Urbane con artist Michael Caine has carved out an opulent life on the French Riviera scamming copious amounts of cash from easily corruptible romance-starved wealthy women. His territory is infringed by brash, abrasive low-level American con artist Steve Martin, who offers not to blow the whistle on Caine if he teaches him the ropes. Ultimately the teacher and student find themselves competing against each other to swindle $50-grand from klutzy American "soap queen" Glenne Headley.
DRS is a remake of a 1950s romp called Bedtime Story. The original featured David Niven and Marlon Brando in the roles. It is a mildly diverting but largely forgettable comedy that was ripe for a remake. Brando was a great actor, but hardly known for his tremendous comedic talents. By contrast, Niven was the very definition of urbane and was always likable, but (a puzzling Oscar nod aside) discerning critics never confused anything he did as great acting.
DRS succeeds where its predecessor fell short largely due to expert casting. Martin could play this role in his sleep, but he doesn't. He gives it his all and the film is the better for it. Ditto, it has been a long time since Caine looked like he was having this much fun on screen and it translates to the audience. What this duo does seems effortless, but it is not. The chemistry, the comedic timing, etc., can be like lightning in a bottle. And they have caught that here.
Frank Oz's direction is fleet-footed and as frothy as the finest champagne. The screenplay and dialogue are smart and snappy. The cast as a whole works like a precision timepiece. The scenery is lovely.
Certain sections of this film could function as the highlight of a lesser solid comedy, but we get a succession of highlights. The student-teacher training session, the compilation of snooty women scared off by Martin's one-eyed brother, are all memorable.
One would think the film would lose momentum in the latter portion wherein Martin and Caine go mano a mano to dupe Headley, but some of the funniest scenes occur therein, with Martin pretending to be a psychosomatic paraplegic to win sympathy and Caine disguised as a tortuous German specialist out to "cure" him.
Which brings us to another component that pushes this film over the top - Headley's endearingly ditzy work as Janet Colgate - the American "soap queen". Headley was a pretty frequent cast member in supporting roles and character parts during the 80s/90s. This was a rare time when she was offered a lead role to shine and she grabs it by the horns and runs with it. Janet is kind, but also funky so as not to be boring and winsome enough that we see why both men spark to her.
Most people know the climactic twist, but I will not ruin it here. Needless to say that Caine and Martin sell it, and it is a tribute to Headley's work that the whole scenario seems possible and somehow delightfully delicious.
If I have any complaints about the film, I would say that I wish that the multi-talented Barbara Harris were used a bit more as Fanny Eubanks of Omaha. Harris was fading from the screen at this point and any opportunity to see her was worthwhile.
One of those rare comedies filled with belly laughs that you can actually watch with the whole family.
DRS is a remake of a 1950s romp called Bedtime Story. The original featured David Niven and Marlon Brando in the roles. It is a mildly diverting but largely forgettable comedy that was ripe for a remake. Brando was a great actor, but hardly known for his tremendous comedic talents. By contrast, Niven was the very definition of urbane and was always likable, but (a puzzling Oscar nod aside) discerning critics never confused anything he did as great acting.
DRS succeeds where its predecessor fell short largely due to expert casting. Martin could play this role in his sleep, but he doesn't. He gives it his all and the film is the better for it. Ditto, it has been a long time since Caine looked like he was having this much fun on screen and it translates to the audience. What this duo does seems effortless, but it is not. The chemistry, the comedic timing, etc., can be like lightning in a bottle. And they have caught that here.
Frank Oz's direction is fleet-footed and as frothy as the finest champagne. The screenplay and dialogue are smart and snappy. The cast as a whole works like a precision timepiece. The scenery is lovely.
Certain sections of this film could function as the highlight of a lesser solid comedy, but we get a succession of highlights. The student-teacher training session, the compilation of snooty women scared off by Martin's one-eyed brother, are all memorable.
One would think the film would lose momentum in the latter portion wherein Martin and Caine go mano a mano to dupe Headley, but some of the funniest scenes occur therein, with Martin pretending to be a psychosomatic paraplegic to win sympathy and Caine disguised as a tortuous German specialist out to "cure" him.
Which brings us to another component that pushes this film over the top - Headley's endearingly ditzy work as Janet Colgate - the American "soap queen". Headley was a pretty frequent cast member in supporting roles and character parts during the 80s/90s. This was a rare time when she was offered a lead role to shine and she grabs it by the horns and runs with it. Janet is kind, but also funky so as not to be boring and winsome enough that we see why both men spark to her.
Most people know the climactic twist, but I will not ruin it here. Needless to say that Caine and Martin sell it, and it is a tribute to Headley's work that the whole scenario seems possible and somehow delightfully delicious.
If I have any complaints about the film, I would say that I wish that the multi-talented Barbara Harris were used a bit more as Fanny Eubanks of Omaha. Harris was fading from the screen at this point and any opportunity to see her was worthwhile.
One of those rare comedies filled with belly laughs that you can actually watch with the whole family.