TRENCHCOAT
US, 1983, 87 minutes, Colour.
Robert Hayes, Margot Kidder, David Suchet.
Directed by Michael Tuchner.
Trenchcoat is a pleasantly mild comedy thriller, a variation on the private eye. Margot Kidder (Lois Lane in Superman) portrays a would-be writer and the screenplay provides her with some Chandler- Hammett style situations and dialogue. It doesn't always work, but, in an undemanding way, it is quite entertaining. She is paired with Robert Hayes (of Flying High) who is not what he seems. Nor are the charming Irish couple who turn out to be terrorists. It is that kind of madcap murder mystery - set on Malta with very attractive location photography. There is a blend of comedy, melodrama - in the context of today's heroism.
The film, directed by Michael Tuchner (English director of Villain, Mr. Quilp) who later moved to America, Summer of My German Soldier, Haywire). The film was made by the Disney Studios (though using the Buena Vista emblem rather than the Disney emblem). It is perhaps too mild for adults and too adult for children.
1. An enjoyable comedy thriller? For what audience? Adult escapism?
2. Disney production? The Disney style for adults, for children, family? The influence of changing entertainment styles of the '70s and 1980s on the Disney Studios?
3. The beauty of the Malta locations and photography? The use of Maltese historical sites and scenery? The contrast with the world of the Americans? Malta as an international melting pot, for tourism and terrorism: the British, Irish, Arabs, Americans? The Maltese themselves?
4. The importance of the editing for pace, comedy and action, jokes and suspense? Stunt work?
5. Margot Kidder and her comedy style? The private eye voiceover dialogue? Her tone, information about her background, and the irony of the truth? Mickey Raymond and the comic name? Hopes, holiday, writing? The first encounter with Terry on the flight and her seeing through him? The speeding taxi, and the repetition of the visual jokes and the taxi driver being brought into the plot importantly? The elegant hotel and the decaying Marquis? The old quiet guests and the jokes about noise? The Irish couple and their friendliness and their being the criminals? The museums, the postcards, Mickey's purse being taken and her laboured explanations to the police in term of private eye stories? The murder in the lavatory, the threat in Mickey's room and the disappearance of the corpse, the discovery of the corpse on the beach? The Italian espionage man and his attentions to Mickey, protecting of her, his death? Eva and her seeming friendliness, villainess? Mickey's interrogation, the jail, being released by Terry masquerading as a lawyer? The outings with Terry and her enjoying them? The Arab kidnappers and the taxi? The search for information about the murdered man and her visit to the ship? The discussions with Princess Aida and the death attempts? The final confrontation with Eva and her being saved by Terry? The Irish and their betrayal, being tied up, the explosion, the car chase and her never having used a gear stick? The happy ending and her writing the novel, with Terry? A pleasing characterisation for the film?
6. Terry as a foil for Mickey? His chatting with the hostess and pretending to be a doctor, his trying to sell jewellery, his talking Mickey out of jail as a lawyer, their talk in the restaurant and his conflicting stories, the casino sequence and his losing and her winning, the gradual emergence of the truth? The contacts with Eva? His electronic tracking of people? His killing Eva and saving Mickey? Being tied up with her, the escape, the chase? The happy ending?
7. The picture of the Maltese: the police and the jokes about them, the Marquis and his running of the hotel, finally driving the car for the Irish couple?
8. The Irish couple and the exploitation of their pleasant blarney? Villains? Setting the explosives? The car chases and the shooting?
9. The satire on the Italian spy and his flirting on the beach, helping Mickey, Eva killing him? Eva and her insinuations and her death?
10. Princess Aida, the man's arrival, his gradual transformation - surprising Mickey and the audience? Tenderness and pathos?
11. The initial villain and the murder, the threat on Mickey's life, the Arabs and their interrogation and truth drug? The explosion?
12. The humour with Mickey under the truth drug - and the build-up of the romance? The blend of romance, irony, thrills and melodrama? Enjoyable escapism?
