Published via Ecency

(source: tmdb.org)

Robert De Niro is one of the greatest actors of his generation, but his reputation as a screen legend was, at least initially, built on serious dramatic roles. Just like many comedians trying to broaden their rage and display variety of their talents by starring in dramas, De Niro sought to prove himself as comedic actor. One such effort, Midnight Run, 1988 action comedy directed by Martin Brest, turned out to be one of the most popular titles in his impressive filmography.

De Niro plays Jack Walsh, Los Angeles-based bounty hunter who earns his living by catching bail-jumping clients of a bail bondsman Eddie Moscone (played by Joe Pantoliano). Most of people he apprehends are dangerous criminals, but his next target is supposed to be much easier to handle. Accountant Jonathan “The Duke” Mardukas (played by Charles Grodin) has been arrested for embezzlement of 15 million US$ and disappeared after paying 450,000 US$ bail. Moscone wants him back in his office in five days, and Walsh is promised 100,000 US$ reward if he delivers. Walsh easily tracks and apprehends Mardukas in New York, but bringing him to Los Angeles will be much more difficult than he anticipated. Mardukas has actually embezzled money from Chicago mob boss Jimmy Serrano (played by Dennis Farina); he sends assassins to permanently silence problematic accountant. FBI, led by Special Agent Alonzo Moseley (played by Yaphet Kotto) want to arrest Mardukas and use him as a witness. Walsh must avoid both factions, while also being pursued by rival bounty hunter Marvin Dorfler (played by John Ashton).

Based on the script by George Gallo, Midnight Run represents blend of road film, “buddy buddy” comedy and action. Mixing such genres can be tricky, but, thankfully, it was done under steady and experienced hand of Martin Brest, director who had mastered similar task in his previous and very popular film Beverly Hills Cop. Brest handles action very well, making even the most spectacular scenes (including the exploding helicopter, staple of 1980s action cinema) look convincing and natural. He also makes perfect balance between action and comedy; the latter is handled with lot of subtlety and in natural way, abandoning cheap laughs and slapstick for the sake of verbal confrontations with two main characters, with plenty of foul language that made this film adult (according to standards of increasingly puritanical 1980s Hollywood) despite lacking explicit violence or sex.

The greatest asset of the film was, of course, the cast. Just like Eddie Murphy had carried Beverly Hills Cop on his shoulders, De Niro did it with this film. He plays tough, street smart but world-weary character who nevertheless dreams of leaving the world of mean streets and ride into sunset as restaurant owner. De Niro plays that character very effectively, by making Jack Walsh funny despite his character being serious and business-focused all of the time. De Niro’s comedic skills are well matched by his partner, veteran comic actor Charles Grodin who plays seemingly neurotic, but shrewd white collar criminal who prefers using brains instead of brawns and unexpectedly turns into straight man in the comedic pairing. The interplay between two actors is wonderful and they quickly develop the chemistry that would make audience like their characters. Walsh and Mardukas, like so many characters in such films, gradually discover that share many things in common and, despite their differences, develop respect for each other and something resembling friendship. It is portrayed in the way that sets the stage for the ending which, despite all of its predictability, proves to be emotionally satisfying.

De Niro’s and Grodin’s work is well-matched by the rest of diverse cast, although hardly any of the actors, with possible exception of John Ashton as Walsh’s dim-witted rival, leaves particularly strong impression. Another flaw of the film is something that would plague Brest in his latter films – slow pace which results in slightly excessive running time. But the greatest problem for Midnight Run is strangely disappointing musical score by Danny Elfman, which in many ways deprives this film of true greatness. Midnight Run nevertheless won the critics and had more than satisfying run at the box office, with its reputation continuing to grow on home video. Apart from three relatively 1990s television films not starring De Niro, we were spared from sequel which would likely be much inferior.

RATING: 7/10 (+++)