli anni quaranta.
Fra gli altri interagiscono con gli spezzoni originali dei film dell'epoca:
Alan Ladd, Ingrid Bergman, Ava Gardner, Roy Milland, Cary Grant e, ovviamente Humphrey Bogart.
"I hadn't seen a body put together like that since I'd solved the case of the Murdered Girl with the Big Tits."
While not one of the better Steve Martin efforts I have seen, it did get a few chuckles out of me. One being the line that is quoted above, the other is the "java" scene that seems to last forever.
Complete with the signature absurd humor Martin and Reiner is known for, I felt that most of the jokes fell flat for my taste. While some of the parody of noir was done well, such as the abuse of the femme fatale. I found the plot, which was also a parody of noir, a bit boring at times.…
A fun exercise in postmodern film, although a little too Mel Brooks for my comedic tastes.
You've got to give star Steve Martin and director Carl Reiner credit for undertaking such an ambitious film as "Dead Men Don't Wear Plaid". This is quite a technical achievement. The costume design is unusually impressive for a film of this nature, and the continuity is simply amazing. For this highly experimental film, it had to be.
The scenes from the film noir gangster movies are so seamlessly integrated into the new footage that for the first half hour I didn't even notice it was happening. Then, after that half hour mark, you start wondering why the filmmakers put that much effort into the technical aspects of the film and so little effort into this weak and inconsequential script. The…
A vastly entertaining love letter to old Hollywood with footage taken straight out of classic movies and interspersed alongside this Carl Reiner-directed, Steve Martin led black and white noir. My only big issue is that the story becomes extremely convoluted just so they can squeeze in a scene or two from various movies -- in some instances very clumsily. There are just so many scenes where Steve Martin talks to Humphrey Bogart that can be funny.
Missing films I can't locate on Letterboxd:
Blonde Ambition (1981)
I Like to Watch / Caballero (1982)
Mona the Virgin…