Tag Archives: Pamela Reed

Kindergarten Cop (1990, Ivan Reitman)

Apparently, Ivan Reitman didn’t think anyone would be familiar with Arnold Schwarzenegger and, therefore, Schwarzenegger would need a big introduction as a tough guy in a movie called Kindergarten Cop. So the first fifteen minutes are a terrible cop movie, wasting cinematographer Michael Chapman on something less realistic than a syndicated eighties cop show.

Once Pamela Reed shows up as Schwarzenegger’s partner, however, Cop starts getting interesting. The cast is full of real actors–Reed, Linda Hunt, Penelope Ann Miller–people who casting Schwarzenegger against doesn’t seem right. So Reitman then goes out of his way to establish Schwarzenegger as a real person–an Austrian immigrant and so on.

While there is potential for a serious movie in Cop, except the first fifteen minutes, Reitman does succeed. He makes Schwarzenegger appealing and touching even. Schwarzenegger, as an undercover cop, doesn’t have to be too good because insincerity is part of his role. It just matters having great performances opposite him and Miller, Hunt and Reed fulfill that requirement.

And Schwarzenegger is good with the kids.

The Oregon location helps a lot too, as does Chapman’s cinematography. Reitman’s mediocre as far as composition, but he doesn’t do bad (except a couple pointless zoom shots).

Reed’s hilarious as Schwarzenegger’s partner, but also able to bring an edge to it. Hunt’s similar as the school principal. Miller doesn’t have a lot to do for a while, but once she does, she’s excellent.

It’s long and front-heavy, but Cop, surprisingly, works out well.

2/4★★

CREDITS

Directed by Ivan Reitman; screenplay by Murray Salem, Herschel Weingrod and Timothy Harris, based on a story by Salem; director of photography, Michael Chapman; edited by Wendy Greene Bricmont and Sheldon Kahn; music by Randy Edelman; production designer, Bruno Rubeo; produced by Brian Grazer and Reitman; released by Universal Pictures.

Starring Arnold Schwarzenegger (Detective John Kimble), Penelope Ann Miller (Joyce Palmieri), Pamela Reed (Detective Phoebe O’Hara), Linda Hunt (Miss Schlowski), Richard Tyson (Cullen Crisp), Carroll Baker (Eleanor Crisp), Joseph Cousins & Christian Cousins (Dominic Palmieri), Jayne Brook (Zach’s mother), Richard Portnow (Captain Salazar), Tom Kurlander (Danny), Alix Koromzay (Cindy) and Cathy Moriarty (Sylvester’s mother).


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Eyewitness (1981, Peter Yates)

Eyewitness gets a lot of abuse.

Peter Yates has become a punch-line to many a film joke, usually by people who love Breaking Away and don’t remember he did it. Eyewitness is an incredibly odd film–and not entirely successful, the protagonist (William Hurt) tends to talk to Sigourney Weaver straight from the id, no filtering. Her character is the film’s most complex (since the whole situation deals in a gray area of morality) and Weaver doesn’t always get it. There are a few scenes where she does, and it’s beautiful.

This film is incredibly gentle. It’s all about the character relationships. Writer Steve Tesich (also Breaking Away) even gives the cops personal conflicts, which is a little too much. But there’s a lot to appreciate in Eyewitness’s indulgences. It makes for an odd experience–though Hurt’s character is so unbelievably straight-forward, it’s one of his best performances. Hurt tends not to play the identifiable character and, seeing him do it, is a special experience.

As for the mystery/thriller aspect of the film… it’s not really there, which may be why there’s such a hostility to the film. There’s a contract between artist and reader (or viewer) and Eyewitness does not deliver what the title (or the poster) promise. The score, or lack thereof, lets the viewer know the contract’s broken in the opening titles. I’m not much a stickler about the title contract when it comes to film (Pearl Harbor, for example, broke the shit out of it too, and so did Star Wars for that matter).

I’ve recommended Eyewitness in the past and had people look at me funny after watching it. Not every film needs to break your heart (like The Missouri Breaks). Hell, films don’t even have to engage your intelligence (Animal Crackers). But films do need to make your invested time worthwhile–and Eyewitness does. Just not if you’re looking for a mystery/thriller, rather a story about people.

2.5/4★★½

CREDITS

Directed and produced by Peter Yates; written by Steve Tesich; director of photography, Matthew F. Leonetti; edited by Cynthia Scheider; music by Stanley Silverman; production designer, Philip Rosenberg; released by 20th Century Fox.

Starring William Hurt (Daryll Deever), Sigourney Weaver (Tony Sokolow), Christopher Plummer (Joseph), James Woods (Aldo), Irene Worth (Mrs. Sokolow), Kenneth McMillan (Mr. Deever), Pamela Reed (Linda), Albert Paulsen (Mr. Sokolow), Steven Hill (Lieutenant Jacobs), Morgan Freeman (Lieutenant Black) and Alice Drummond (Mrs. Deever).


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