Deal of the Century

"Deal Of The Century" was director William Friedkin's attempt to create a "black comedy" satirizing the armaments industry, in much the same way as Stanley Kubrick satirized the nuclear balance of power in "Dr. Strangelove." Unfortunately, it falls short of that ambitious goal.

The movie concerns an arms dealer, Eddie Muntz (Chevy Chase), who gets an opportunity to take over the sale of an ultra-advanced pilotless combat aircraft to a dumb South American dictator when the original salesperson dies unexpectedly.

Friedkin clearly thought he was making a great movie here, in the way he diligently employed many of the same elements as "Strangelove": verisimilitude in the names of arms companies and weapon systems, blatant phallic symbolism, sex-obsessed characters, sight gags, and a basically bizarre, unreal plot.

Unfortunately, all Friedkin ends up doing is showing that he is no Kubrick (at least not after "The French Connection" anyway), Chevy Chase is no Peter Sellers, and in general those associated with this movie just aren't in the same league as those who made "Strangelove." Many of the lines and sight gags just aren't that funny, and the satirical point about the armaments industry gets lost in a meandering plot with an irrelevant subplot about Muntz' romance with the dead salesman's widow (Sigourney Weaver). An actual romance tended to dilute the satirical effectiveness of the sexual obsessions of the major characters.

The previous very negative commentaries: I wonder what they expected? If they expected a "typical" Chevy Chase movie, where he is the star of the show, and don't you forget it, then ... this is not the movie.

This is more along the lines of "Flying High", when there is no one "star" of the file who hogs the limelight. In this movie, the gags and clever lines are more evenly distributed. In my mind, this makes for a funnier movie.

I loved this movie when it came out, and I still think it's one of Friedkin's most under- rated efforts. Where it lost a lot of the audience was in its requirement that they actually think about what was being presented to them. The jokes are not the usual Chevvy Chase, fall on his ass kind of thing, but for the most part have an actual point behind them. Where the film failed, I think, is culturally; audiences at the multiplex tend not to like to have to think about the entertainments they consume, so the movie got lukewarm reviews, and poor audiences. Look at the scene for example, where Gregory Hines' character is accosted by a mugger, and the way in which the scene escalates, for a perfect mini-allegory of the cold war, and the simplicity of its essential "strategies."

In truth, the movie falls between two stools, in terms of the audience it was aiming at. It's too much a Hollywood production to play on the art-house circuit; but its ethos is too "political" to play well in the major exhibition houses, ie, suburban multiplexes. It might be the case too, that because its satirical target is the military, some thought it as somehow "anti-American" and stayed away for that reason. But it's a fine film, well-structured and well scripted (in my opinion), having as its core the moral redemption of an immoral man. It also features – a rarity for American commercial movies – a black man in a major, well-thought out role who's not just a comedy sidekick for the hero. Give this one a chance, and it will reward multiple viewings.

I perfectly understand the impulse to satirize Cold War nuclear dealings. How do you work for peace by building missiles, Ronald? And released at the mad height of Reaganomical autocracy, this muddy blotch on the scintillating filmography of a great modern director aspires to be a sharp, shrewd, and audacious satire of the global arms race, but it rarely seizes me, or seemingly any audience, on any considerable comic or intellectual level. The movie starts promisingly enough with a commercial mocking the arms industry, a promo for the Luckup Industries "Peacemaker," a fighter drone guaranteed to "preserve our way of life," with shots of families and children in the background. There's a stroke of Dr. Strangelove as the company executives thrash out promotional schemes for the plane, but the fanatical boss wants a more hard-hitting ad crusade, something like, "Why do I fly it? On account of it kills."

While the film plainly expects this brand of send-up to be shrewd and slashing, the film never takes any of it very far at all. Most frequently, the calculated gags seem too solemn. Not even Chevy Chase's peddling of military wares is ever very funny, though a booby-trapped urinal is clearly intended to be. Yes, Chevy Chase. And Wallace Shawn and Richard Libertini, all hilarious people. Libertini plays an immensely wealthy arms merchant who explains how recent changes to federal law not only legalize bribes to foreign dictators, but make those bribes tax deductible.

But no one concerned appears to have had any clue where the film's tone should've been pitched. The black comedy approach is merely dealt with from time to time. The scathing digs at the arms industry are haphazard. The humor varies from the relatively keen to the dumb to the utterly absent. What is Weaver's character designed to be anyway? The widow of the Luckup sales rep whose deal is successfully taken over by Chase, one moment she is a matchless fraud, the next she's a brokenhearted widow, and thereafter that she's pursuing Chase and surrendering herself to the General.

And Gregory Hines, an ex-fighter pilot now undergoing a religious crisis of conscience. After years of capitalizing off the wholesaling of death, he out of the blue finds religious conviction. Is this meant as a parody of born-again fanatics? Or is it just a narrative expedient to get us to the movie's utterly boring climactic warfare? Whatever the case may be, both actors are significantly wasted in their distracted roles. I would've been delighted to see this one and leave calling it unluckily misread or gravely undervalued, but the thing's an utter muddle most of the time.

Eddie Muntz (Chevy Chase) is an amoral small-time weapons dealer. He's in San Miguel selling real and unreal weapons to both rebels and the military dictatorship. Ray Kasternak (Gregory Hines) is his work partner. He's approached by Catherine DeVoto (Sigourney Weaver). Her late husband sold drone fighters from American military contractor Luckup and she wants his commissions from the sale. The contract was canceled but the company recruits Ed to sell the Peacemaker drones even though it had a terrible demonstration in front of the US military.

This is good material for an interesting satire. The first fifteen minutes is good satire fun. After that, the story has to take over and the characters have to take over. Sadly, I don't care about these characters or their story. The drone is a great predictor of future war but even that is not enough. It's a long slow decline after a promising start.