Corretores do Amor

Ron Howard has always been a consistantly talented director, never making a bad or even mediocre film. Even a film such as Ransom that opened to lukewarm reviews from both audience and critics is still better than your average thriller. He has a way of making lines and scenes memorable even when the script itself is only so-so. After following his career, I went back to one of his first, Night Shift which still has the magic I remember it did when I saw it way back when.

The story isn't the greatest and Shelly Long has never been an actress I've enjoyed watching but if you only want one reason to see Night Shift, Micheal Keaton is it. Here he creates what is probably one of the funniest characters I have ever seen in a movie. He is an idea man, constantly speaking them into his taperecorder and thus to his morgue co-worker Henry Winkler. Winkler "the fonz" is the total opposite of what he was in Happy Days, and therefor a perfect anchor for Keaton. If it was just Keaton, it wouldn't work, but Winkler is annoyed at Keaton, we laugh because of it.

If you do decide to watch this movie, be on the lookout for the single most hilarious scene: Keaton's analysation of the word "prostitute."

"Chuck Lumley" (Henry Winkler) is an unassertive, mild-mannered New Yorker who has a bossy girlfriend and works at the city morgue. He is a genuinely nice guy who simply wants to live a normal life. As luck would have it, however, two unexpected events suddenly turn his life upside-down and things will never be the same for him afterward. The first major change is when he gets a new office worker by the name of "Bill Blazejowski" (Michael Keaton) who is the complete polar opposite of Chuck. Whereas Chuck is quiet and considerate, Bill is totally loud, spontaneous and unpredictable. The second person to suddenly appear in Chuck's life is a prostitute named "Belinda Keaton" (Shelley Long) who has just lost her pimp and needs someone to help her out. While Chuck is sympathetic to her plight, Bill sees an opportunity and soon all three of them become part of something that none of them can control. Now rather than reveal any more I will just say that this was an exceptional comedy which benefits from the great chemistry displayed by the three aforementioned actors. It was like each of them tailor-were made for their specific characters. Be that as it may, while the subject matter might be a little risqué, I found this to be an enjoyable film and I have rated it accordingly. Above average.

NIGHT SHIFT (1982) ***1/2 Henry Winkler, Shelley Long, Michael Keaton, Richard Belzer, Clint Howard. Fast paced and funny black comedy about a prostitution ring run from a NYC morgue and odd couple attendants Winkler and Keaton (in an amazing and hysterical film debut) as their pimps. Great dialogue and sharp direction by Ron Howard in this, his first big-budgeted directorial debut*. Look sharply for Kevin Costner as a frat boy in the morgue party scene. Best line: Keaton's Billy Blazejowski: "Is this a great country or what?!" Interesting note: closing song "That's What Friends Are For" sung by Rod Stewart is the same song later sung by Elton John & co. for AIDS benefit proceeds. * I know... Howard directed previously "Grand Theft Auto" for Roger Corman, so lighten up , Francis!

... well actually several of them are. The film is based on a true story of a couple of morgue employees caught running a brothel out of the morgue at night.

You have Michael Keaton in his breakout role acting like...well..Michael Keaton, at least pre "Clean and Sober" Michael Keaton, with his smart remarks and cheery yet loser persona. You've got Henry Winkler as a guy who just lets people walk on him to the point that he's engaged to a woman he really doesn't love because she is there, and just takes it when he's moved from his day post at the morgue to the night shift with Keaton's Bill "Blaze" Blazejowski. Winker's character, Chuck, got to this sad state of affairs when he had a nervous breakdown working on Wall Street, even though he is a talented investor. Since then he's decided the best way to get through life is keep his head down and keep a low profile.

But then his night shift brings a little sunshine his way in the person of prostitute Belinda (Shelley Long), who is getting home about the time that Chuck does, and they begin to have breakfast together and get to know each other. When Belinda is injured by a client because she doesn't have a pimp, Bill talks Chuck into letting Belinda and her friends work for them, and Chuck agrees to invest the girls' money so they'll have a nest egg.

Eventually Chuck and Belinda fall in love, with Chuck assuming Belinda will quit prostitution. Belinda asks the pertinent question - "And do what?". She asks it tearfully, because of course she doesn't like this life, we really never get any background as to how she got here, but future employers would want to know what she was doing with this big blank space on her resume and she knows she has no acceptable answer.

The whole situation comes to a head when other pimps don't care for Bill and Chuck cutting in on their territory. And then there is the little matter of undercover cops. I'll let you watch and see how this all works out.

This would probably just be a six if it weren't for the important place it holds in film history. It is the first feature film directed by Ron Howard at only age 28, and he did a very able job his first time out. It boosted the careers of both Michael Keaton and Shelley Long, who was less than a month away from beginning her star making role on Cheers. And then there is the film's theme song "That's What Friends are For" that was rerecorded in 1985, became a hit, and whose proceeds went to benefit the American Foundation for AIDS.

And what of Henry Winkler who was top billed here? Well, even though he was nominated for awards for this performance, it was pretty much downhill from here professionally. Since 1973 Winkler had built the reputation as the ultimate Eisenhower era alpha male - Fonzie - on the long running TV show "Happy Days". He was a cross between Brando and Elvis. People stepped out of his way when he walked down the street, and he would snap his fingers and several beautiful girls would come running just to be on his arm. A great performance as a man who is a walking doormat through most of the film does not mean that it enlarged his fan base.

I'd say watch it for its place in film history for all the reasons I gave. Even if you weren't alive at the time, the film is at least mildly amusing. Also watch out for cameos by Richard Belzer (Munch on Homicide and then Special Victims Unit), Kevin Costner, and of course Clint Howard who I don't think ever got an acting job without big brother's help, with the exception of maybe his part on TV show Gentle Ben.

Adam Sandler and Pauly Shore can only DREAM of being as funny as Michael Keaton in "Night Shift." Keaton's hilarious performance only serves to underscore the fact that he's never been near as funny since.

Sure, the movie will never be in the AFI's top 100 list. But when I was 18, a loony pre-college me dreamed of being as funny as Billy Blaizejowski, Keaton's character in the film. I credit the script for great lines, but I doubt anyone could have made an annoying character like Billy loveable - except Keaton.

Henry Winkler does a bang-up job with a straight role that affords audiences little to get excited about. He is completely convincing as an in-over-his-head nebbish with a nervous stomach, and deserves credit for pulling it off without seeming whiny. We identify with Winkler's character even though we can see how cowardly he is.

The plot, of course, is contrived, as is any plot involving hookers with hearts of gold. It's hard to see Shelly Long as a prostitute, but she plays it gamely and has fun with the role.

I recommend this film if you have any craziness to your sense of humor, or just if you're a male between the ages of 17 and 25. That's the target audience, but even in my mid-30's, I still find Keaton's performance refreshing and laugh-out-loud funny.