The Lonely Guy

The Lonely Guy (1984), starring Steve Martin and Charles Grodin, is part of a popular subgenre of the romantic comedy with sad sack protagonists unlucky in and often looking for love such as Woody Allen’s Annie Hall (1977) and Albert Brooks’ Modern Romance (1981) with the female equivalent in movies like Bridget Jones’s Diary (2001) and Someone Like You (2001). These movies often feature socially awkward protagonists fumbling their way through unsuccessful relationships. The Lonely Guy fancies itself as a grandiose cinematic statement on the subgenre right down to the mock-epic-style opening that playfully references 2001: A Space Odyssey (1968).

Larry Hubbard (Martin) is a successful greeting card writer living in New York City. He comes home one day to find his girlfriend in bed with another man and seems completely oblivious to it all in an amusing bit where he carries on with his daily routine as if nothing is wrong. Kicked to curb, Larry wanders the streets until he sits on a park bench and meets experienced “lonely guy” Warren Evans (Grodin) whose girlfriend just left him for a guy robbing her apartment (“It’s probably for the best. She was really starting to let herself go,” he deadpans.).

Warren gives Larry a lot of helpful advice, like avoiding wealthy neighborhoods to live in because they have high crime rates (he even sees a man thrown off a building and another guy shot on the sidewalk in front of him!). These early scenes between Steve Martin and Charles Grodin are among the strongest of the movie as the former’s optimism clashes hilariously with the latter’s pessimism.

Larry soon discovers that there are all kinds of other lonely, single guys like him out there and they need advice like he did and so he decides to write a book entitled, A Guide for the Lonely Guy. It becomes hugely successful and Larry finds himself not so lonely any more. He even tries to pick up a woman at a bar by telling her that he’s looking for a real relationship while she admits that she just wants to have sex. As if on cue, Warren shows up and asks Larry, “Ever think about getting a dog?”

This scene demonstrates how The Lonely Guy deftly juggles satire with keen observations on human behavior. Everything is heightened for comedic effect reminiscent of the Zucker Abrams Zucker movies only not quite as zany. In some respects, this movie, with its self-reflexive voiceover narration and breaking of the fourth wall, feels like a warm-up for Martin’s comedic opus L.A. Story (1991), which manages to balance satire with poignant observations about relationships much more successfully.

Larry meets Iris (Judith Ivey), an attractive woman he keeps running into but is unable to make it work because the timing isn’t right. They have an on-again-off-again relationship that plays out over the course of the movie.

Martin manages to effortlessly tread a fine comedic line between hapless doormat and hopeless romantic. The problem with a lot of romantic comedies is that they’re populated by impossibly good-looking people that would never have a problem finding love and while he is a handsome guy Martin is able to convey the awkwardness of someone lacking confidence – that makes him a believable lonely guy.

Grodin plays Warren as the ultimate dweeb who refers to his plants as “guys.” In the 1980s, he excelled at playing uptight, nebbish characters (Midnight Run) and this is one of the best takes on this type. In a movie with many outrageous gags and set pieces, he wisely underplays, delivering a less is more performance that is quite funny. The best scenes in the movie are between him and Martin. They play well off each other and it’s a shame they didn’t do more movies together.

Neil Simon adapted Bruce Jay Friedman’s book, The Lonely Guy’s Book of Life and then Jay Friedman and Stan Daniels, known for their work on television sitcoms like The Mary Tyler Moore Show and Taxi, wrote the screenplay. The project was a challenging change of pace for them as the latter said, “We were used to writing about real people and real problems – in other words, just straightforward realistic comedy. The Lonely Guy is a stylized way of getting at reality.”

Principal photography began in spring of 1983 at Universal Studios’ famous New York City backlot on Stage 28 with Larry and Warren’s apartments built on the same soundstage. Incredibly, a life-sized scale replica of the Manhattan Bridge was constructed, standing eight feet in the air and was 44-feet wide, taking four weeks to build. In addition, actual location shooting took place in Los Angeles and for three weeks in New York.

The Lonely Guy was savaged by critics with Roger Ebert giving it one-and-a-half out of four stars and writing, “The Lonely Guy is the kind of movie that seems to have been made to play in empty theaters on overcast January afternoons.” In her review for The New York Times, Janet Maslin wrote, “Whenever the film tries for sprightliness, it stumbles. When it gives in to the basic misery of Larry and his situation, though, it begins to make some sort of morose comic sense.” Pauline Kael felt that is had “some wonderful gags and a lot of other good ideas for gags, but it was directed by Arthur Hiller, who is the opposite of a perfectionist, and it makes you feel as if you were watching television.” The Washington Post’s Gary Arnold wrote, “Nevertheless, despite the flailing around, the picture fitfully accumulates a handful of modest highlights and silly brainstorms. They may seem sufficient to justify the trouble, especially if you extend Martin & Co. the courtesy of not expecting a classic.” Even Martin wasn’t too crazy with the end result. He didn’t like Larry and felt that as a character he was “too weak. I realized I played too nebbishy. That’s what was written, but it’s not a character I especially want to play anymore.”

Even though the situations Larry finds himself in are heightened for comedic effect, The Lonely Guy does capture the single guy mindset quite well – the desperation and the rationalization that a lot of men experience as they try to find that special someone. Ultimately, the movie suggests that you have to be willing to put yourself out there if you want to meet someone and that takes courage as you run the risk of being rejected. There’s something to be said about making an attempt and the movie champions this approach albeit in a satirical way. If The Lonely Guy is remembered at all its as a commercial and critical failure that not even its star liked but I think he, Kael and other film critics have been too hard on this trifle of a movie that is funny and features a stand-out performance by Charles Grodin.

SOURCES

Pollock, Dale. “Steve Martin: A Wild and Serious Guy.” Los Angeles Times. September 16, 1984.

The Lonely Guy Production Notes. 1984.

Midnight Run

One of the most popular trends in the 1980s cinema was the buddy-action film. The best ones to come out of this period were 48 HRS. (1982), Beverly Hills Cop (1984), Lethal Weapon (1987), and Midnight Run (1988), which spawned numerous imitators and sequels. Along with Lethal Weapon, Midnight Run is arguably the genre's last gasp before slipping into formulaic predictability and self-parody (see Rush Hour, Blue Streak, et al). What makes Midnight Run so good, even after all these years, is the unbeatable combination of an excellent cast, a witty script and solid direction.

Jack Walsh (Robert De Niro) is a bounty hunter hired by his bail bondsman Eddie Moscone (Joe Pantoliano) to find and transport to Los Angeles, one Jonathan Mardukas (Charles Grodin) — a.k.a. “The Duke,” an accountant who stole $15 million from Las Vegas gangster Jimmy Serrano (Dennis Farina). What is initially a simple "midnight run" from New York City to Los Angeles, turns into the road trip from hell as Walsh and Mardukas are pursued across the country via plane, train, and automobile by dim-witted gangsters, frustrated FBI agents led by Alonzo Mosely (Yaphet Kotto), and a rival bounty hunter named Marvin Dorfler (John Ashton).

While this film may be a comedy, Brest lets us know right from the get-go that it’s going to have a slightly unpredictable edge to it as Walsh is almost killed by a deadbeat he’s supposed to bring in. If that wasn’t bad enough, his guy is almost snatched away from him by Dorfler. I like that Brest takes the time to show Walsh doing his job and that he’s good at it. The bounty hunter is able to track down and find Mardukas where the Feds and the Mob were unable.

Brest wastes no time introducing the film’s various antagonists starting with Mosely who approaches Walsh on the street. The bounty hunter quickly finds himself surrounded by four FBI agents. Walsh knows what they want and gives them nothing but smartass replies to their questions. Yaphet Kotto doesn’t play Mosely as an inept bumbler but instead brings an impressive intensity to the role that makes his character something of an intimidating figure which, of course, makes his kind of incompetent lackeys that much funnier the more frustrated he gets when they are repeatedly unable to catch Walsh and Markdukas. For example, there’s the withering glare Mosely gives one of his flunkies when he states the painfully obvious – that Walsh has his identification.

Midnight Run adheres to the basic formula of the buddy-action film with two diametrically opposed characters teaming up to fight the bad guys. Inevitably, humorous situations arise from constant bickering while the duo shoots, punches, and fights their way out of action-packed set pieces. Ultimately, what makes Midnight Run work so well is how it messes around with the formula. Instead of having one funny guy and one straight man, you have two straight men with De Niro and Grodin. And yet it works, due in large part to the skill of the two leads who complement each other perfectly — De Niro plays Walsh as a gruff, foul-mouthed guy constantly annoyed by Grodin's clean-cut accountant, armed with a seemingly endless supply of personal questions to ask his traveling companion. Their scenes together seem very spontaneous and real as they annoy the hell out of each other.

Fresh from his scene-stealing appearance in The Untouchables (1987), Robert De Niro was eager to try something different. He wanted to do a comedy and to this end, pursued the lead role in Penny Marshall's film, Big (1988). Marshall was interested but the studio was not and thankfully the role went to Tom Hanks. Martin Brest, who directed Beverly Hills Cop, had found another script by George Gallo in the same vein — one that blended elements of comedy and action. He sent it to De Niro and was very up front with the actor: Midnight Run was a commercial film, not an in-depth character study. Regardless, De Niro researched his role by working with real-life bounty hunters and police officers.

Paramount was originally interested in backing Midnight Run but they wanted a big name star opposite De Niro in order to improve the film's chances at the box office. Their production executives suggested that the Mardukas character be changed to a woman and wanted Cher for the role in the hopes that she would provide some "sexual overtones." Brest wisely rejected the idea and so Paramount suggested teaming De Niro up with Robin Williams. Williams was a big star in his own right and eager to get the role. He even offered to do an audition for Brest — a rarity for the comedian whose name alone could green light projects. However, Brest was impressed by Charles Grodin's audition with De Niro. The director felt that there was a real chemistry between the two actors. As a result, Paramount backed out and the studio’s president Ned Tanen claimed that the budget became too high and decided that “it wasn’t worth it.” Universal Pictures became interested in the project. It is to Brest's credit that he supported Grodin down the line and refused to change his decision despite studio pressure.

Brest brought Grodin aboard with the understanding that the actor would have the opportunity to improvise. Grodin was very much open to De Niro's improvisational technique. He remembered that De Niro "was all about 'work,' plain and simple, and being with him felt like breathing pure oxygen." Some of their best scenes feel like the screenplay was just thrown out and that they simply riffed off one another. For example, the night boxcar scene where Walsh and Mardukas bond, after illegally stowing away on a train, was improvised entirely.

Much of Midnight Run’s humor comes from these moments as they constantly antagonize each other. This relationship is believable because the film takes the time to develop it with many scenes where the two men just talk, and this allows us to get to know them. Most buddy films spend only the bare minimum amount of time on character development and instead cram as many action set pieces and explosions in as possible. As a result, we do not become attached to the characters. Midnight Run does not fall into this trap.

For all of its commercial elements, George Gallo's script has very strong, three-dimensional characters that transcend their stereotypes. It was the script that first drew Grodin to the project. He said in an interview that "the script had dimension beyond what I'm used to seeing. The dimension of character. It looked like a good action-adventure genre picture with strong character evolution." De Niro, being the consummate actor that he is, still manages to inject little touches and details, like a habit of constantly checking his faulty watch, or the nice bit of comedy when he checks out Mosely’s identification that he pickpocketed during their first meeting. De Niro walks away from the camera only to quickly turn around and flash the stolen ID in an amusing parody of an FBI agent. It is these little bits of business that provide insights into his character. Brest commented in an interview that, "sometimes I'd let the camera run after finishing a scene to see if he did any bits, and invariably he did."

From the two leads to the rest of the supporting cast, each character is given a moment or two to say or do something that makes them distinctive and funny. For example, there is John Ashton as Dorfler, a rival bounty hunter who falls for the same stupid trick every time. Dorfler is not just some generic bounty hunter. Ashton transforms him into a self-absorbed idiot who is completely oblivious to the big picture. Even though Dorfler is always on the receiving end of many jokes, he gets his chances to prevail. However, you know that, ultimately, he is destined to fail. Dorfler has a distinctive personality instead of being merely a cardboard cutout.

Joe Pantoliano is so good as the increasingly exasperated bail bondsman. His opening exchange with De Niro early on in the film is so well played. In a matter of moments De Niro and Pantoliano suggest a long history between their two characters in the way they act towards each other. Eddie is a consummate bullshit artist but Walsh sees right through that. I like the nice little detail that Brest throws into this scene where Eddie pays Walsh by taking out a wad of cash stashed in his pink and white socks. It’s details like this that say so much about a character. Eddie cares only about money and his reputation. These characters could have been presented as clichéd stereotypes but Brest wisely casts veteran character actors like Ashton and Pantoliano in these roles.

Many of the supporting characters appear constantly throughout the film in a series of recurring gags, like Mosely running into people who’ve encountered Walsh posing as him, or Mardukas’ never-ending questions about Walsh’s personal life (“Why were you so unpopular with the Chicago Police Department?”), or Dorfler getting fooled by the same trick time and time again. Then there’s Joey (Robert Miranda) and Tony (Richard Foronjy), two dumb Vegas wiseguys that work for Serrano. Tony’s the slightly smarter one but not by much. The give and take between these two minor characters is really funny and the script gives them a moment of actual competency which makes them more than just one-dimensional thugs. It helps that the two actors playing them do such a good job bringing these characters to life.

Much like Yaphet Kotto does with Agent Mosely, Dennis Farina plays his character as if he were in a drama and not a comedy. Unlike his goofier mobsters in Get Shorty (1995) and Snatch (2000), the actor transforms Jimmy Serrano into an imposing figure best illustrated in the scene where he confronts Mardukas and tells him that he’s going to die. For a brief moment, Midnight Run stops being a comedy and there’s a real sense of danger thanks to Farina’s chilling presence in this scene. He’s also quite funny in the scenes where he threatens his underlings with all sorts over-the-top violent acts if they don’t do his bidding.

Midnight Run received mixed reviews from critics of the day. Roger Ebert gave the film three-and-a-half stars out of four and wrote, "What Midnight Run does with these two characters is astonishing, because it's accomplished within the structure of a comic thriller ... It's rare for a thriller to end with a scene of genuinely moving intimacy, but this one does, and it earns it." In his review for the Globe and Mail, Jay Scott praised the performances: "De Niro has the time of his acting life lightening up and sending up all those raging bulls that won him all those Oscars ... Charles Grodin, master of the double-take and maestro of the slow burn, the best light character comic since Jack Benny stopped playing himself." However, The New York Time’s Vincent Canby wrote, "Mr. De Niro and Mr. Grodin are lunatic delights, which is somewhat more than can be said for the movie, whose mechanics keep getting in the way of the performances.” In his review for the Washington Post, Hal Hinson criticized director Martin Brest for, "carrying the dead weight of George Gallo's script, Brest isn't up to the strenuous task of transforming his uninspired genre material in something deeper, and so the attempts to mix pathos with comedy strike us merely as wild and disorienting vacillations in tone.” Newsweek magazine’s David Ansen wrote, "The outline of George Gallo's script – odd-couple antagonists become buddies under perilous circumstances – was stale five years ago, and the outcome offers no surprises. Too bad: a lot of good work has been wasted on an unworthy cause.”

Nowadays, it’s hard to remember when De Niro doing a comedy was something of an anomaly. Sure, he had done The King of Comedy (1983) but by and large he was known at the time as a dramatic actor. So, teaming him up with veteran comedic actor Charles Grodin in an action comedy must’ve seemed like a risky prospect to the studio. But this would be tempered with director Brest behind the camera. This was years before Gigli (2003) when he was still enjoying the good will from the smash hit Beverly Hills Cop. If anybody could make De Niro funny while still retaining his trademark intensity, it was Brest.

Now, there is a whole generation of filmgoers that only knows De Niro from comedies like Meet the Parents (2000) and Analyze That (2002). Charles Grodin has, for the most part, shunned the limelight. He had a short-lived talk show and appears occasionally on The Tonight Show but has, unfortunately, not done anything on par with his work in Midnight Run. In fact, he hasn’t acted since 1994 and said in a recent interview that he has quit acting altogether. By the late 1980s, early 1990s, the buddy-action film had become a tired and hackneyed cliche. Screenwriter Shane Black offered a brief breath of fresh air with Lethal Weapon and The Last Boy Scout (1991) but generic time-wasters, like De Niro’s own Showtime (2002), Serving Sara (2002), which blatantly rips off Midnight Run, or the more recent The Bounty Hunter (2010), are still cranked out with predictable regularity by the studios. Back in 1988, Brest delivered the goods in a big way, serving up an R-rated film that mixed exciting car chases and shoot-outs with hilarious recurring gags and assortment of colorful characters.

SOURCES

“De Niro is Making the Publicity Rounds.” St. Petersburg Times. May 23, 1988.

Grodin, Charles. It Would Be So Nice If You Weren’t Here. William & Morrow & Company, Inc. 1989.

O’Regan, Michael. “The Private De Niro.” Sunday Mail. July 17, 1988.

Parker, John. De Niro. Victor Gollancz. 1995.

Van Gelder, Laurence. “Off a Cliff, Across an Ocean: Splash!” The New York Times. July 21, 1988.