Nur 48 Stunden

48HRS. (1982) *** Nick Nolte, Eddie Murphy, James Remar, David Patrick Kelly, Sonny Landham, Frank McRae, Brion James. One of the best `buddy' action films of all time: Nolte is in rare form as perpetually growling, angry heavy – drinking San Francisco cop Jack Gates who has his hands full when a crazed cop-killing escaped con and his partner go on a rampage with his only resort being motormouthed, street smart Reggie Hammond (Murphy in his scene-stealing big screen debut that made him an overnight sensation in addition to lighting the fuse while the star of `Saturday Night Live') who coincidentally is serving a sentence for being one of the maniac's former crew members on their last gig together (a cache of money only Reggie knows where is hidden). With only 48 hours on leave from the joint the odd couple are forced to help each other overcoming their own racism, violent means and genuine opposites attract mojo working in overdrive. High octane action directed sleekly by Walter Hill and the unexpurgated energetic glee Murphy exudes kicks the film into overdrive. Look for The Busboys (Eddie's fave band) providing the ironic cover of `The Boys Are Back in Town' and for trivia buffs, that's Olivia Brown as the object of Eddie's libido, who would go on to co-star in tv's `Miami Vice' and indie star Chris Mulkey in a bit part as a uniformed cop.

Officer Jack Cates is assigned to catch a recently escaped convict. Tragedy ensues as he confronts his prey. Left with guilt and a botched reputation he grabs the desperate measure of seeking the help of jailbird Reggie Hammond. But there's a catch. And on the adventure goes of the two unlikely partners who can barely conceal their disdain for each other but develop a bond and friendship as they come closer to attaining their goal. The chemistry between Nick Nolte and Eddie Murphy is among the most memorable in all of film. Nolte's oafish and catankerous character and Murphy's smooth portrayal clash and make up in some of the funniest scenes and lines in all of filmdom. There's a rawness and awkwardness in some of the dialogues and scenes that give the film a ring of authenticity. One doesn't see these in movies anymore and cinema is all the poorer for it. The nostalgia factor is paramount as one views the fashion and mores bringing back memories of another time. One of the best Cop / Buddy films made, this is one that stays for good.

It seems that after 48 HRS, buddy cop movies had a simple plot. Catch the bad guys while being as funny and silly as possible. There is alot of bad buddy cop movies, this is one of the best. Considering one is a cop and the other is a convict it shouldn't really be considered a buddy cop movie. I watched this film a couple of days ago because it had been awhile since I watched it a thousand times on cable television as a kid. I was surprised at the amount of racial comments made in this film, I guess as a child I didn't really pay attention to those comments. The movie is still solid, definitely one of Walter Hill's best films. Eddie Murphy is perfecting his onscreen personality in his first film. Beverley Hills Cop wasn't far behind. Nick Nolte feels like a tired detective in this film. Nolte has always seemed like the perfect tired private eye or detective to me. The rough voice, the lined and aged face, he just seems right. The movie is exciting and tight, one of the best action films of the eighties.

Walter Hill is one of those directors who seems never to make an average film. His movies are, generally-speaking, either very good or very bad. 48 Hours is one of his "very good" offerings. It gives Eddie Murphy one of cinema's most unforgettable movie debuts, and invents the conventions of the buddy cop genre that were to become blueprints for years to come. Every buddy picture after 1982 - including Lethal Weapon, The Last Boy Scout, Fled, Bad Boys, and a thousand more - owes something to 48 Hours.

The film opens with psychopathic Albert Ganz (James Remar) escaping from a chain gang. Determined to track down Ganz, tough cop Jack Cates (Nick Nolte) springs a fast-talking convict named Reggie Hammond (Eddie Murphy) from jail for forty-eight hours, during which time the mismatched duo must find their quarry. Cates doesn't like blacks, and Hammond doesn't like cops, so before they can even get to the business of tracking down their man they first have to come to terms with working alongside each other.

Fast-paced, energetic, foul-mouthed and funny, 48 Hours is simply a great ride. Nolte underplays brilliantly, wisely allowing Murphy to handle the loud and showy role while he etches a gruff, rugged characterisation as a cop on the warpath. The leading characters are rounded off wonderfully by James Remar, as a genuinely bad "baddie". If the plot to 48 Hours sounds like a collection of all the clichés and predictabilities that ruin most films, it's important to remember that before this film nothing like it had really been done. These plot devices and conventions are only considered "cliches" nowadays because 48 Hours was so influential, not to mention frequently-imitated, in the ensuing years. James Horner's music score is perfectly judged too. Finally, no review of 48 Hours would be complete without some acknowledgment of the film's most famous scene. I'm talking - of course - about the bit where Murphy causes a stir in a redneck bar. More often than not famous movie scenes fail to live up to their lofty reputation, but in this case that simply isn't so. It really is an electrifying screen moment.... in a film that really is an electrifying screen experience!

Violent criminal Ganz escapes from prison, and is looking for a money stash. He leaves a trail of dead people. Jack Cates (Nick Nolte) survives the shootout. He grabs Ganz acquaintance Reggie Hammond (Eddie Murphy) from prison for 48 hours leave to help track down the killer.

This is gritty rough movie from Walter Hill. The language is rough. It's not simply swearing. It is viciously vile. Nick Nolte calls Eddie Murphy a lot of racist language without batting an eye. The people are all good and proper low lifes. Even the gun shoots sound meaner. This movie runs on the combustible chemistry between Nick Nolte and Eddie Murphy. Eddie Murphy has a bit of fun once in awhile, and Nolte is at his growling best. This is also notable for Eddie Murphy's movie debut.