IMDb-BEWERTUNG
6,0/10
12.721
IHRE BEWERTUNG
Ein New Yorker Bezirksstaatsanwalt arbeitet und flirtet mit seiner Gegnerin und ihrer verrückten Künstlermandantin, die für einen Mord angeklagt ist, den sie nicht begangen hat.Ein New Yorker Bezirksstaatsanwalt arbeitet und flirtet mit seiner Gegnerin und ihrer verrückten Künstlermandantin, die für einen Mord angeklagt ist, den sie nicht begangen hat.Ein New Yorker Bezirksstaatsanwalt arbeitet und flirtet mit seiner Gegnerin und ihrer verrückten Künstlermandantin, die für einen Mord angeklagt ist, den sie nicht begangen hat.
- Auszeichnungen
- 1 Gewinn & 1 Nominierung insgesamt
Jennifer Dundas
- Jennifer Logan
- (as Jennie Dundas)
Gary Howard Klar
- Hit Man
- (as Gary Klar)
Empfohlene Bewertungen
Come on, you have to admit that this film has a good cast with Debra Winger, Robert Redford, Daryl Hannah, and others in supporting roles like Christine Baranski. I like the fact that it was shot in New York City and not on location somewhere. No offense, Toronto or Vancouver but the backdrop does a good job. Remembering a time when the twin towers was still alive and kicking downtown. I liked the combination of Winger and Redford even though they disliked each other on the set according to rumors. Daryl Hannah plays Chelsea who seeks her father's art from crooked businessmen. She does an adequate job and proves that she's not just a pretty face. Daryl always plays shy very well but in this case, Chelsea is not shy at all. She is a bit rebellious and a performance artist with a fascination for fire. She teams up with Winger's character and later with Redford in more ways than can be said to prove her innocence and get justice served.
charming is the right word. because it is a nice film, without high ambitions and using old recipes, mixture of crime and romance, with a good performance of Daryll Hannah and same Redford who does a seductive character. a movie who can not be real convincing but who know explore in a smart manner, the common clichés. and that is its great virtue - to not be serious or a parody but a perfect choice for Sunday evening. the secret - maybe, courage to use tricks from old romantic comedies in decent doses. and it works at whole. the vulnerability of characters, the action scenes, the thin artistic stain, all as tools for a charming show who reminds classic films and who can be opportunity for rediscover good actors at duty.
Ivan Reitman, fresh off the special effects high of "Ghostbusters" takes on romantic comedy that works in fits and starts in "LEGAL EAGLES".
Robert Redford, with breezy style, is a NYC D.A. who prosecutes at whim. Enter Debra Winger, a scrappy lawyer so desperate, she once chose to put a dog on the stand to make her case. The two fall in love (or about as 80's as it gets - they become partners) in representing an airy client (Daryl Hannah) who may (or may not) have committed a major art fraud/crime.
This is a time-capsule of a film... written by the guys who wrote "Top Gun" and "Dick Tracy", it's a big, over-packaged film that's both romantic comedy, star-vehicle, and glossy, synthetic who-done-it. All the Reitman glitz-and-polish is there (with big setpieces scattered throughout), and the movie is easy on the eyes, especially with Redford's easy, casual performance pulling the viewer along and Reitman's deft comedic touch.
It was also a troubled production to be sure: Bill Murray was once considered for the Winger role, creating a love triangle that would have found Hannah torn between the Sundance Kid and Nick The Lounge Singer - but alas, Murray opted out. In interviews long since the film's release, Winger claims no desire ever to work with Reitman again.
1986's "LEGAL EAGLES" is probably the textbook case of the all-powerful talent agency known as Creative Artists Agency packaging a Real Motion Picture - what industry wags call a "filmed-deal". But is Legal Eagles any good? Sure, I guess. It's competently directed, it makes great use of it's New York City art-world locales, it has a wonderful Elmer Bernstein score, great cinematography by the legendary Laszlo Kovacs and both Winger and Hannah make for delicious eye-candy when pared with Redford. Ultimately, it becomes systematic of what was askew in these "packages": the movie relies solely on the audience goodwill, fine craftsmanship and former successes of its primary players to carry the load. "LEGAL EAGLES" is by no means a failure, but wrapped in such a glossy serving, it's hard to really enjoy anymore than for its quick, empty calories.
I have a soft spot for this film - it's great to see Redford on screen seeming to have such a spirited good time after an absence from movie comedy for a number of years - but after all is said and done, "LEGAL EAGLES" is as enjoyable as a Big Mac, albeit one served on a fine china dinner plate.
PS - the TV version of this film has a curious, bizarre alternate ending which negates the whole court case!
Robert Redford, with breezy style, is a NYC D.A. who prosecutes at whim. Enter Debra Winger, a scrappy lawyer so desperate, she once chose to put a dog on the stand to make her case. The two fall in love (or about as 80's as it gets - they become partners) in representing an airy client (Daryl Hannah) who may (or may not) have committed a major art fraud/crime.
This is a time-capsule of a film... written by the guys who wrote "Top Gun" and "Dick Tracy", it's a big, over-packaged film that's both romantic comedy, star-vehicle, and glossy, synthetic who-done-it. All the Reitman glitz-and-polish is there (with big setpieces scattered throughout), and the movie is easy on the eyes, especially with Redford's easy, casual performance pulling the viewer along and Reitman's deft comedic touch.
It was also a troubled production to be sure: Bill Murray was once considered for the Winger role, creating a love triangle that would have found Hannah torn between the Sundance Kid and Nick The Lounge Singer - but alas, Murray opted out. In interviews long since the film's release, Winger claims no desire ever to work with Reitman again.
1986's "LEGAL EAGLES" is probably the textbook case of the all-powerful talent agency known as Creative Artists Agency packaging a Real Motion Picture - what industry wags call a "filmed-deal". But is Legal Eagles any good? Sure, I guess. It's competently directed, it makes great use of it's New York City art-world locales, it has a wonderful Elmer Bernstein score, great cinematography by the legendary Laszlo Kovacs and both Winger and Hannah make for delicious eye-candy when pared with Redford. Ultimately, it becomes systematic of what was askew in these "packages": the movie relies solely on the audience goodwill, fine craftsmanship and former successes of its primary players to carry the load. "LEGAL EAGLES" is by no means a failure, but wrapped in such a glossy serving, it's hard to really enjoy anymore than for its quick, empty calories.
I have a soft spot for this film - it's great to see Redford on screen seeming to have such a spirited good time after an absence from movie comedy for a number of years - but after all is said and done, "LEGAL EAGLES" is as enjoyable as a Big Mac, albeit one served on a fine china dinner plate.
PS - the TV version of this film has a curious, bizarre alternate ending which negates the whole court case!
Legal Eagles
The reason no one dates personal injury lawyers is because they only want to promenade in front of businesses with icy sidewalks.
Luckily, the lawyer in this comedy-thriller is sleeping with a client, not a colleague.
Assistant D.A. Tom (Robert Redford) decides to help attorney Laura (Debra Winger) defend Chelsea (Daryl Hannah) against charges she stole a painting from an art dealer (Terence Stamp).
Adamant her father gave her the painting before his suspicious death - and destruction of his art collection - Chelsea not only convinces Tom but seduces him as well.
But when a dubious cop (Brian Dennehy) uncovers the entire collection intact, it threatens Tom's career and his life.
Crackling with comedic repartee, a fiery May/December romance and an unpredicted adversary, Legal Eagles may be clichéd but it's not without its charms.
Incidentally, if you're going to sleep with anyone in the court system - make it a judge. Yellow Light
vidiotreviews.blogspot.ca
The reason no one dates personal injury lawyers is because they only want to promenade in front of businesses with icy sidewalks.
Luckily, the lawyer in this comedy-thriller is sleeping with a client, not a colleague.
Assistant D.A. Tom (Robert Redford) decides to help attorney Laura (Debra Winger) defend Chelsea (Daryl Hannah) against charges she stole a painting from an art dealer (Terence Stamp).
Adamant her father gave her the painting before his suspicious death - and destruction of his art collection - Chelsea not only convinces Tom but seduces him as well.
But when a dubious cop (Brian Dennehy) uncovers the entire collection intact, it threatens Tom's career and his life.
Crackling with comedic repartee, a fiery May/December romance and an unpredicted adversary, Legal Eagles may be clichéd but it's not without its charms.
Incidentally, if you're going to sleep with anyone in the court system - make it a judge. Yellow Light
vidiotreviews.blogspot.ca
You don't get actors like Redford and Winger anymore. The subtleties in their facial expressions, the humanness of their characters are evident in each move they make and each action. In a sense, there is no 'acting', since the storyline, the characters and the flow reach a natural confluence. The only character that makes me feel a bit uncomfortable is Daryl Hannah's Chelsea - the performance artist. Brian Dennehy is also a little underutilised, but the movie is really a swinger for both Winger and Redford who make their attraction and talent as attorneys believable.
I've seen this movie about 5 times over the years and I never get sick of it. Though I know the plot, each time I find myself watching the actors rather than predicting the storyline. Its just great and really, so easy to watch and enjoy. There is humour, old fashioned romance, good IL' bad guys vs good guys, a bit of blood and gore and a lot of fine art thrown in. I highly recommend it!
I've seen this movie about 5 times over the years and I never get sick of it. Though I know the plot, each time I find myself watching the actors rather than predicting the storyline. Its just great and really, so easy to watch and enjoy. There is humour, old fashioned romance, good IL' bad guys vs good guys, a bit of blood and gore and a lot of fine art thrown in. I highly recommend it!
Wusstest du schon
- WissenswertesIn the end credits, one can see that one of the works of art used in the film is from the collection of Cary Grant. As Grant would pass away the same year of the film's release, 1986, this would be one of his last screen credits.
- PatzerThe bomb left by Taft in the warehouse has a digital countdown clock, yet it ticks as if it is a mechanical clock.
- Zitate
Laura J. Kelly: Don't lose him.
Tom Logan: I'm not going to lose him. Where is he?
- Alternative VersionenSPOILER: The syndicated broadcast version offers a considerably changed ending, in which the Daryl Hannah character goes from being innocent of murder to being guilty of one of the murders. (There are also differently edited versions of the Chelsea-is-guilty ending.)
- VerbindungenFeatured in Rod Stewart: Love Touch (1986)
- SoundtracksLove Touch
Performed by Rod Stewart
Written by Mike Chapman, Holly Knight and Gene Black
Available exclusively on Warner Bros. Records
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Details
- Erscheinungsdatum
- Herkunftsland
- Sprache
- Auch bekannt als
- Peligrosamente juntos
- Drehorte
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 40.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 49.851.591 $
- Eröffnungswochenende in den USA und in Kanada
- 8.043.360 $
- 22. Juni 1986
- Weltweiter Bruttoertrag
- 93.151.591 $
- Laufzeit
- 1 Std. 56 Min.(116 min)
- Farbe
- Sound-Mix
- Seitenverhältnis
- 2.35 : 1
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