Hoover vs. The Kennedys: The Second Civil War (1987, directed by Michael O’Herlihy)


The year is 1961 and the young and dynamic John F. Kennedy (Robert Pine) has been elected president.  While the rest of the nation waits to see how Kennedy will lead, FBI director J. Edgar Hoover (Jack Warden) is convinced that he will continue to do what he’s always done.  As he explains it to his aide and only friend, Clyde Tolson, Hoover is a longtime friend of President Kennedy’s father, Joseph (Barry Morse).  Hoover knows how the Kennedys made their money and he also knows that the Kennedys probably stole the election.

Hoover quickly discovers that John F. Kennedy isn’t going to be like the other presidents under which he has served.  Kennedy appoints his self-righteous brother, Robert (Nicholas Campbell), as attorney general and Robert immediately sets out to make Hoover’s life unbearable.  When Hoover brings the brothers evidence that civil rights leader Martin Luther King (Leland Gantt) is not only associating with known radicals but that he also cheats on his wife, John and Bobby just laugh at him.  While John pursues an affair with Marilyn Monroe (Heather Thomas) and Bobby tries to reign in the FBI’s excesses, Hoover continues to collect information for his files and schemes to outlast both Kennedys.

Hoover vs. The Kennedys was a made-for-TV movie, one of the many films that have been made about the conflicts between the Kennedys and J. Edgar Hoover.  Since a good deal of the film is made up of Hoover and the Kennedy Brothers snapping at each other on the phone and then telling their closest aides about how much they dislike each other, it seems hyperbolic to call their relationship the “second civil war.”  Though the film does go as far as to suggest that Hoover didn’t make much of an effort to investigate the background of Lee Harvey Oswald, it doesn’t go any further when it comes to the theories surrounding John Kennedy’s assassination.  As well, the film is one of the rare ones to not speculate that Hoover and Clyde Tolson were more than just friends.  Instead, Hoover vs. The Kennedys concentrates more on all of the scandalous stories surrounding the Kennedy brothers.  The mob connections.  The womanizing.  The arrogance.  It’s all recreated here.  Perhaps because this was a Canadian production, Hoover vs The Kennedys doesn’t portray anyone positively.

The acting is a mixed bag.  Nicholas Campbell is believably abrasive as Bobby while Robert Pine was several years too old to be a convincing JFK.  Heather Thomas is an adequate Marilyn Monroe while Leland Gantt comes across as too emotional to be a believable Martin Luther King.  (In Gantt’s defense, the movie does not seem to know what to do with the character of King, treating the civil rights icon like a prop to be trotted out whenever some Hoover/Kennedy conflict is needed.)  The film’s best performance comes from Jack Warden, who plays Hoover as being a puritanical hypocrite who knows that, no matter who tries to push him out, he’s not going anywhere unless he wants to.  Hoover outlasted several presidents and Warden portrays him as being the ultimate political survivor.

As far as Kennedy films are concerned, Hoover vs. The Kennedys is okay but it doesn’t offer up anything new.  Some of the most important roles are miscast and the movie never goes into much depth, beyond repeating all of the usual rumors.  Jack Warden’s a good J. Edgar Hoover, though.  The movie is not easy to find but it has been uploaded on to YouTube.  And, if you can’t find the movie, you can always order the novelization off of Amazon.

 

30 Days of Noir #15: The Man With My Face (dir by Edward Montagne)


The 1951 film, The Man With My Face, tells the story of Chick Graham (Barry Nelson).

Chick’s a nice guy.  He might be a little bit bland but, at the same time, he’s also never been in any real trouble.  He’s the type of person who you would trust to look after your money but, at the same time, you would probably also forget to wish him a happy birthday on Facebook.  He’s just one of those decent but forgettable human beings.

After serving his country in World War II, Chick moved to Puerto Rico and opened up a business with his best friend from the army, Buster Cox (John Harvey).  Not only that but he also married Buster’s sister, Cora (Lynn Ainley).  Of course, when he fell in love with Cora, he also abandoned his then-girlfriend, Mary (Carole Mathews).  Mary’s still a little bit upset about that but you know who is really bitter about it?  Mary’s brother, Walt (Jack Warden).  Walt says that Chick’s no good and there’s no way that he would ever help Chick out if Chick ever got in any trouble.

But no matter!  Chick’s got a nice house.  He’s got a loving wife.  He’s got a loyal best friend.  And he’s got a dog!  It’s a perfect life!

Or is it?

One day, Chick is shocked when his wife doesn’t pick him up after dropping him off in the city.  When she calls his house and asks her what’s going on, she replies that she doesn’t have the slightest idea who he is.  When Chick finally makes it home, both Cora and Buster continue to insist that they don’t know who he is.  His own dog doesn’t even seem to know him!

However, what’s really strange is that, in Chick’s house, there’s a man who looks exactly like him.  Cora, Buster, and the man all claim that he’s the real Chick Graham and that the original Chick is just a double. Fleeing his house, Chick soon discovers that his picture is on the front page of every newspaper!

Except, of course, it’s not his picture.  Instead, it’s a picture of Bert Rand!  Bert is a notorious criminal who recently robbed a bank in Miami.  It’s rumored that he’s fled to Puerto Rico!  It doesn’t take long for Chick to figure out that Bert has stolen his identity and moved into his house.  But how can Chick prove it?  (Remember this film was made in 1951, back when most people didn’t even know what DNA was.)  Making things even worse for Chick is that he now has a crazed dog handler (Jim Boles) and a doberman chasing him all over San Juan….

As far as stolen identity films are concerned, The Man With My Face isn’t bad, though it is kind of predictable.  It’s not a spoiler to say that people are conspiring against Chick but, as you watch the film, you have to wonder why these criminals would pursue such a needlessly complicated scheme.  You have to admire their dedication but, at the same time, it’s seems like they could have gotten the same results with a much simpler plan.  On the plus side, Barry Nelson (who you might recognize as Mr. Ullman from Kubrick’s The Shining) is a sympathetic hero and character actor Jack Warden has a nice supporting role as Mary’s world weary brother.  Though Puerto Rico may seem like a strange place to set a film noir, the film’s final chase scene makes good and atmospheric use of the Fort San Cristobal.  All in all, The Man With My Face is an entertaining little time waster.

A Movie A Day #338: Raid on Entebbe (1977, directed by Irvin Kershner)


On June 27th, 1976, four terrorists hijacked an Air France flight and diverted it to Entebbe Airport in Uganda.  With the blessing of dictator Idi Amin and with the help of a deployment of Ugandan soldiers, the terrorists held all of the Israeli passengers hostage while allowing the non-Jewish passengers to leave.  The terrorists issued the usual set of demands.  The Israelis responded with Operation Thunderbolt, a daring July 4th raid on the airport that led to death of all the terrorists and the rescue of the hostages.  Three hostages were killed in the firefight and a fourth — Dora Bloch — was subsequently murdered in a Ugandan hospital by Idi Amin’s secret police.  Only one commando — Yonatan Netanyahu — was lost during the raid.  His younger brother, Benjamin, would later become Prime Minister of Israel.

Raid on Entebbe, a docudrama about the operation, was originally produced for NBC though it subsequently received an overseas theatrical release as well.  It’s an exciting tribute to the bravery of both the hostages and the commandos who rescued them.  Director Irvin Kershner directs in a documentary fashion and gets good performances from a cast full of familiar faces.  Charles Bronson, James Woods, Peter Finch, Martin Balsam, Stephen Macht, Horst Buchholz, Sylvia Sidney, Allan Arbus, Jack Warden, John Saxon, and Robert Loggia show up as politicians, commandos, terrorists, and hostages and all of them bring a sense of reality and humanity to their roles.

The film’s best performance comes from Yaphet Kotto, who plays Idi Amin as a strutting buffoon, quick to smile but always watching out for himself.  In the film, Amin often pays unannounced visits to the airport, where he lies and tells the hostages that he is doing his best to broker an agreement between the terrorists and Israel.  The hostages are forced to applaud Amin’s empty promises and Amin soaks it all up with a huge grin on his face.  Forest Whitaker may have won the Oscar for Last King of Scotland but, for me, Yaphet Kotto will always be the definitive Idi Amin.

A Movie A Day #181: Guilty As Sin (1993, directed by Sidney Lumet)


When wealthy playboy David Greenhill (Don Johnson, doing a one-note Michael Douglas impersonation) is accused of throwing his wife out of a window, there’s only one lawyer who he wants to defend him.  Jennifer Haines (Rebecca De Mornay) may have just won a huge case but it is obvious that the only reason that David wants her on his team is because she’s sexy as Hell and David has an obsessive streak.  Still, despite the misgivings of her boyfriend (Stephen Lang) and her mentor (Jack Warden), she takes the case, convinced that she is the only attorney smart enough to be able to get David acquitted.

It becomes very obvious that David is not only probably guilty but that he might be a serial killer as well.  Not only does he start to turn up everywhere that Jennifer goes but, protected by attorney/client privilege, he starts to tell her all of his dark secrets.  Jennifer finds herself trapped into defending an obviously guilty client, one who appears to be setting her up to be his next victim.  Even when he fails to pay her for her services, the trial judge refuses to allow Jennifer to quit the case.

Back in the 90s, Guilty As Sin used to frequently show up on late night HBO and Cinemax.  I always watched because I had a crush on Rebecca De Mornay and I bet I was not alone as far as that’s concerned.  Late night cable is where Guilty As Sin belongs, which makes it strange that this weak and implausible movie was directed by Sidney Lumet.  One of the legitimately great American directors, Lumet directed several classic courtroom thrillers over the course of his career.  Guilty As Sin is not one of them.  This is probably the most impersonal film that Lumet ever made.  Other than the presence of Lumet favorite Jack Warden, there is nothing about Guilty As Sin that would lead anyone to think that it had been directed by the same man responsible for 12 Angry Men, Dog Day Afternoon, Network, or Prince of the City.

Fortunately, though Guilty As Sin was one of his Lumet’s last films as a director, it was not his final film.  Released in 2007, Lumet’s final film was a crafty thriller called Before The Devil Knows Your Dead, which showed that, at the age of 83, Lumet was still one of the greats and that Guilty As Sin was just a minor bump in an otherwise brilliant career.

Lisa Cleans Out Her DVR: Dreamer (dir by Noel Nosseck)


(I am currently trying to clean out my DVR!  I recorded this 1979 sports film off of FXM on February 1st!)

In Dreamer, Tim Matheson plays a character named Harold Nuttingham.  His nickname is Dreamer.  Do you think it’s possible that Harold has a dream!?  Well, it would probably be a really cruel nickname if he didn’t!

Dreamer lives in small town Illinois.  He loves to bowl.  He spends all of his time down at the local bowling alley, where everyone knows him and they all love him and his dreams of becoming a professional bowler.  His mentor is named Harry White (Jack Warden) and runs the pro shop.  Harry dreamed of being a famous, champion bowler but his dreams didn’t come true.  But now he can help Dreamer’s dreams work out.  Everyone loves the fact that Harry is helping Dreamer.  Dreamer’s girlfriend is named Karen Lee (Susan Blakely).  She loves that Dreamer loves bowling but she is frustrated because everyone keeps telling Dreamer that it would be a mistake to take her to his games.  Karen might bring bad luck.

Everyone in his hometown loves Dreamer but the Professional Bowling Association (which apparently is an actual thing) doesn’t love Dreamer.  They don’t want to let Dreamer compete on a professional level.  Or, at least, they don’t until Dreamer meets with them personally and shows off his amazing bowling skills.  Then they love Dreamer.

Even though Dreamer is the new guy on the professional circuit, the audiences love him.  And all the other professional bowlers love him, even when they lose to him.  Everyone loves Dreamer, perhaps because everyone loves a dreamer…

Are you getting the impression that Dreamer might be one of the most positive movies ever made?  Well, it is.  Hardly anyone says a bad word about anyone in Dreamer.  Nobody tells Dreamer to give up.  Dreamer never really suffers from any self-doubt, though he does injure his thumb at one point.  There is a moment of tragedy towards the end of the movie but it’s one of those tragedies that leads to better things.  You can’t have light without a little darkness, though Dreamer seems to suggest that you can come awfully close.

Normally, films get on my nerves when they’re overwhelmingly positive but I can’t really complain about a movie like Dreamer.  It’s just so earnest and sincere.  There’s no real conflict and there’s no real drama but everyone in the movie is just so damn likable that you almost feel guilty for wishing something unexpected would happen.  Dreamer struggles and fails to make bowling cinematic but Dreamer’s a nice guy so you wish him the best.

Perhaps the most interesting thing about Dreamer is that it was directed by Noel Nosseck, who also directed an incredibly odd little grindhouse film called Best Friends.  Best Friends, which I recommend tracking down, is almost the anti-Dreamer.  Watch Best Friends to have your faith in humanity destroyed and then follow it up with Dreamer so your faith can be restored.

Or don’t.  It’s really up to you.

A Movie A Day #119: Dead Solid Perfect (1988, directed by Bobby Roth)


Based on a novel by veteran sports writer Dan Jenkins, Dead Solid Perfect takes an episodic look at a year on the PGA tour.  Kenny Lee (Randy Quaid) is a good but aging golfer who wants to finally have his time in the spotlight.  His sponsor (Jack Warden) is an eccentric old racist.  His girlfriend (Corinne Bohrer, who has a lengthy scene where she walks naked down hotel hallway while carrying an ice bucket) isn’t looking for a commitment while his wife (Kathryn Harrold) is getting sick of his emotional immaturity.  Kenny Lee just wants to hit the perfect shot.

An early HBO production, Dead Solid Perfect is one of the best movies ever made about pro golfers, not that there is really much competition.  Eschewing the pretentious blathering that has marred other golf films (like The Legend of Bagger Vance), Dead Solid Perfect focuses on the day-to-day life of aging athletes who have never had to grow up.  This was Dan Jenkins’s specialty and Dead Solid Perfect feels authentic in a way that many other sports film, like Bagger Vance, do not.  Randy Quaid, long before he had his widely publicized breakdown and started making videos about the “star whackers,” is perfectly cast as Kenny.  Sadly, Dead Solid Perfect has never been released on DVD or Blu-ray but it will entertain any golf fan who owns an operational VCR.

Of course, the best movie about golf is still Caddyshack.

 

A Movie A Day #56: The White Buffalo (1977, directed by J. Lee Thompson)


whitebuffalo1977The year is 1874 and James Otis (Charles Bronson) is traveling through the Dakota Territory.  Everywhere that James Otis goes, someone tries to shoot him.  This is because James Otis is actually the infamous Wild Bill Hickcock and everyone this side of Deadwood has a reason to want him dead.  Hickcock has returned to the territory because he is losing his eyesight and he fears that he may be dying.  Hickcock has been having nightmares about a giant albino buffalo and believes that it is his destiny to either kill it or be killed himself.

Meanwhile, a young indian chief (Will Sampson) is also seeking the White Buffalo.  The buffalo previously attacked his village and killed his son.  The chief must now get revenge or lose his power in the tribe.  He is now known as Worm.  Before the buffalo attack, his name was Crazy Horse.

Crazy Horse eventually teams up with Hickcock and a one-eyed hunter named Charlie Zane (Jack Warden).  They work out an uneasy alliance but who, of the three, will finally get the chance to kill the buffalo?

When Dino De Laurentiis produced The White Buffalo, he was hoping to combine the popularity of Jaws with the star power of Charles Bronson.  It should have been a hit but instead, The White Buffalo was one of the many flops that temporarily killed the western as a commercial genre.  (Before there was Heaven’s Gate, there was The White Buffalo.)  The reason why is obvious: while audiences loved to watch Bronson shoot muggers in New York, they were less willing to sit through a pseudo-intellectual western version of Moby Dick that featured more conversation than gunplay.  The obviously fake buffalo did not help matters.

I still like The White Buffalo, though.  Because of the movie’s cheap sets, fake snow, and some inconsistent rear projection work, The White Buffalo is sometimes so surreal that it could pass for a Spaghetti Western.  (When I saw Bronson, Sampson, and Warden huddled in a cardboard cave while it fake snowed outside, I immediately thought of Sergio Corbucci’s The Great Silence.)  Charles Bronson, always an underrated actor, gave one of his best performances as the haunted Hickcock.  The White Buffalo was, up until his small role in Sean Penn’s The Indian Runner, the last time that Bronson would allow himself to appear as anyone other than Charles Bronson on-screen.

When watching The White Buffalo, keep an eye out for several Hollywood veterans in minor roles.  Kim Novak plays a prostitute.  Stuart Whitman is a thief.  Slim Pickens drives a stagecoach.  Clint Walker’s an outlaw and Ed Lauter plays the younger brother of Gen. Custer.  The town’s undertaker is John Carradine.  The cameos don’t add up too much but it’s still good to see everyone.

Lisa Watches An Oscar Nominee: The Verdict (dir by Sidney Lumet)


Verdict1

Speaking of the good, old-fashioned star power of Paul Newman, The Hustler and Butch Cassidy and the Sundance Kid were not the only films to receive an oscar nomination as the result of his charisma.  There’s also The Verdict, a 1982 best picture nominee that would probably be forgotten if not for Paul Newman’s performance.  However, since Paul Newman did play the lead role in The Verdict and he did give an amazing lead performance, The Verdict was nominated for best picture and, 33 years later, it ended up on TCM where I just watched it.

That’s the power of good acting.

Paul Newman plays Frank Galvin, a Boston-based attorney.  At one time, Frank was a lawyer at an elite firm.  But he has since fallen on hard times.  Now, he’s the type of attorney who crashes funerals and hands out his card.  He spends his spare time at his favorite bar, playing pinball and telling long jokes while stumbling about in a drunken haze.  In many ways, Frank represents everything that people hate about personal injury attorneys but, since he’s played by Paul Newman, you know that he’s going to turn out to be a good guy.

Frank only has one friend left in the world, his former mentor Mickey (Jack Warden).  Looking to help Frank out, Mickey sends Frank a medical malpractice suit.  A woman at a Catholic Hospital was given an anesthetic during child birth that has led to her now being brain dead.  Both the woman’s family and the Archdiocese are looking for a settlement.  The family needs the money to pay for her medical care.  The Archdiocese just wants the case to go away.  All Frank has to do is accept whatever settlement deal is offered…

However, something has changed for Frank.  He’s visited the comatose woman and, looking at her trapped in a vegetative state, he’s decided that the hospital needs to be held responsible for its mistake.  He rejects the settlement and takes the case to court, looking for both justice for the victim and redemption for himself.

That’s easier said than done, of course.  The Archdiocese has hired Ed Concannon (James Mason, perfectly cast), one of the best and most powerful attorneys in Boston.  Ed has a huge legal team working on the case.  Frank has Mickey.  As well, the Judge (Milo O’Shea) makes little effort to hide his contempt for Frank.

Probably the only bright spot in Frank’s life is that he’s met a woman.  Laura (Charlotte Rampling) meets him in a bar and soon, they’re lovers and Frank is confiding in her about the case.  What he doesn’t suspect is that Laura herself is a spy, hired by Concannon.

It looks like all is lost but then Frank discovers that there is one nurse (Lindsay Crouse) who might be willing to tell the truth about what happened at the hospital…

In many ways, The Verdict is a predictable film.  From the minute we first meet him, we know that Frank is going to be redeemed.  From the minutes that we hear about the case, we know who we’re supposed to root for and who we’re supposed to hiss.  Just about every courtroom cliché is present, right down to a surprise witness or two…

But no matter!  The Verdict may be predictable but it works.  As he proved with 12 Angry Men, Director Sidney Lumet knew how to make legal deliberations compelling and the entire film is full of small but memorable details that elevate it above its simplistic storyline.  As a director, Lumet gets good performances from his cast and, as a result, this is a film where the hero is flawed and the antagonists aren’t necessarily evil.  Even the Bishop of the Archdiocese of Boston (who, in most films, would have been a cardboard villain) is given a scene where he’s allowed to show some humanity.

And, of course, Paul Newman is great in the role of Frank.  When we first meet Frank, he looks and sounds terrible.  Indeed, it’s strange to see Paul Newman playing a character who is essentially such a loser.  (Even Eddie Felson in The Hustler had an appealing swagger about him.)  It’s during the scenes where Frank considers the woman in a coma that Newman starts to reveal that there’s more to Frank than what’s on the rough surface.  By the end of the film, Frank may be a hero but Newman doesn’t play him as such.  He’s still has that alcoholic rasp in his voice and his eyes still betray hints of insecurity and a fear that, at any minute, he’s going to screw up and mess everything up.  It’s a great performance, one for which Newman received a nomination for best actor.

Speaking of star power, Bruce Willis also shows up in The Verdict.  He’s an extra who appears as an observer in the courtroom.  He’s sitting a few rows behind Paul Newman.  (He’s also sitting beside Tobin Bell, the Jigsaw Killer from the Saw films).  It’s probably easiest to spot Willis towards the end of the film, when the verdict is read.  Bruce breaks out into a huge grin and almost looks like he’s about to start clapping.  Bruce only gets about 10 second of screen time but he acts the Hell out of them!

Thanks to Paul Newman, The Verdict is a memorable and entertaining film.  Be sure to watch it the next time it shows up on TCM.

Shattered Politics #62: Bulworth (dir by Warren Beatty)


BulworthSo, if you’ve ever wondered what happened to Robert Redford’s Bill McKay after he was elected to the U.S. Senate at the end of The Candidate, I imagine that he probably ended up becoming something like the protagonist of 1998’s Bulworth, U.S. Sen. Jay Bulworth.

As played by Warren Beatty, Bulworth is a veteran senator.  A former liberal firebrand, he may still decorate his office with pictures of him meeting Bobby Kennedy and Martin Luther King but Bulworth sold out a long time ago.  Now, he just says whatever has to say in order to get elected, including pretending to have a happy marriage. He has become a part of everything that’s wrong with Washington.

Sick of both politics and life in general, Bulworth decides that he’d rather be dead.  But, in order to make sure that his daughter collects on his $10,000,000 life insurance policy, Bulworth cannot commit suicide.  Instead, he arranges for a contract to be taken out on his life.  In two days, Bulworth will be assassinated.

Returning to California for his campaign, Bulworth gets drunk and suddenly starts to say what he actually believes.  He attacks the Washington establishment.  He attacks the voters.  He attacks the insurance companies and comes out for single payer health insurance.  With his desperate press secretary (Oliver Platt) chasing behind him, Bulworth spends the night dancing at a club where he discovers marijuana and meets a girl named Nina (Halle Berry).

(Platt, meanwhile, discovers that he really, really likes cocaine.)

Soon, Nina and Bulworth are hiding out in the ghetto, where Bulworth meets both Nina’s brother (Isiah Washington) and local drug dealer, L.D. (Don Cheadle), and gets a lesson about how economics actually work in the ghetto.  Soon, Bulworth is appearing on CNN where he raps his new political platform and suggests that the solutions for all of America’s problems would be for everyone to just keep having sex until eventually everyone is the same color.

Of course, what Bulworth doesn’t know is that Nina also happens to be the assassin who has been contracted to kill him…

I have mixed feelings about Bulworth.  On the one hand, the film starts out strong.  You don’t have to agree with the film’s politics in order to appreciate the film’s passion,  Bulworth is an angry film and one that’s willing to say some potentially unpopular things.  It’s a film about politics that doesn’t resort to the easy solutions that were proposed by some of the other films that I’ve reviewed for Shattered Politics.  Warren Beatty does a pretty good job of portraying Bulworth’s initial mental breakdown and Oliver Platt is a manic wonder as he consumes more and more cocaine.

But, once Warren Beatty starts rapping, the film starts to fall apart and becomes a bit too cartoonish for its own good.  You get the feeling that Warren Beatty, at this point, is just trying to live out the liberal fantasy of being the only wealthy white man in America to understand what it’s like to be poor and black in America.

Bulworth starts out well but ultimately, it begins better than it ends.

Shattered Politics #46: Used Cars (dir by Robert Zemeckis)


Used_Cars_film_poster

“Do you think we like being associated with the President of the United States?  I mean, we run an honest business here!” —

Jeff (Gerrit Graham) in Used Cars (1980)

As a film lover, I’ve sat through so many disappointing commentary tracks that, when I come across one that’s actually fun and informative, it causes me to like the film even more.  One of the best commentary tracks that I’ve ever heard was the one that Robert Zemeckis, Bob Gale, and Kurt Russell recorded for the DVD release of the 1980 comedy Used Cars.

The film — which was an early credit for both director Zemeckis and screenwriter Gale — tells the story of two rival used car lots.  The bad guy car lot is owned by Roy L. Fuchs (Jack Warden).  The good guy car lot is owned by Roy’s brother, Luke Fuchs (also played by Jack Warden).  The top salesman at the good guy car lot is Rudy Russo (Kurt Russell).  The film shows what happens when Luke dies and Rudy tries to prevent Roy from taking over the lot.

The commentary track is distinguished by just how much Zemeckis, Gale, and Russell seem to truly enjoy watching and talking about the film.  Kurt Russell, in particular, has an incredibly engaging laugh and his sense of fun is contagious.  However, for me, the most interesting part of the commentary track came when Bob Gale explicitly compared Rudy Russo and Luke’s daughter (played by Deborah Harmon) to Bill and Hillary Clinton and then even starts to do a surprisingly good imitation of Bill’s hoarse Arkansas accent.

What made it interesting was that the comparison was absolutely correct.

Politicians are salesmen.  Much as politicians will say anything to get your vote, the salesmen in Used Cars will say and do anything to get your money.  Politicians sell promises that are too good to be true.  Rudy Russo and Roy L. Fuchs do the same thing, claiming that their used cars are just as good and safe as a car that’s never been owned before.

In fact, one of the major plotlines in Used Cars is that Rudy is plotting to make the move from selling cars to buying votes.  There’s a vacancy in the state senate and Rudy is planning on running for the seat.  All he has to do is come up with the $10,000 necessary to buy the nomination from the local political machine. (I imagine it would be more expensive to buy a nomination today.)  Luke agrees to loan Rudy the money but, before he can, Luke goes on a test drive with a former race car driver.

The driver works for Luke’s evil brother, Roy.  Roy knows that Luke has a heart condition and he specifically sends over that driver to give Luke a fatal heart attack.  Just as Rudy is trying to sell a car to a costumer who is skeptical about whether or not he should pay an extra fifty dollar for something he doesn’t want (“$50.00 never killed anyone!” the customer insists), Luke staggers into the office and dies.

(The shocked customer agrees to pay the extra fifty dollars.  Ever the salesman, Luke grabs the fifty before he dies.)

With Luke dead and his estranged daughter nowhere to be seen, Roy is next-in-line to take over Luke’s car lot.  So, Rudy hides the body and tells everyone that Luke is down in Florida.  Both he and his fellow salesman, the hilariously superstitious Jeff (Gerrit Graham), conspire to make as much money as possible before anyone discovers the truth.

How do they do it?  Illegally, of course!

First off, they break into the broadcast of a football game and do an ad.  Then, they use strippers to attract customers.  And finally, Rudy comes up with his master plan, interrupting a televised address from the President of the United States.

“You can’t fuck with the President!” Jeff says.

“Hey, he fucks with us…” Rudy responds.

Seriously, I love Rudy.

In fact, I really liked Used Cars.  It’s a good combination of broad humor and clever satire and both Kurt Russell and Gerrit Graham give such likable performances that you can ignore the fact that they’re both playing total jerks.  (In fact, I would argue that one reason that we love Rudy is because he’s so honest about being so crooked.)  Not every scene worked perfectly.  The scene where Rudy and Jeff interrupt that football game goes on forever and, after a spokesmodel’s dress is ripped off, becomes so uncomfortable to watch that it actually takes the film a while to recover.  But then, after that, you get the interruption of the President’s speech.  You get Jeff freaking out over whether or not red cars or unlucky.  You get some fun driving school humor.  And, of course, you get a cute dog that can do tricks and helps to sell cars.  The film recovers and, ultimately, Used Cars is a celebration of small businesses everywhere.

And you know what?

I really hope Rudy did make it into the state senate.

We need more Rudy Russos in government.

And we really need more commentary tracks featuring Kurt Russell!