Manicomio sobre ruedas

1976 was a year for fun movies. "Mother, Jugs, and Speed" has got it all: comedy, action, drama, and adventure. This movie deals with the life of being a paramedic. Bill Cosby plays Mother, a veteran ambulance driver with a history of uncouthness: Drinking on the job; carrying a firearm; and being slothful at the final moment. However, he gets the job done. Raquel Welch plays Jennifer aka "Jugs". I don't want to go there with that! Sorry! Harvey Kitel plays Tony aka "Speed" Mother's new partner after his junkie partner was killed by another addict(Toni Basil, way before she hit it big with her 1980's hit "Mickey"). This movie deals with a lot of issues in the business: racial, sexual, economical, etc. Most of it was pretty tame. Despite the "N" word, and the finger expression which "Jugs" gave to her superior. I liked the way the ambulance was made for the movie. This movie wasn't made for kids, if Richard Pryor was the star, this would be an R-rated movie. This is made for mature audiences. It's great though!

3.5 out of 5 stars!

Good gritty and realistic dark comedy about mid 1970's street culture told thru the daily adventures of a private Ambulance company.Great cast although the acting was lackluster.The directing, cinematography,script and story was average although the screenplay was good.The editing here was bad and made the movie look very cheaply done.To see Cosby portray a not so gentlemanly characer was entertaining if one is fammiliar with the actor.Also,Raquel Welch worshpers will truly enjoy her 30 something sex appeal here as well.Expect realistic portrayals with less than usual Holywood toning down formulas.If one is into that kind of 1970's street movie style mixed with some dark comedy,you will love this one.A cult masterpiece for it's genre.......

This is a highly underrated piece of Cosby's work. Although, now, the concept of a private ambulance service that is primarily interested in money seems rather, quaint, it was almost the norm in the mid-seventies when this movie was made. Although most people don't realize it, the largest ambulance provider in the US is still privately operated, for profit, so, maybe not all that has changed.

Cosby is brilliant as "Mother", a sort of archetype character that melds together all the clichés of what "ambulance drivers" were in an era when many ambulance services were still run by funeral homes - I recall pushing a 1970 "Miller Meteor" Cadillace ambulance, which was basically, a converted hearse, up and down hills at 35 MPH, it's 500 cubic inch engine floored, straining and just barely able to make it up the hill. This is not "EMS," it is "you call, we haul." Cosby brings out the nitty gritty of a profession that was mostly populated by caring people who ran up against the ethos of profit in medicine and owners who were just out to make a buck. You start out really caring, but run head on into the reality that aiding the sick and injured is not the end, just the means to the end. You learn this working very long hours, under horrible conditions, for very little money.

Rachel Welch portrayed the emerging role of women in emergency services very well. The hoops she had to jump through just to get on a rig were exaggerations of what really was happening in the industry at the time. Similarly, Welch's reaction when faced with the reality of emergency medicine is right on point. There is a great deal of difference between what you learn in textbooks and real life. And real life isn't always that pleasant. But, as Mother says, Jugs has the "dedication of a jungle missionary." She would have to, just to get where she was and stay there.

Harvey Kietel was just starting out when he played "Speed" and his performance in the role foreshadowed the brilliant career that followed. I thought the "Speed" reference was a little cryptic. I thought, for a long time, it referred his desire to drive fast. However, the "Speed" character gives a different point of view - that of an outsider - to the hijinks of the staff of F&B Ambulance Service. He shows us how absurd some of things that happen are.

The rest of the characters seemed to all be lifted directly from the real world. Harry and Naomi Fishbine seemed to be modeled after a husband and wife team that ran a not too different private ambulance company that I worked for on the west coast in the seventies - right down to the lecture about how much each patient was worth. Larry Hagman's character portrayed a type of worker in the industry that was always on the margins - you weren't sure why he is doing what he was doing, but you couldn't see him doing anything else.

The events portrayed in the movie where very similar to the "urban legends" about what supposedly happened at private ambulance companies in the sixties and seventies. As most legends are, some of them are based on loose interpretations of fact. I have, in fact, had difficulty taking very obese patients down flights of stairs. Some of the places we went to on calls had rodents large enough to cause grave concern. There were always rumors of people who smoked pot or drank on the job. During my entire career, whenever there were two private ambulance companies in competition "jumping calls" and competing for patients did happen - sometimes on a daily basis. The owners of one of the ambulances services I worked for in the eighties ordered their employees to attend city government meetings when the company was being discussed, (this was long after the everyone who worked in the industry had becomes "professionals). And, yes, I have been the victim of layoffs from private ambulance companies when they lost their government contracts. I have, also, been held up at gunpoint for drugs, stabbed and shot at. The reality of the movie made it all that much funny and more real.

Mother, Jugs and Speed is an interesting and amusing look back at a time when EMS was just starting to become a reality. The acting was top notch. The events portrayed were close enough to real, (or to urban legends), as to make them seem likely. The writing could have been better - some of the dialog was very marginal. Overall, as a lay person and a retired EMS professional who worked in the ambulance industry at the time this film was made, I found the movie to be very enjoyable and suggest others watch it - with tongue firmly in cheek, of course.

The film is more of a drama/slice of life mixed in with some black comedy. It's a strange mish-mash of different things and the tone doesn't match the bombastic disco song "dance" with which the film opens. I'm glad I finally had a chance to watch it (it was a film advertised during a youtube clip of old kbhk channel footage). Anyhow...worth a watch. I would try to avoid reading the primary review (well-written as it is) up top as it kind of summarizes all the main character plot beats and would make it less interesting to see.

Black comedy, about a ragtag ambulance company out of Los Angeles battling their competitors while picking up an eclectic group of needy passengers, could best be described as schizophrenic (quirky bordering on outrageous). It manages to match its silly, yet surprisingly catchy, title with a well-written script and an excellent cast. Bill Cosby, Raquel Welch and Harvey Keitel make up an easy starring trio (another surprise), and Welch in particular seems extremely comfortable in the chaotic surroundings. Supporting players Allen Garfield, Valerie Curtin and Dick Butkis as the Texan are all fun, though there's perhaps too much of live-wire Larry Hagman (having a permanent meltdown). Peter Yates directed, and while he's quick on his feet he's not always adept at managing the viewer's responses through the morass; these entangled vignettes needed a bit more subtlety and class. Still, there are big laughs in the picture, a few tender moments, not to mention Los Angeles looking bright-and-shiny. I saw this in the theater in 1976, and the audience--probably having expected a full-on slapstick comedy--filed out looking bewildered. The movie wasn't ahead of its time ("MASH" prepared us for this messy mix of dark laughs), but it seems to play better today than it did upon its release. Remade as a TV-movie in 1978 (with an extra 'g' in Jugs). **1/2 from ****