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DIRTY ROTTEN SCOUNDRELS
The recent passing of Glenne Headley prompted a re-watch of 1988's Dirty Rotten Scoundrels, a sumptuously mounted look at the art of the con that works due to some solid directorial touches, impressive production values, and the unexpected chemistry between the stars.
The film is actually a remake of a 1964 comedy called Bedtime Story which starred David Niven, Marlon Brando, and Shirley Jones. In this update, Michael Caine inherits Niven's role, Lawrence Jamieson, a sophisticated con man who makes a handsome living on the French Riviera conning wealthy women out of their money and finds his livelihood threatened with the arrival of Freddy Benson (Steve Martin now in Brando's role), a less sophisticated but equally effective con man who Jamieson decides to get rid of by betting which one of them can squeeze $50,000 out of a wealthy American heiress (Headly, inheriting Shirley Jones' role).
Director Frank Oz stylishly crafts Dale Launer's screenplay into a sophisticated romp that gives the 1964 story a contemporary flavor while remaining loyal to its origins. The story is very clever because the characters of Lawrence and Freddy are both very good at what they do, though they have very different approaches to their work. We are initially intrigued at the idea of the two of them working together and perhaps becoming friends, but the story takes an unexpected turn at the end of the second act that we really don't see coming that makes these two working together virtually impossible. And even though we've spent a good chunk of the story wanting these two to work together, the story suddenly seems to make us want to choose sides and the side we choose changes from scene to scene until the conclusion.
The other thing that really works here is the surprising chemistry between Michael Caine and Steve Martin. Oz has found a way to have these actors do what they do best creating a balance of story spotlight that makes Caine and Martin a terrific team...Caine beautifully underplaying the sophisticated Brit that few actors do better and Martin balancing the movie clown to which we're accustomed with a slick and slightly smarmy rogue who can turn on the sensitive charm at the drop of a hat when needed. Props must also be awarded to Glenne Headley, an absolutely charming leading lady who never allows these two movie vets to blow her off the screen. Also enjoyed the stylish turns from Megan Fey, Frances Conroy, and the fabulous Barbara Harris as other marks of our leading men.
The film features handsome production values, including some exquisite French Riviera scenery, impressive art direction/set direction, some striking costume choices, and Miles Goodman's music is absolute perfection. A smooth and silky comic romp made watchable due to the professionalism on both sides of the camera which is that rarest of rarities...a remake that's better than the original. Over a decade later, it was actually turned into a Broadway musical with John Lithgow and Norbert Leo Butz playing Lawrence and Freddy.
The recent passing of Glenne Headley prompted a re-watch of 1988's Dirty Rotten Scoundrels, a sumptuously mounted look at the art of the con that works due to some solid directorial touches, impressive production values, and the unexpected chemistry between the stars.
The film is actually a remake of a 1964 comedy called Bedtime Story which starred David Niven, Marlon Brando, and Shirley Jones. In this update, Michael Caine inherits Niven's role, Lawrence Jamieson, a sophisticated con man who makes a handsome living on the French Riviera conning wealthy women out of their money and finds his livelihood threatened with the arrival of Freddy Benson (Steve Martin now in Brando's role), a less sophisticated but equally effective con man who Jamieson decides to get rid of by betting which one of them can squeeze $50,000 out of a wealthy American heiress (Headly, inheriting Shirley Jones' role).
Director Frank Oz stylishly crafts Dale Launer's screenplay into a sophisticated romp that gives the 1964 story a contemporary flavor while remaining loyal to its origins. The story is very clever because the characters of Lawrence and Freddy are both very good at what they do, though they have very different approaches to their work. We are initially intrigued at the idea of the two of them working together and perhaps becoming friends, but the story takes an unexpected turn at the end of the second act that we really don't see coming that makes these two working together virtually impossible. And even though we've spent a good chunk of the story wanting these two to work together, the story suddenly seems to make us want to choose sides and the side we choose changes from scene to scene until the conclusion.
The other thing that really works here is the surprising chemistry between Michael Caine and Steve Martin. Oz has found a way to have these actors do what they do best creating a balance of story spotlight that makes Caine and Martin a terrific team...Caine beautifully underplaying the sophisticated Brit that few actors do better and Martin balancing the movie clown to which we're accustomed with a slick and slightly smarmy rogue who can turn on the sensitive charm at the drop of a hat when needed. Props must also be awarded to Glenne Headley, an absolutely charming leading lady who never allows these two movie vets to blow her off the screen. Also enjoyed the stylish turns from Megan Fey, Frances Conroy, and the fabulous Barbara Harris as other marks of our leading men.
The film features handsome production values, including some exquisite French Riviera scenery, impressive art direction/set direction, some striking costume choices, and Miles Goodman's music is absolute perfection. A smooth and silky comic romp made watchable due to the professionalism on both sides of the camera which is that rarest of rarities...a remake that's better than the original. Over a decade later, it was actually turned into a Broadway musical with John Lithgow and Norbert Leo Butz playing Lawrence and Freddy.