There are also funny character bits from Vincent Schiavelli, Joe Spinell and Bobby Di Ciccio (“That Barny Rubble. Winkler is far from the Fonz and his arc from flower to lion is sweet and satisfying as is his relationship with Shelly Long, more than holding her own and very sexy. And though Henry Winkler had not become a movie star after HEROES and THE ONE AND ONLY, he found a perfect role in a hit film as Chuck Lumley, the milquetoast morgue clerk whose night life is turned upside down by fellow employee Billy “Blaze” Blazejowski, his party polar opposite, as they become semi-reluctant gentle pimps. It’s the last of the 1970’s cinematic Manhattan, replete with 42nd Street tenement taint. I was hooked immediately by the neon New York vibe of the Burt Bacharach theme song by Quarterflash. As we walked out of the theater, he said, “You were right.” We both loved NIGHT SHIFT. A few minutes later, Jay entered and sat a few seats away, pouting. He didn’t want to go and got mad that I did. I tried to convince Jay to see NIGHT SHIFT next door as I’d heard good things despite the chintzy “wacky” poster. I saw this at the now defunct Madison Square Four Cinema on a double feature of FUNERAL HOME (a Canadian tax shelter flick if there ever was) and something else I’ve forgotten that I feared would be worse. Since I’m in an 80’s kind of comedy mode, I thought it apropos to revisit an iconic scene from NIGHT SHIFT, directed by Ron Howard and written by Lowell Ganz and Babaloo Mandell from the fabled movie year of 1982.
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