![]() Wilder and Pryor both play loving, sensitive, kind and gentle souls, and that would be wonderful in life, but a movie needs some edge to it. (This misses the point, since Wilder, who can see, could throw the punches himself.) In addition to its recycled plot, the movie has another almost fatal problem: Both of its heroes are nice guys. This movie's idea of exploiting that inspiration is to have Wilder stand behind Pryor during a fist fight and tell him where to throw the punches. But think of the sight gags, the double-takes, and subtle little touches you could find in everyday life if two buddies, one deaf, one blind, teamed up together. Think what a great physical comedian like Jacques Tati or Buster Keaton could have done with this notion-or never mind, Hollywood has forgotten how to aim that high. The movie doesn't seem to have had the impulse to experiment with its central idea. But she is not enough to redeem the stock company of goons and heavies who have been written in as her companions. She's great to look at-a not inconsiderable element in a movie like this-and she has a nice, dry sense of humor that reminds you of the intelligence of a Kathleen Turner. The only other character in the movie of any interest is Joan Severance, a tall and classic beauty who is a suspect in the murder of a man connected with the chip. Wilder runs a newsstand, a customer drops a gold coin into his coin tray, and the coin turns out to be a disguised microchip worth millions, so of course that means that an assortment of villains have to threaten the heroes from one end of the movie to the other. ![]() The possibilities for visual comedy with this idea are seemingly endless, but the movie chooses instead to plug the characters into a dumb plot about industrial espionage. The good idea: Richard Pryor plays a character who is blind, and Gene Wilder plays a character who is deaf, and once they become friends they make a great team.
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