Os Rivais

Tin Men is one of my favorite movies of all time. The thing that always strikes me whenever I watch this movie is that while the characters of Richard Dreyfuss and Danny DeVito are seemingly feuding non-stop throughout the movie, in reality they are actually kindred spirits. It's like they see themselves in the other but don't really like what they see. Barbara Hershey is great as the haggard housewife who looks for something more fulfilling in her life. All the supporting cast is excellent. I love the diner dialog which is reminiscent of Barry Levinson's previous film "Diner." The background scenes of Baltimore landscape add to the realistic atmosphere of the movie. Overall, I think this movie is vastly underrated. I'd love to see a sequel with Dreyfuss and DeVito as partners in a VW dealership.

I have never quite understood why this flick has not achieved more critical and popular acclaim. I rate it a 9, which is very high for me (10s are reserved for a handful of all time classics). Beyond the great acting, super dialogue, and tremendous comedy -- which everyone seems to recognize -- there is also a very serious movie inside. Of course, as everyone says, it's an interesting slice of Americana: Baltimore in the early 1960s (before the flood). And on that basis alone, Tin Men is a great film. Few movies have ever given such an accurate portrayal of a particular time and place in America as well as this one.

But the movie is more than that. Tin Men is a story in which the historical tension between America's atavistic entrepreneurial spirit (as exemplified by the "tin men") and the regulatory forces of the state (as exemplified by the "investigating commission") are at an important crossroads. From the start it's obvious that the tin men have no chance and will lose this fight. It's a passing of a way of life. Much in the tradition of other great American works of art that examine the trade of salesman (Death of a Salesman, etc.), Tin Men is an indepth (and very funny) portrait of their psychological and social world. Their world outlook is now dying and there is a touch of wistfulness about that passage in the film. Are we as viewers supposed to be sad about it too? Or should we be happy? After all, the life of a tin man was hard and brutal (as well as free): witness the death of one of them to a heart attack.

On the other hand, is this way of life genuinely dying or just metamorphisizing? The ending was excellent because it brought ambiguity to that question. When DeVito and Dreyfus spot a new business opportunity: Volkswagens, we realize these "tin men" are irrepressible! They won't be stopped despite the new regulatory environment of the modern world. For my money, this movie is Barry Levinson's best by far. (Excellent soundtrack by Fine Young Cannibals, as well.)

Few films can be laugh-out-loud funny and ultimately as touching and deep as this film. Most people remember the dialogue, seemingly ad-libbed during the diner scenes by the cast (Danny DeVito, Jackie Gayle, Bruno Kirby)--and that looks like the same diner that Barry Levinson used for his first movie. But the characters and their quirks are totally fleshed out before the conflict (DeVito's stiff neck, Dreyfuss's ladies' man schtick), making for a few truly hilarious lines and scenes (Gayle talking to DeVito about what a great dancer Dreyfuss is comes to mind). The movie really has a sad story underneath about very unhappy people who delight in the misfortunes of others, until Barbara Hershey's character realizes what's going on. All of these characters and story points climax in a rather sweet and yes, believable final sequence. This movie came out during a spate of late '80s blockbusters and never really found its audience, I think. But it is one of the few late '80s movies I rewatch every couple of years and find more to appreciate with each viewing. I would rank it as Levinson's best film.

I grew up with characters like Dreyfus and DeVito, hustlers out there selling anything. Somewhere between 1963 and the time the film came out, they disappeared from our streets, only to move into six story office buildings that dot the suburbs of Northeastern cities. Now they spend their time on the phone, trying to interest prospects that new windows will surely cut their fuel bills.

I came to realize this great truth one day in 1988 when I went to rent a car and was told to come to Executive Plaza 5, Suite 414. As I walked the halls, all I could see in open offices were the Tin Men of 1963 at it again.

The movie crackles and sets off sparks. You don't know who to root for, and for good reason. This is not a buddy movie, but I suspect a remembrance by Levinson of people he knew growing up.

'Tin Men' is the most underrated comedy in film history. How's that for a bold statement? I'm sure you've heard of this movie. Many of you probably saw it. Then turned it off, and said, 'That was cute.' In fact, most will remember it more for launching the brief career of the Fine Young Cannibals. (A couple of their songs were featured in the film) I very well might have been one of you, if it hadn't been for my father's devotion to this film. It was because of him I saw it a half dozen times growing up, and much like 'The Big Lebowski' and 'Sherlock Jr.', the more I saw this film, the more I fell in love with it. 'Tin Men' is about two aluminum siding salesmen (working for competing companies) who get into a car accident, and both believing the other is to blame, decide to get revenge on one another. Richard Dreyfuss and Danny Devito (two of the more underrated actors around) deliver some of the funniest scenes you'll ever see. Things get complicated when Dreyfuss attempts to infuriate Devito by sleeping with his wife, only to fall in love with her. DeVito plays an emotional and financial disaster, struggling to keep his head above water, while tidal waves are crashing down all around him. (And does so, with the efficiency of a Third World sweatshop) Dreyfuss, a slick, fast- talking 'nickel and dime' hustler, whose ideas about life and love change when he discovers the truth about himself and his business through his own vindictive behavior. If you actors out there are wondering how to play 'quiet desperation' funny, rent this movie. 'Tin Men' uses a clever vernacular. Including several seemingly unnecessary dialogue driven scenes done way before dialogue driven scenes became commonplace. (See, Pulp Fiction 1994, and pretty much every movie to follow) With topics ranging from 'Bonanza' not being an accurate depiction of the West, to finding God at the smorgasborg. It also displays a devotion to detail, unparralleled by any big-budget movie of today. Everything feels real. The people, the conversation, the decor, everything.

When I watched this movie again recently I came up with an hypothesis regarding its lack of real success, or longevity. It's quite simple, and when you first say it, feels lame. But the more I think about it, I believe it may be true: Like most great movies that are under-appreciated, they aren't trying to impress us. They don't have to.