Les croque-morts en folie

I was watching this for the second time on the telly when my dad came in after a hard day's work to wish me good night. He started watching, sat down and stayed transfixed to the end, finally declaring it one of the funniest films he had ever seen. I agreed with him. Then I sent him off to bed. I couldn't bear to look at those red spandex trousers for a minute longer.

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."

In my humble opinion, Ron Howard should have tried directing R rated comedies more often during his career as he shows here to have a real knack for it. Written by frequent collaborators Lowell Ganz and "Babaloo" Mandel, and marking an early joint effort for him and producer Brian Grazer, "Night Shift" is not only an agreeably saucy film, but the writers and director are also able to mine this material for a lot of heart, and the actors create likable, memorable characters. Howards' 'Happy Days' co-star Henry Winkler shines in a part far removed from that of the ultra-cool Fonz. He's Chuck Lumley, a timid, nerdy type who got stressed out working as an investment counselor and sought the peace and quiet of working in the city morgue. This doesn't last long when he's forced to work the night shift and partnered with wild man Bill "Blaze" Blazejowski (Michael Keaton, in one hell of a film debut), a talkative "idea man". Among his ideas are edible paper, therefore cutting down on garbage, and feeding mayonnaise to tunafish. Anyway, things take a bizarre turn for Chuck after he's made friends with Belinda (Shelley Long), a sweet hooker who's moved into his building. Her pimp has been knocked off and now her johns are taking advantage of her. So after some thought he agrees to Bills' idea that they should become the pimps for Belinda and all of her gal pals. This is great fun all the way through, with Keaton completely stealing the show as Blaze, and getting most of the good lines. Long admittedly makes for a rather unlikely hooker, but she still has a lot of appeal here and does look very nice cooking eggs in her underwear. The film does go on for quite a bit but is entertaining enough that you don't feel that much time going by. An impressive amount of familiar faces fill out supporting and bit parts: Gina Hecht, Pat Corley, Bobby Di Cicco, Nita Talbot, Howards' brother Clint, Joe Spinell, Richard Belzer, Grand L. Bush, Charles Fleischer, Vincent Schiavelli, Michael Pataki, Howard himself in dual cameo roles, Shannen Doherty, and Kevin Costner (you have to be quick to spot him) as a frat boy. Good score (by Burt Bacharach) and songs (by Bacharach and Carole Bayer Sager); the songs include "That's What Friends Are For", sung by Rod Stewart, years before it was a hit for Dionne Warwick & Friends.

Here's just a couple of lines to pique your interest:

"This is Chuck to remind Bill to SHUT UP!" "Call Star-Kist." "Oh, that Barney Rubble...what an actor!" "LOOOVE brokers!"

All in all, it's an 80s comedy worth seeking out or rediscovering.

Eight out of 10.

The basic structure of Night Shift is really familiar stuff but the main idea here is really unique and results in a really good comedy that gets enough good laughs out of it across the run time bolstered by a strong central trio and easygoing direction that makes the whole thing more enjoyable.

Henry Winkler's mild mannered nature is ideal to lead the film in contrast to everything around him and his growing confidence is really fun. Shelley Long really humanises a character who could have easily been two dimensional and Michael Keaton rounds out the core three in terrific fashion.

In his first film role Keaton shows why he's become and remains a truly dynamic screen presence with an incredible amount of energy from his first appearance and a level of comedic timing that is impeccable every single time. Almost all of the best jokes here are his.

Ron Howard's direction compliments everything else nicely, there's nothing groundbreaking here but there's some clever flourishes and framing that enhances the humour. It opens pretty strong as well, setting up a lot of different aspects with an engaging chase sequence.

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!