Tag Archives: Andrew Bergman

Big Trouble (1986)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Insurance agent commits fraud.

Leonard (Alan Arkin) is an insurance agent who does not have enough funds to put his three sons through Yale, which causes him a lot of stress. During a random sales call he meets Blanche (Beverly D’Angelo) who has a sick husband named Ricky (Peter Falk) who has only a week to leave. They hatch a scheme to write-up a life insurance policy that has a double indemnity clause that offers a big payout if Ricky dies by falling off a moving train. The plan starts out fine only to ultimately backfire when Leonard realizes he’s been double-crossed.

At the outset one might assume that this is a sequel to The In-Laws since it has the two stars from that film as well as the same screenwriter, though done under the pseudonym of Warren Bogle, but that’s not the case because Andrew Bergmen got the bright idea of trying to do a parody of Double Indemnity instead. This became a complete disaster for its studio Columbia Pictures because after the script was completed it was deemed a remake of the original film, which Universal Studios still held the rights to, forcing Columbia to give up the rights to Back to the Future and given to Universal as compensation who made a ton of money off of it while this film flopped badly.

A lot of the problem is that unlike in The In-Laws the two stars don’t play off of each other enough and in fact for most of the film they seem to be adversaries. The tone is also inconsistent seeming at times that it wants to be a parody/farce while at other moments it comes off more like a surreal comedy. It doesn’t help matters that John Cassavetes took over directing the production when Bergmen dropped out and his forte was more in drama with a cinema vertite approach causing many of the scenes here to go on longer than necessary while lacking a good comic pace. I also thought it was ridiculous that the plot features many twists, but then ends up telegraphing to the viewer well ahead of time that they’re coming, which takes away any surprise.

Arkin’s character is particularly problematic. Part of why he was so funny in The In-Laws is because he played this sane man thrown into an insane situation, but here he allows himself to get swept up into the nuttiness too easily until he seems almost as crazy as the rest. There’s also no way that a seasoned insurance agent, such as the one he played, would be dumb enough to think he could pull off such a poorly thought out scheme. Being an agent he would know that an autopsy would be done on the dead body and they would find that the victim had been strangled well before he fell off the train and the fact that this all occurs less than 24-hours after the policy was signed would send off massive red flags to anyone working in the industry.

While there are a few funny moments which includes Arkin trying to disguise himself as Falk and even speak in his voice as well as Arkin’s reaction when he takes a sip of Falk’s very exotic liqueur, the rest of it falls depressingly flat. The worst of it is the ending, which throws in a wild coincidence that has no bearing to the main plot nor any forewarning or connection to anything else that came before it, which helps to cement this as a big mistake that should’ve never have been given the green light.

My Rating: 3 out of 10

Released: May 30, 1986

Runtime: 1 Hour 33 Minutes

Rated R

Director: John Cassavetes

Studio: Columbia Pictures

Available: DVD, Amazon Video, YouTube

Oh, God! You Devil (1984)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: God versus the devil.

Bobby Shelton (Ted Wass) is a struggling songwriter who is becoming increasingly frustrated at his inability to make it big. He blurts out at one point that he’d be willing to sell his soul if it could get him success and this catches the attention of the Devil (George Burns) who goes by the name Harry O. Trophet. He offers to become Bobby’s agent as long as Bobby signs a contract that gives him his soul after an indefinite period of time. Bobby, so desperate to reap the benefits of fame and fortune that has alluded him all his life, decides to take him up on the offer and soon becomes a world famous rock star named Billy Wayne. Yet Bobby misses his girlfriend Wendy (Roxanne Hart) who he can no longer see because he’s inhabiting a different identity. He longs to go back to his old way of life and tries to contact the services of God (George Burns) to dissolve the contact he signed and return him back to the way it was before.

After the critical shellacking of Oh, God! Book II the studio realized their mistake and attempted to take the theme in a whole new and hopefully fresh direction. They commissioned both Josh Greenfield and Andrew Bergman to write separate scripts and then ultimately choose Bergman’s over the other one. While the idea may sound funny the way it gets handled is not. All Bergman does is simply rework the Faust legend while offering very little that is new or inventive to it. The plot gets handled in an extremely heavy-handed and melodramatic manner that is neither funny nor engrossing. Bergman shows little feeling for the material and the story plods along in a predictable and boring way.

Wass, who no longer performs in front of the camera and has since 1995 worked exclusively behind-the-scenes as a director, is extremely weak. His performance is one-note and his constant deer-in-headlights expression is annoying. The film doesn’t do a good job of portraying his desperate situation either. Despite making very little money he’s still able to somehow afford a chic-looking apartment and maintain a relationship with a very hot-looking woman. I realize the point of the movie is to show that he already had a good thing going and just didn’t realize it, but his situation should’ve been shown to be more bleak in order to have his signing of the contract make more sense.

Burns is the only thing that saves it. He had never played a bad-guy before, so seeing him fall into the devil character as well as he does is fun and some of the lines that he conveys are the only amusing bits in the movie. However, the big showdown between God and the devil in which the two play a game of poker is not interesting at all and they needed to do something that offered more action, which is badly missing from the film otherwise.

This marked the final movie to date in the Oh, God! franchise. There were discussions a few years back about reviving it with Betty White playing the role of God, but because of her advanced age no insurance company would back it, so the idea got scrapped, which is a shame as this would be one reboot I’d be interested to see.  It would be nice if someone would make a film that more closely resembled the ‘Oh, God!’ novel by Avery Corman, which had a satirical tone that none of the three films replicated.

My Rating: 1 out of 10

Released: November 9, 1984

Runtime: 1 Hour 37 Minutes

Rated PG

Director: Paul Bogart

Studio: Warner Brothers

Available: DVD, Amazon Video, YouTube

So Fine (1981)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Jeans that expose ass.

Bobby Fine (Ryan O’Neal) is an English professor at a college waiting to get tenure who inexplicably becomes the head of his father’s clothing company, which produces women’s apparel, when his father Jack Fine (Jack Warden) is unable to pay off a debt that he has with a local loan shark named Eddie (Richard Kiel). Bobby knows nothing about the clothing business, but inadvertently strikes on a hot idea, jeans that look like they’re revealing a woman’s butt cheeks, which becomes a huge fashion sensation. Unfortunately Bobby also starts having an affair with Eddie’s wife Lira (Mariangela Melato) which jeopardizes not only his newfound success, but his life as well.

The film was written and directed by Andrew Bergman who was just coming off great success as the screenwriter for The In-Laws and was fully expecting this film to do just as well, but instead it had less than a 2-week run in the theaters. Much of this can be blamed on the humor, which is lowbrow and farcical while failing to give any new insights into the clothing business, or anything else for that matter. The jeans themselves don’t look sexy either as plastic gets used in replacement of the real butt cheeks where exposing the actual ass would’ve been far more provocative.

O’Neal’s affair with Melato is both unfunny and dumb. Why would such a good-looking guy, who could easily get women to fall for him,  fall suddenly head-over-heals to a wife of a mobster who will kill him instantly if he found out? This guy teaches at a college, so why not get into a sexual relationship with one of the coeds, who are most likely younger and better looking than this middle-aged woman and does not have the baggage of a marriage?

The climactic sequence, which takes place at an opera is when this thing really jumps-the-shark as it features Melato coming out of the audience and agreeing to replace the leading lady on stage when she falls ill, but how would Melato have known all the words to the music without having been to any of the rehearsals? This segment also features Kiel getting on stage and becoming a part of the opera as well where he sings in fluent Italian even though it was never established earlier that he knew the language.

It was fun seeing Kiel, who built a career by playing a lot of mindless hulks most notably in the James Bond films, being given more speaking lines than usual, but I noticed the very apparent lump on his forehead, which in his other films I didn’t. Maybe this was because in the Bond movies he was given metal teeth, which is what got the viewer’s attention and took away from the lump, which here I found became a distraction.

Melato, who was a big star in Italy particularly with the films she did with director Lina Wertmuller, gets completely wasted in a thankless, one-dimensional role of an over-sexed vamp that is neither funny nor interesting. O’Neal, whose best bit may just be the perplexed expression he conveys in the film’s poster seen above, is adequate, but upstaged by Warden who is far funnier and the movie would’ve worked better had he been the star.

The jeans angle, which features a TV-ad that has Anita Morris as one of the dancers, is brief and more of a side-story while the emphasis is on O’Neal’s fling with Melato that isn’t very inspired and no surprise why this ultimately failed at the box office.

My Rating: 2 out of 10

Released: September 25, 1981

Runtime: 1 Hour 30 Minutes

Rated R

Director: Andrew Bergman

Studio: Warner Brothers

Available: DVD-R (Warner Archive), YouTube