The Late Show

Over-the-hill gumshoe in modern day Los Angeles seeks to avenge the killing of an old pal, another older detective who had gotten himself involved in a case concerning a murdered broad, stolen stamps, a nickel-plated handgun, a cheating dolly, and a kidnapped pussycat. Art Carney and Lily Tomlin are amazingly well-matched playing the convincingly mismatched pair of sleuths who unravel the tangled mystery, and Bill Macy is equally fine as a congenial, low-life bartender-cum-talent agent. The plot of this serio-comic paean to the age of Raymond Chandler is perhaps too convoluted to follow in-depth, but that's rather easy to overlook considering it is the least important part of the picture. The begrudging, barb-filled relationship between Carney and Tomlin carries the show, and the friendship that slowly grows between them is thrilling for fans of this type of cinema. All three of the acting principals richly deserved--but did not get--Oscar nominations for their work, though the film did pick up one nomination, for Robert Benton's original screenplay. It's a chatty film, yet one which is charmingly askew and lingers in the memory like warm nostalgia. ***1/2 from ****

The Late Show is one of the most underrated films of all time. It's somewhat convoluted detective plot has raised comparisons to Chinatown, which is both unfair and unfortunate. This is a film that stands out on its own.

The acting is generally very good, and the performances by the leads are particularly strong. Dialogue which might have seemed forced or corny with less assured actors is believable and often funny here. Art Carney and Lily Tomlin are fun to watch as a bickering detective duo brought together as much by mutual loneliness as by anything the plot throws at them. Both are able to keep their characters interesting without overdoing it. It would have been especially easy for Ms. Tomlin to go over the top with her depiction of the rather flighty Margo, but she manages to balance her character's peculiarities and make it look effortless.

Robert Benton received an academy award nomination for his screenplay, but he really deserved more recognition for directing a film in which he gets the mood just right, and trusts his cast to do their jobs well. This was no mean feat for a work that needs to be film noir with some comic timing.

I saw this film when it first came out nearly 30 years ago, and then watched it again recently. At a time when so many films rely on computer generated images, and plots that seem dreamed up by marketing departments, it was refreshing to rediscover a film that relies on strong direction, and outstanding acting.

This is a great movie. It's such a remarkable throwback to 40s noir and detective films. Art Carney's Ira Wells adds a kind of post modern twist to the genre as he is an aging detective, not as hard boiled as he used to be. One thing that's neat about this film is the way that Ira and his contacts talk to each other. Benton resurrects the distinctive lingo of The Big Sleep and The Maltese Falcon within this interesting group of underworld entangled characters. I've seen a lot of other flicks that try to do the same thing, but this one makes it much more believable and doesn't play it for comic effect. Similar to the way Miller's Crossing draws you into its world with dialogue (among other things), so too does this film. Lily Tomlin also teams up well with Carney as his flighty new partner in private investigation. This film is a genuine treat for fans of Spade or Marlowe movies.

For those drained and insulted by most of today's no plot, predictable no brainers, this will come as welcome relief. Most reviewers really don't get this little charmer. The direction is deft, the plot well-constructed and the ensemble acting is always on the mark. Though it was directed by Robert Benton of Kramer vs Kramer fame, it was produced by Robert Altman and his influence is evident. Art Carney and Lily Tomlin have great chemistry together and the cast of veteran character actors is top notch. There are moments of goofy good humor, tragedy, sweet wistfulness and chair-gripping tension. This has been a favorite of mine for a long time. Sandman says check it out!

THE LATE SHOW (1977) ***1/2 Art Carney, Lily Tomlin, Bill Macy, Eugene Roche, Joanna Cassidy, Howard Duff. Hommage to pulp fiction/film noir gumshoe flicks ala "The Big Sleep" with comedy instead of menace with Carney as over-the-hill private dick hired by loony New Age Tomlin wanting her kidnapped kitty back only to find herself neck deep in murder and adultery in the underbelly of sunny LA. Kooky pairing of the two leads is the films' appeal as well as for its affinity for the genre thanks to writer/director Robert Benton's right on the money approach.