"Winkler is vastly better when he's not obliged to act the madcap, an identity that seems to come naturally to Keaton," wrote Gary Arnold for The Washington Post in his review. Chuck, Bill, and Belinda are not stock characters but three-dimensional people whose unique quirks keep putting them into more uncomfortable (and funny) situations, and "Night Shift" is all the better.
"Night Shift" is the first comedy of the summer that was a success, creating humor through character development and not through the rapid-fire joke delivery made famous by movies like "Airplane!" This approach hasn't aged well, like a tired cover band with dated references. While a few comedies were released during the summer of 1982, they mostly missed the mark in terms of tone, approach, and quality of jokes. Michael did a good job of keeping that character from being completely obnoxious." Almost as if Bill wanted to be black, that deep down he wished he had that much going for him, he wanted to be cool. “What he says is 80% or 90% what was in the script, but he made him an almost New Wave, street guy. "At first we thought he may have been just a bit too frenetic, but what I like was he took his dialogue - which might have sounded like Art Carney in 'The Honeymooners' - and made it contemporary,” Ganz said. Screenwriter Lowell Ganz suggested Keaton to Howard, noting, "Keaton is going to be a star for somebody, and he might as well be a star for us." When it came to casting the oddball Bill, Howard initially tried to recruit several hot young comedy stars, including John Belushi (who died a few months before the film's release) and Bill Murray. Howard got some reps in the director's chair through some television projects and the 1977 film "Grand Theft Auto." "Night Shift" would become Howard's second film as a director, with his "Happy Days" castmate Winkler as a lead character who is the complete opposite of his famous portrayal as the Fonz.
#Waych night shift 1982 series
The series creator, Garry Marshall, just opened his directorial feature film debut with "Young Doctors in Love." As it turned out, it was "Happy Days" star Ron Howard (who played Richie Cunningham and was also Opie on "The Andy Griffith Show") who would helm the more successful comedy of the summer. When Belinda's pimp ends up in the morgue, Bill and Belinda convince Chuck to start spending their late-night office hours running an escort service.Īt the time of this release, the television sitcom "Happy Days" was one of the biggest hits. Two people change his perspective: Bill Blazejowski (Keaton), his new manic hustling co-worker, and Belinda (Shelly Long), Chuck's neighbor who's a prostitute. His personal life isn't much better, as he's engaged to a fiancee who offers no physical or emotional reassurance for him. "Night Shift" quickly introduces us to Chuck Lumley (Henry Winkler), a fussy and insecure morgue attendant who is so passive that he barely makes any resistance when his boss changes his work schedule for the worst.
With the debuts of their new movies during the last weekend of July 1982, Richard Gere affirmed his status in the industry with "An Officer and a Gentleman" while Michael Keaton experienced a breakthrough debut in the comedy "Night Shift."
It was also a pivotal period to make generational stars out of several young actors.
#Waych night shift 1982 movie
Several franchises were born and reborn during the classic movie summer of 1982. (from left) hassles Richard Gere in “An Officer and a Gentleman,” while Michael Keaton keeps riffing in “Night Shift.” ()
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