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Legal Eagles

The reason no one dates personal injury lawyers is because they only want to promenade in front of businesses with icy sidewalks.

Luckily, the lawyer in this comedy-thriller is sleeping with a client, not a colleague.

Assistant D.A. Tom (Robert Redford) decides to help attorney Laura (Debra Winger) defend Chelsea (Daryl Hannah) against charges she stole a painting from an art dealer (Terence Stamp).

Adamant her father gave her the painting before his suspicious death - and destruction of his art collection - Chelsea not only convinces Tom but seduces him as well.

But when a dubious cop (Brian Dennehy) uncovers the entire collection intact, it threatens Tom's career and his life.

Crackling with comedic repartee, a fiery May/December romance and an unpredicted adversary, Legal Eagles may be clichéd but it's not without its charms.

Incidentally, if you're going to sleep with anyone in the court system - make it a judge. Yellow Light

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charming is the right word. because it is a nice film, without high ambitions and using old recipes, mixture of crime and romance, with a good performance of Daryll Hannah and same Redford who does a seductive character. a movie who can not be real convincing but who know explore in a smart manner, the common clichés. and that is its great virtue - to not be serious or a parody but a perfect choice for Sunday evening. the secret - maybe, courage to use tricks from old romantic comedies in decent doses. and it works at whole. the vulnerability of characters, the action scenes, the thin artistic stain, all as tools for a charming show who reminds classic films and who can be opportunity for rediscover good actors at duty.

Ivan Reitman, fresh off the special effects high of "Ghostbusters" takes on romantic comedy that works in fits and starts in "LEGAL EAGLES".

Robert Redford, with breezy style, is a NYC D.A. who prosecutes at whim. Enter Debra Winger, a scrappy lawyer so desperate, she once chose to put a dog on the stand to make her case. The two fall in love (or about as 80's as it gets - they become partners) in representing an airy client (Daryl Hannah) who may (or may not) have committed a major art fraud/crime.

This is a time-capsule of a film... written by the guys who wrote "Top Gun" and "Dick Tracy", it's a big, over-packaged film that's both romantic comedy, star-vehicle, and glossy, synthetic who-done-it. All the Reitman glitz-and-polish is there (with big setpieces scattered throughout), and the movie is easy on the eyes, especially with Redford's easy, casual performance pulling the viewer along and Reitman's deft comedic touch.

It was also a troubled production to be sure: Bill Murray was once considered for the Winger role, creating a love triangle that would have found Hannah torn between the Sundance Kid and Nick The Lounge Singer - but alas, Murray opted out. In interviews long since the film's release, Winger claims no desire ever to work with Reitman again.

1986's "LEGAL EAGLES" is probably the textbook case of the all-powerful talent agency known as Creative Artists Agency packaging a Real Motion Picture - what industry wags call a "filmed-deal". But is Legal Eagles any good? Sure, I guess. It's competently directed, it makes great use of it's New York City art-world locales, it has a wonderful Elmer Bernstein score, great cinematography by the legendary Laszlo Kovacs and both Winger and Hannah make for delicious eye-candy when pared with Redford. Ultimately, it becomes systematic of what was askew in these "packages": the movie relies solely on the audience goodwill, fine craftsmanship and former successes of its primary players to carry the load. "LEGAL EAGLES" is by no means a failure, but wrapped in such a glossy serving, it's hard to really enjoy anymore than for its quick, empty calories.

I have a soft spot for this film - it's great to see Redford on screen seeming to have such a spirited good time after an absence from movie comedy for a number of years - but after all is said and done, "LEGAL EAGLES" is as enjoyable as a Big Mac, albeit one served on a fine china dinner plate.

PS - the TV version of this film has a curious, bizarre alternate ending which negates the whole court case!

As rival attorneys in New York City, Robert Redford and Debra Winger aren't exactly Tracy and Hepburn (he's too wishy-washy and callow, she's too flighty), but they do get to loosen up a bit from prior roles, creating an amusing give-and-take relationship while defending performance artist Daryl Hannah on murder charges. Plot is so haphazardly constructed that it was re-worked for the TV version and still nobody could figure it out. Redford and Winger get out of a bomb-laden warehouse just in the nick of time, but how they do it will have smart viewers crying foul. There are other problems, not to mention a strange, off-putting show put on by Hannah where she appears to go up in flames, but the charisma of the players is just enough to carry this heavy vehicle to a happy conclusion. The outtakes at the finale are charming, as is Rod Stewart's song "Love Touch". **1/2 from ****

Come on, you have to admit that this film has a good cast with Debra Winger, Robert Redford, Daryl Hannah, and others in supporting roles like Christine Baranski. I like the fact that it was shot in New York City and not on location somewhere. No offense, Toronto or Vancouver but the backdrop does a good job. Remembering a time when the twin towers was still alive and kicking downtown. I liked the combination of Winger and Redford even though they disliked each other on the set according to rumors. Daryl Hannah plays Chelsea who seeks her father's art from crooked businessmen. She does an adequate job and proves that she's not just a pretty face. Daryl always plays shy very well but in this case, Chelsea is not shy at all. She is a bit rebellious and a performance artist with a fascination for fire. She teams up with Winger's character and later with Redford in more ways than can be said to prove her innocence and get justice served.