Musings from Brian J. Noggle

This film comes from the 1980s, when Tom Selleck was trying to make the leap to being the leading man in pictures instead of just being Magnum, P.I.. It ultimately didn’t work, though, as he had a couple of lead roles in films including this one and, what, Runaway? (Research indicates he also headlined Lassiter, An Innocent Man, and Quigly Down Under, which I enjoyed, and later Mr. Baseball which I saw in the theater in college.) He never really made that transition and kept busy in television.

In this book, Magnum gets to play the Robin Masters character: A successful author with bestsellers to his credit, but who’s on a bit of a stale streak. He goes to watch a trial for inspiration, meeting up with some other authors who do the same, where he sees Paulina Porizkova getting arraigned for murder. Convinced that she could not be a murderer, he acts as her alibi, claiming that they were having an affair (which meant something a little different sometimes in the 1980s, as neither character is married). So they go away to his home in Connecticut while the Romanian secret police are out to capture or kill Porizkova’s character.

Much of the film is in Selleck’s character writing a novel based on their ongoing misadventures–the difference between what’s actually happening and how the author portrays it in the book providing much of the humor of the film along with doubts as to whether the young lady is an actual murderer–accidents and incidents that could have innocent explanations might actually be murder attempts! The humor is a little thin, though, and it fails to reach amusing–it holds at the level of I see what you’re doing there.

Well, it’s an okay film; it turns out that she’s not a secret agent, but part of a circus family looking to defect. The climax happens at a circus, and everyone lives happily ever after presumably.

I mean, I like Selleck, but I have to wonder why he did not make the move to films successfully. Too much connective charisma perhaps? Not enough detachment that the distant movie screen requires? I don’t know.

Oh, and no Paulina Porizkova pictures for you. If you want to see her without any clothes on, you’ll have to read the New York Post like the rest of us. Uh, probably NSFW, but it is an article in the New York Post.

You know, in the modern era, and by “modern,” I mean contemporary tribalist era, I am not sure if I should laugh at anything in the film here. I mean, like a lot of humor, the movie plays on types. Stereotypes? Archetypes? Abstractions of people acting in recognizable but exaggerated ways in different situations? That’s been at the root of humor for history, from the city slicker to the rural clown in Shakespeare. But they’re evil, and especially since the types in this film are of different tribes than mine (really, one meta-tribe), it might be evil if I am amused by the urban-anything-for-a-buck almost con man, the oversexed people, the always high guy, or the sassy thirty-something women. Surely if I made a joke playing off these types, I would be evil and blacklisted. The blacklist is the most inclusive space in the modern world, ainna?

At any rate, Kevin Hart wins a lawsuit against an airline with a $100 million verdict. He’s a serial entrepreneur with no luck so far, but he decides he’s going to start his own airline. With the help of his grifting cousin, he starts an airline. A token white family, headed by Tom Arnold, his pretty but annoying girlfriend(?), his daughter on her eighteenth birthday, and his younger son have their flight cancelled, so their airline books them on the next available flight–on Kevin Hart’s airline, where they can be stereotypical white people for the humor. It turns out that the pilot is Snoop Dogg, who might have exaggerated on his resume–he’s afraid of heights–and he’s high all the time. And Kevin Hart’s old flame happens to be on the plane.

So we have various set pieces and various tropes, including gags that vast numbers of people want to have sex with the newly eighteen year old; white women dig black men with large genitalia; young white people embrace the gangsta lifestyle and look silly when they do so; also, Snoop Dog does a lot of drugs. A bit raunchy, but what’s what you get in an unrated comedy from the 21st century. A few amusing bits, and the dramatic climax where Snoop Dogg dies from a drug overdose (which hardly glamorizes drug use, ainna?) and Kevin Hart has to land the plane and wins back his girl is a bit tacked on, but where else could it go?

So: Okay, I suppose, if you have to watch something. But not something I’m likely to watch over and over again, but I own it on DVD just in case.

It has been two years since the boys and I watched the Douglas Fairbanks film The Iron Mask, so I thought it would be a good time to revisit the tale with the more modern (well, to be honest, this film was almost seventy years after the Fairbanks version, so it counts as more modern even though it was twenty-some years ago, old man).

Okay, so how up am I on the Three Musketeers Universe? In addition to watching The Iron Mask, I have mentioned that I read the original novel in 2007 and the tie-in to the 1973/1974 movie versions in 2008 (in addition to seeing the 1973 and 1974 films both in the middle 1990s and probably ten years ago after reading the book). I also have a nice old copy of The Vicomte of Bragelonne: Ten Years Later which I have only picked up and contemplated reading once or twice in the last decade. So pretty good, all things considered.

Apparently, this story comes from the last part of Dumas’ Ten Years Later, although by reading the summary on Wikipedia of the book, I see that it has taken some liberties. “The deux!” you say (keeping with the French theme). Well, yes.

The film takes place after the three musketeers have retired; only D’Artagnon remains in the service as the head of the musketeers. Aramis has become the leader of the Jesuits, a rebellious sect looking out for the hungry. Porthos is pathetic, retired and feeling washed up. Athos has a son, Raoul, who is looking to marry a lovely young woman. The king of France is a bad, bad boy-man whose eye falls upon Raoul’s girl–so the king sends Raoul to the front instead of making him a musketeer (one of the boys commented that it was the story of David and Bathsheba–clever boy to see the allusion!). When Raoul dies, Athos vows revenge on the king and tells D’Artagnon that, if D’Artagnon continues to serve the king, the fourth musketeer will be his enemy as well. Aramis has a plan: There’s a prisoner in an iron mask who looks just like the king–because it’s his twin brother, secretly hidden away from the public eye and then placed in the iron mask in prison when the king ascended. So the three musketeers (Porthos, Athos, and Aramis) plot to put the twin on the throne, and almost get away with it. The big reveal is that D’Artagnon is so loyal to the king because the king (and the twin) are his sons, as he trysted the night away with the Queen when he was the head of her guards.

Spoiler alert: D’Artagnon dies when the king tries to stab his brother, but D’Art steps between, which was the main quibble that my boys had with this film. I don’t think it will spoil my enjoyment of the book, though, as the plot in the book seems to differ quite a bit–it is the third part of a larger book, so some things are hooked into it that the movie disregards completely.

At any rate, a nicely paced adventure film with intrigue, but not of the more modern One Of Us Is The Spy variety. Which was a much more pleasant plot in my humble opinion.

So now the question is, do I continue showing the boys Three Musketeersiana? After all, I do have the 70s versions with Michael York and Charlton Heston. Tune in later to find out!