If you love film, you likely have been to a repertory screening at some point in your life. The chance to watch an older movie, on the big screen, with a crowd as in love with the opportunity to watch a movie in theatres, maybe for the first time, or maybe to recapture that sense of wonder of when you first saw it. The idea of repertory showings of movies still exists, but it’s also become corporatized through Fathom Events and their annual TCM series. That’s not inherently a bad thing (it’s how I finally watched “Vertigo” and “Jaws” on the big screen), but it also takes away some of the pleasure of going to an art house theatre like Atlanta’s The Plaza, which constantly has older films on tap, as well as special showings; my experiences with “The Crow” and “The Shining” there are unmatched.
It took me a while to figure out who my bookend director for 2024 was going to be for this series. As I listened to his memoir while on the road for work, I knew the answer had to be the one and only Mel Brooks, and starting our year had to happen with his 1967 directorial debut, “The Producers.”
This week, I watch the Eddie Murphy star vehicle classic, “Beverly Hills Cop”. I hope you enjoy!
Viva La Resistance!
Brian Skutle
www.sonic-cinema.com
“Beverly Hills Cop” (1984)- A+
How is it that one of the biggest hits of the 1980s is an action comedy that runs a lean and mean 105 minutes, and didn’t get bogged down by sequels that only expanded the run times, and excised the fun? I’m not saying either of the first two sequels to “Beverly Hills Cop” are good, but the fact that later filmmakers didn’t go heavy into overplotting is something of a miracle to consider now. This is one of those films that I very likely watched as a kid with my parents (it’s actually a fairly tame 1980s R rating), but don’t remember seeing entirely. Now, I can officially say I’ve seen it, and that’s all that matters.
Few star vehicles from the ’80s are better calibrated for their stars than “Beverly Hills Cop.” It gives Eddie Murphy plenty of latitude to be a smartass, but also shows off Axel Foley’s ability to put together a case. When we first see him, he’s working undercover on a sting in Detroit which goes sideways. Right away, we see how he’s a rebel who works against orders, but cares about getting the job done. When his friend gets murdered right in front of him, and he uses some of his vacation to go to Beverly Hills to investigate, we know he’s going to get in trouble, but it will be oh so fun to watch.
The opening scene with Foley defines his personality, but it’s Harold Faltmeyer’s indelible “Axel F” theme that gives him life beyond the screen. This is the best Looney Tunes score not composed for Looney Tunes, and it makes Axel a live-action Bugs Bunny. When he’s sending room service to the Beverly Hills PD cops on his tail, or when he manipulates traffic to get away from someone, and when he’s being a wise guy to either Lieutenant Bogomil (Ronny Cox) or Inspector Todd (Gilbert R. Hill). Nothing seems to be able to touch him, even the threat of prosecution when he seems to go too far in investigating a local art dealer (Steven Berkoff). The only thing missing is a love interest to bounce off of, but the screenplay by Donald Petrie does a great job of making up for that by how the friendship with Jenny Summers (Lisa Eilbacher) is developed, and the fact that the real love in the film is seeing how Taggart (John Ashton) and Rosewood (Judge Reinhold) take to Axel. They are an irresistible trio.
I don’t know if “Beverly Hills Cop” is the most representative example of the Simpson-Bruckheimer formula (it’s hard to go against “Top Gun”), but it is probably the best film they ever produced. Murphy is a natural for Axel, and understands the assignment at every turn; the supporting cast is fantastic; the film is light and tense in equal measure; the action and comedy both deliver the goods, and feel in place next to one another; and the soundtrack- not just Faltmeyer’s score but the terrific songs- is an all-timer. This is an absolute blast that, 40 years later, still has juice.
Previous “Repertory Revue” Films
“The Producers” (1967)
“Shadow of a Doubt” (1943)
“My Brother’s Wedding” (1983)
“Your Sister’s Sister” (2011)
“The Hunt for Red October” (1990)
“Backdraft” (1991)
“Beverly Hills Cop” (1984)
See Brian’s list of 2009 “Movies a Week” here.
See Brian’s list of 2010 “Movies a Week” here.
See Brian’s list of 2011 “Movies a Week” here.
See Brian’s list of 2012 “Movies a Week” here.
See Brian’s list of 2013 “Movies a Week” here.
See Brian’s list of 2014 “Movies a Week” here.
See Brian’s list of 2015 “Movies a Week” here.
See Brian’s list of 2016 “Movies a Week” here.
See Brian’s list of 2017 “Movies a Week” here.
See Brian’s list of 2018 “Movies a Week” here.
See Brian’s list of 2019 “Movies a Week” here.
See Brian’s list of 2020 “Repertory Revues” here.
See Brian’s list of 2021 “Repertory Revues” here.
See Brian’s list of 2022 “Repertory Revues” here.
See Brian’s list of 2023 “Repertory Revues” here.
