THE CHEAP DETECTIVE
US, 1979, 92 minutes, Colour.
Peter Falk, Ann Margret, Eileen Brennan, Sid Caesar, Louise Fletcher, James Coco, John Houseman, Dom De Luise, Madeline Kahn, Marsha Mason, Fernando Lams, Stockard Channing, Nicol Williamson, Phil Silvers, Abe Vigoda, Vic Tayback.
Directed by Robert Moore.
Neil Simon entertainingly spoofed the murder mystery genre in the wit and absurdity of Murder by Death, directed by Robert Moore. Peter Falk parodied the Bogart private eye. Her he is given the full treatment by Simon Moore. The plot line is Casablanca transferred to San Francisco (most of the main characters are there) with Maltese Falcon-like investigations - except that every cliche has its banality spelt out in a mixture of corny and clever humour that commands a continual smile and many guffaws, best if you know and value the old movies. A large starry cast bounces off Falk. The ladies are particularly entertaining, especially Madeleine Kahn, Marsha Mason, Eileen Brennan, Louise Fletcher.
1. An enjoyable comedy, parody, of detective stories, the use of the original Casablanca? The perennial popularity of Casablanca with audiences, films, parodies e.g. Woody Allen?
2. The reputation of Neil Simon and his style of comedy, wit? His capacity for spoofing particular genres? His affection for the genre?
3. Its re-creation of the period, the 40s, San Francisco, costumes, atmosphere, the rich, the seedy? The musical score? An authentic atmosphere of the private eye of the 40s?
4. Why were Private Eye films so popular? The individual tough hero, the particularly tough American type, the nature of his strength, the jobs that he was asked to take on, the people hiring him, mystery, the confrontation with danger, the relationship with the mysterious heroines? The cheap atmosphere of the detectives? How well did this film portray the styles of the original, parody them? The significance of the title?
5. How well did the screenplay combine the genre of the private eye with the basic plot of Casablanca? For the particular characters, their styles, appearance, dialogue? For particular types? For the details of the plot? The humour of transferring to wartime San Francisco and the need for the refugees to move to Oakland via the ferry - and open a French cafe there?
6. The gallery of actors and actresses in the film? Each with their particular style, comic reputation? Their capacity for embodying a type? Their imitating the various types from the detective stories, from Casablanca? How much did the enjoyment of the film depend on this?
7. Peter Falk as Lew Peckinpah? The play on Sam Peckinpah’s name? Peter Falk and his television image of Colombo? His coat? Transferring that image to the private eye of the 40s? As representing the private eye? His heroism and lack of heroism? Revealing the initial affair with his best friend's wife? Her killing for him? His relationship with the police -collaboration, differences? The importance of the number of women in his life - variations on the mysterious heroine? The importance of the blonde wife of his best friend, his secretary with her cleverness and her brash devotion to him, the seedy singer with whom he has the one night affair and who is devoted to him, the elegant well-dressed wife of a refugee with the past in connection with him, the femme fatale and wealthy woman married to the rich migrant? The contact and communication between them all? His deals with people, his help, his investigations? The importance of the interviews, especially with his secretary and her breaking of the code? The fat man and his restaurant, his own private taxi and taxi driver? The fat man and the confrontation with him? Solving the mystery and getting all the women?
8. The picture of women in the film: the passionate wife - with the lack of brains, but devotion - the parody of the number of killings? Her arrival in his home and the deal in taking her to jail and his waiting for her? The comedy spoof of this kind of wife, killer? The singer and her presence, a big woman, her song in the cafe, having nothing else to do but go home with him, her hopes for a future with him? The wife of the refugee and the parody of Ingrid Bergman in Casablanca - to appearance, tone of voice. dialogue, lines? A devotion to her husband, getting his visa, the relationship with Lew and her willingness to sacrifice herself? The irony of actually giving up her husband (and his not seeming to worry?) Ann Margret and the parody of her style as the femme fatale, her wealth, her playing and teasing Peckinpah, and the breaking of her identity and her lapsing into broken English? His secretary, her devotion, her cleverness in breaking the code, her waiting outside during the comic scenes where he was encountering each of the women and hiding them in a different room?
9. Particular scenes of humour: the club, the visit to the wealthy house and the notes being exchanged, the women hiding in various rooms etc.
10. The parody of Casablanca - Lew as the parody of Humphrey Bogart? The fat owner of the cafe, and the irony of his shooting the villain and his being wounded for so many years and then dying? The ageing decrepit villain who was being sought out and who comes to life with his wife but is shot? The parody of the Sydney Greenstreet fat man and his power and discussions, the parody of the Peter Lorre assistant? The French refugee and his wanting to open the restaurant in Oakland, the parody of Paul Henreid in Casablanca? The Germans, patriotism, songs. The officer's death?
11. The build-up to the finale and the seemingly heroic ending but the husband going off leaving his wife?
12. How entertaining the poking fun at America, American styles and traditions? What insights does parody offer? The ambiguity of values and the breaking of expectations?
