48 Hrs. (1982)

Well, here is a real original, no question about it.

You know how the last couple of years, the buddycop film became a cliché in and of itself? This one isn't, because this one is probably the first to exploit that idea and does it to the fullest.

The early eighties were perfect for this type of film, really. There was a lot of talent in Hollywood and there is a lot here. Not merely the cast that does star people like Nick Nolte, Eddie Murphy, James Remar, Annette O'Toole, Brion James and others, but also behind the camera. Walter Hill, Roger Spottiswoode, Joel Silver... A lot of names that you can easily associate with this period and also with high octane actionfilms that have enough of a sense of humour to remain entertaining and never be boring. The worst thing a film of this type can be is boring.

This one is not.

The idea is rather simple: an unstable convict escapes prison and a gruff cop (you know: always the loner in the precinct, smokes and drinks a lot, sucks at personal relationships) has to team up with a criminal in order to find the big bad. Of course they hate each other at first. The cop is pretty much a racist arsehat (more on that in a minute) and the convict is naturally weary of police officers. But you know that in the end they will find common ground and almost become friends. I do say almost, because this is not exactly a fairytale.

This is also very typically a film of its age. There's stuff in here that wouldn't fly today. Yes, it is very macho and male chauvinist pig-ish. Women are merely an afterthought or a walking vagina and that isn't very nice. (warning: that was an understatement) And even though this does raise some eyebrows, it doesn't really hamper this film, because it's all about the boys. Heck, the tagline even says "The boys are back in town". This is - in its purest sense - a film made by and for boys. Here you have that unapologetic manliness we all know is ridiculous and could easily turn toxic in a heartbeat, but as a film about an odd pairing, it does work. You will have to set your brain on a lower setting, though.

The rascism that Nolte has to display is pretty painful to watch as well nowadays. As a kid, I never got the references, but as an adult hearing Nolte call Murphy 'cracker', 'watermelon' and 'spearchucker', well... I can't say I'm comfortable with that. I get why they were going with this, but still... What is also pretty bizarre is that apparently most of the dialogue between the two was improvised, which makes it even worse. I get that they were going for the racist cop-stereotype, but, well, you know.

But it is blatantly obvious that the true star of the film is Murphy. This was his debut and he shines in every possible way. He has that swagger that he lost somewhere during the nineties, his comebacks are on point and he is just so very likeable as a scamp, it is nearly unbelievable. His charisma leaps off the screen and if you have to see this one for one reason, he is it.

But putting aside those things that were typical for the eighties, this is a solidly entertaining film. It is, possibly, one of the best and it certainly set the standard for other films like 'Lethal Weapon' later on.

If you are not yet convinced, see if you can find the scene where Eddie Murphy outbluffs and manhandles a bar full of rednecks. It is brilliant.

I would call this a classic. So I will.

This is a classic.