48 horas

It's the chemistry between Nolte and Murphy that makes this work, plus the fact that both men really attempt to 'get into the skin' of their character, something mostly ignored in other examples of this genre. Director Hill knows he's got a great team in front of the camera, and all that remains is for him to incorporate some spectacular action sequences around them. This he does competently. That one-two punch is what gives the movie its fireworks.

The banter and situations concerning the characters are also gleefully un-PC. It'd be interesting to see what a studio and director would make of the same premise in these 'enlightened' times. Murphy's comic stage persona is less restrained here than it would be in later films, and the results are often shamefully funny.

Don't expect Shakespeare, there's far too much cursing and other unsavoury shenanigans going on for that; do expect a pacy and entertaining early example of the 'buddy thriller'.

This is the one of the movies that kicked off the buddy cop formula. Technically, Nick Nolte's the only cop, but other films have tried to imitate the style by having a tough, cranky, by-the-book cop (Nolte's character) paired off with a loose, easygoing, unorthodox cop (like Murphy's character). Some of these "imitators" have failed miserably and even those that succeeded don't match up to "48 Hours."

I haven't seen the unedited version of this movie in over ten years (it plays on TV like 4 times every month), and even when I did catch it on TV, I caught it in bits and pieces. Now that I've seen it straight-through, in its uncut form, I can regard this as an overlooked classic. Watching Nolte as the gruff, chain-smoking Jack, I thought to myself, "He owns that part." Many actors have tried to take on that same role, but nobody plays it better than Nolte. And the same goes for Eddie Murphy. His talent has been taken for granted over the recent years, since his career has hit a major slump. And rightfully so. He should choose his roles much more wisely. How do you from doing such fun, memorable films as "48 Hours," "Coming to America" and "Trading Places" to doing "Showtime" and "I-Spy." This movie proves that Murphy can go leaps and bounds with his comic talent, if the script is well-written. The scene in the all-white, country-western bar, where Murphy shows off his skills as an interrogator, is a classic.

The film is directed by Walter Hill, who's great at directing action sequences. So the movie packs a punch in both the action and comedy department. Nolte and Murphy's chemistry is priceless, and the banter between them is sharp and hilarious. One of my favorite examples is when Murphy asks Nolte, "Can you tell me a bedtime story?" Nolte responds, "F**k you." "That's my favorite one." Of course, Murphy gets most of the credit for being the comic relief, and he is terrific in one of his best comic performances, but Nolte belts out just as many funny lines as him, though he's the official straight man. He never seems to say anything intentionally funny, but that's what's funny. He says things that are hilarious, but sounds dead serious about them. And of course, it's also hilarious to watch him react furiously to Murphy's taunts.

Those who haven't seen "48 Hours" should really check it out, because it's an action classic! Sure, the "Rush Hour" films are good, but Chris Tucker and Jackie Chan don't have close to the same magic as Nick Nolte and Eddie Murphy! THIS is how an action/comedy is made!!

My score: 9 (out of 10)

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!

Only a privileged few who remember "48 Hrs." acknowledge it as the primary influence of the buddy-cop films of the 80's ("Lethal Weapon", "Miami Vice"). Nick Nolte plays Jack Cates, a rusty, cranky, tough-guy cop working the homicide department in San Francisco. When a violent chain-gang escape reunites two hardened criminals (the greasy-looking Ganz and a towering Indian named Billy Bear) who subsequently murder two police officers and a prison guard, Cates is assigned to babysit paroled convict Reggie Hammond (Eddie Murphy), an old member of Ganz's gang. Reggie has been released for one weekend (hence the title) to aid Jack in capturing these two cop-killers. Unbeknownst to Cates, Ganz & Billy Bear are not simply out on a killing spree but rather in search of a very important briefcase that belongs to Reggie.

I can't think of another film debut as explosive as Eddie Murphy in "48 Hrs.", even though Murphy's work on "Saturday Night Live" already tossed him into the public's consciousness. It's also worth noting that because director Walter Hill is known for casting interracial leads in his non-western films ("Brewster's Millions", "Crossroads", "Supernova"), never before had we seen a black man act like this in a movie; assured, aggressive and confident to the point of being cocky. It would be easy to dismiss Murphy's character as a black stereotype; well-dressed, horny, smooth-talking, bantering, but Murphy pulls his character away from stereotype cobwebs with unfiltered charisma and instinct. Think of it, most people who now wail away the chorus to "Roxanne" are invoking Murphy instead of Sting (and what a hilarious introduction that is). Also, there is the unforgettable sequence where Reggie takes over a redneck bar, posing as a cop! It's the most magnetic scene in the film, and Murphy delivers ("You know what I am? I'm your worst f***in' nightmare! That's right I'm a nigger with a badge and I got permission to kick your f***in' ass whenever I feel like it.")

Obviously, this film wasn't written as a comedy. Nolte spends much of his time hurling every kind of racial epithet imaginable at Murphy when he's not chain-smoking or guzzling from a flask. Murphy injects his humor into the story without disrupting the movie's violently grim tone, and Murphy & Nolte are excellent at creating an oil-and-water duo that keeps them at odds for most of the film. There are no stylistic explosions, but there are some tense gunfights including a chase scene in a train station and a shootout that employs a convertible and a public bus. Composer James Horner, who would come to prominence in the 90's as one of the more reverent film composers, creates an unusual, percussion-driven score heavy with Caribbean flavor. It's works well, adding an element of heat while Jack & Reggie cruise San Francisco with the top down. The film has thankfully dated pretty well, and sometimes even holds the faint resemblance of a 1970's cop film (I'm sure interracial blaxploitation movies like "Across 110th Street" served their influence). Of all of Walter Hill's work, "Crossroads" remains closest to my heart, but this is certainly his most mature effort. Expect to laugh, but expect to be shaken too.

I regard 48 Hrs as an action adventure with a comedic debut performance by the then 21 years old, Eddie Murphy.

Hard nosed, hard drinking cop Jack Cates (Nick Nolte) pulls a convicted bank robber Reggie Hammond (Eddie Murphy) from prison on a forged 48 hours pass to help him capture Hammond's old partner, Albert Ganz (James Remar) who killed Cates fellow cop.

Ganz himself escaped from prison with the help of native, Billy Bear and both go on a killing rampage as they look for the half a million dollars that went missing after one of their robberies.

Reggie knows where the money is but wants to stay one step ahead of Cates. Both distrust each other but need to work together to catch Ganz.

Walter Hill made a tough thriller with plenty of violence and cursing but imbued it with the humour of Murphy fresh from Saturday Night Live. Without his presence this would just be a forgotten police action film from the 1980s. He owns that scene when he pretends to be a cop at a country & western dive bar as he shakes down the patron.

Murphy elevates the film with the help of some off beat support by Remar and David Patrick Kelly. Nolte plays off well with the street smart, lean and hungry Murphy as the gruff cop who drinks too much and is too flabby.

In the sequel, Another 48 Hours, eight years later it was Murphy who would be flabby and out of shape going against a leaner, meaner Nolte.