Le chat connaît l'assassin

For those drained and insulted by most of today's no plot, predictable no brainers, this will come as welcome relief. Most reviewers really don't get this little charmer. The direction is deft, the plot well-constructed and the ensemble acting is always on the mark. Though it was directed by Robert Benton of Kramer vs Kramer fame, it was produced by Robert Altman and his influence is evident. Art Carney and Lily Tomlin have great chemistry together and the cast of veteran character actors is top notch. There are moments of goofy good humor, tragedy, sweet wistfulness and chair-gripping tension. This has been a favorite of mine for a long time. Sandman says check it out!

Here's a wonderful, offbeat little film directed by Robert Benton, who directed Kramer vs. Kramer, and Nobody's Fool. He also wrote the screenplay, which received an Oscar nomination, so I guess it wasn't ignored entirely when it came out. Critics often dismiss The Late Show with a tart "Well, it's no Chinatown" (which came out three years earlier). That's too bad because it's a sly, engaging, funny detective thriller in its own right that manages to rise above the constraints of the genre and reach some memorable emotional heights along the way.

Art Carney plays Ira Welles, an over-the-hill private eye with a hearing aid, a bad leg, and a bleeding ulcer. It's almost as if Benton said: "hey, what would happen if Phillip Marlowe were still alive and kicking and living in the seedy part of Los Angeles in the mid-'70s?" Making the hero a senior citizen makes even more sense in the noir context than having him be the usual tough guy in the peak of health.

Things start off with a bang, or at least a whimper, when his partner Harry shows up with a bullet hole in his stomach (a la Maltese Falcon). Ira shows us what he's all about right away when tells his soon to be dead colleague: "Sorry you're going off, pal. You've been real good company." Ira is a throwback who spends serious amounts of time at the racetrack, lives in a boarding house, gets everywhere by bus (in LA?), calls women "Dolly," and values notions of honor and loyalty to one's partner above all else.

This world runs smack against the more permissive, loopy, go with-the-flow attitudes of the late-Sixties, early-Seventies, in the guise of Margo (Lily Tomlin). Margo is a laconic blatherskite who burns incense, lives in a room full of batik and macramé, and listens to meditation tapes. She goes to Ira for help when her cat Winston is kidnapped by a disgruntled fence whom she neglected to pay. Ira refuses to get involved with such nonsense until he realizes the catnapper also had something to with the death of his partner.

This kicks off an appropriately convoluted noir plot of epic complexity that involves murderous fences, infidelity, blackmail, and a steadily mounting body count. But the plot takes a backseat to the subtly changing, often touching relationship between the two lead characters. These two seemingly polar opposites actually have a lot in common.

They are both misfits who have constructed elaborate lies that they inhabit. Ira tells Margo that he's always been a loner, yet he spends his evenings playing canasta with his landlady, risks his life to find his partner's killer, and finds himself slowly warming up to Margo despite her air of flaky desperation. Margo flits from one identity to the next. One minute she's an actress, the next a dress designer, and the next a talent agent. In reality, she's mule for a two-bit fence and has to deal grass on the side to make ends meet. "I only do it to get my shrink paid," she tells a disapproving Ira.

Art Carney and Lily Tomlin play the push-me-pull-you dynamic between the two for all they're worth. Carney has a terrific moment when he collapses in pain due to ulcer pain and tells Margo not to take him to the hospital. In Tomlin's hands, Margo is one of the great screen neurotics, yet she's much savvier and sharper than she seems at first, and is able to finally rise to face the challenge of some pretty hairy situations. The Late Show is a real gem from the last truly great decade of American movies.

In The Late Show Art Carney may have created the most broken down action hero ever on the big screen. In fact his role here is in keeping with the Oscar he won playing irascible old codgers in Harry And Tonto and whom he would continue to play for the rest of his big screen career. The man truly reinvented himself after being so identified as Ed Norton of sewer repair on The Honeymooners.

Probably at the height of the noir era in film post World War II Carney could have done private eye roles like Humphrey Bogart and Alan Ladd. But now he's retired from the business has a bad leg, wears a hearing aid and rents a room from an indulgent landlady Ruth Nelson.

Until his old partner still in the game comes to him with a fatal bullet in his chest. An inside joke if you will because the partner is played by Howard Duff who was Sam Spade for years on radio. And at Duff's funeral he meets quirky former actress Lily Tomlin who was Duff's last client. She hired Duff to find her missing cat.

The cat however is key and before the film ends several of the cast wind up dead. It's a well assembled ensemble who support Carney and Tomlin. Joanna Cassidy as the femme fatale, Eugene Roche as a fence, Bill Macy as a bartender/tipster who tries to play both ends, and John Considine are all at the top of their game.

But Carney is a wonder, he's got great chemistry with Tomlin and he's got great moves as well. Wish I had some of them.

I really like this sweet semi-comic homage to the great detective films. Art Carney is simply wonderful as a gumshoe now in his 60s, gaining weight and losing foot-speed, but with wits as sharp as ever, and wisdom gained by time. This is what one of Bogie's great detective characters probably would be like 30 years later.

He's drawn into an absurdly complex crime situation, when a slightly wacko aging hippie wanna-be actress (played by Lily Tomlin) hires him to help find her lost cat. '

Some of the humor is a bit broad for the more serious themes underneath, and as much as I always love Tomlin, there were times she seemed to be flirting with caricature.

But the almost-romantic chemistry between this supremely miss-matched pair is terrific and fun to watch. It doesn't add up to anything huge, but it's intelligent, fun well-executed entertainment for grown ups – something that's far too rare in the current cinema.

This is a great movie. It's such a remarkable throwback to 40s noir and detective films. Art Carney's Ira Wells adds a kind of post modern twist to the genre as he is an aging detective, not as hard boiled as he used to be. One thing that's neat about this film is the way that Ira and his contacts talk to each other. Benton resurrects the distinctive lingo of The Big Sleep and The Maltese Falcon within this interesting group of underworld entangled characters. I've seen a lot of other flicks that try to do the same thing, but this one makes it much more believable and doesn't play it for comic effect. Similar to the way Miller's Crossing draws you into its world with dialogue (among other things), so too does this film. Lily Tomlin also teams up well with Carney as his flighty new partner in private investigation. This film is a genuine treat for fans of Spade or Marlowe movies.