Dead Men Don't Wear Plaid


Comedy / Crime / Mystery / Thriller


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April 03, 2014 at 11:08 PM



Steve Martin as Rigby Reardon
Cary Grant as 'Handsome'
Kirk Douglas as Thug Boss
Ingrid Bergman as F.X. Huberman
720p 1080p
700.66 MB
23.976 fps
1hr 28 min
P/S 1 / 6
1.24 GB
23.976 fps
1hr 28 min
P/S 1 / 4

Movie Reviews

Reviewed by garytheroux 9 / 10

Along with "The Jerk," one of Steve Martin's top two finest films

I remember reading reviews in The New York Times and elsewhere in 1983 fawning over Woody Allen's brilliant and wholly original idea of inserting himself into old film footage in "Zelig." They'd not noted, of course, that everyone from Ernie Kovacs to John Zacherle had already done that "brilliant and wholly original idea" on television -- and, most notably, Steve Martin did it in a feature film, "Dead Men Don't Wear Plaid," one year prior to "Zelig." While "Zelig" has its moments, it is ultimately tedious, running about twice as long as it's one-note gag treatment can sustain. In sharp contrast is the far more clever, inspired, fully developed, insightful and witty DMDWP, which, as noted. came out one year earlier. As often happens with groundbreakers set somewhere outside the norm, DMDWP was not exactly a box office hit -- a key reason why no sequels were ever made. That's unfortunate, as Martin's character was one of his finest creations and could have sustained more installments in the series. (Steve was never better on film than he is here.) It's good that the people behind "Police Squad" did not give up on it after it failed to fit within the confines of standard TV concepts around the same time. Reborn as "The Naked Gun" series of feature films, the "Police Squad" concept turned into three of the greatest comedy motion pictures of all time. DMDWP deserved a lot better than it got in 1982 as well, and I'm glad to see that it has finally found respect and its audience through television exposure (much like a previous box office bomb, "It's A Wonderful Life"). The kind of creativity Martin, Carl Reiner and the rest of the DMDWP crew put into their project needs to be strongly encouraged -- as it represents excellent comic film-making, as opposed to the witless parade of routine crudities that Hollywood ordinarily churns out.

Reviewed by Michael Coy ([email protected]) 8 / 10

Steve Martin's Affectionate Parody of 1940's Thrillers

Rigby Reardon, private eye, runs the gauntlet of hoods, femmes fatales and crazed Nazis as he investigates the death of beautiful Juliet Forrest's father. Who are the mysterious "Friends of Carlotta"? And why does Rigby keep dressing in women's clothes? And where did Juliet learn to do that trick with her lips? This celebration of the black and white movies of the 1940's and 50's is a very clever and very amusing film. Extracts from celluloid classics are skilfully spliced into the action (check out the architectural detail on the doorframe in the Alan Ladd sequence). The film is a vehicle for Martin's comic talent and he carries it off beautifully. Rachel Ward as Juliet is terrific: she can hold her own with the screen goddesses who so liberally populate the film (Bergman, Davis, Turner and Crawford all make inserted appearances). A project like this could easily have come a cropper, but thanks to the brisk direction of Carl Reiner (who has a great cameo) and Steve Martin's ability to dominate the screen, the movie is a resounding success. It's also very funny.

Reviewed by andy stew 10 / 10

So they don't

An incredible achievement. My mind boggles at the amount of thought, time and effort that must have gone into this superb film. The plot is brilliantly and hilariously convoluted, with screen legends from the 1940s making appearances in amazingly edited scenes, and Steve Martin's trademark absurd humour is present almost all the way. Steve and Rachel Ward have remarkable chemistry, and each of their performances are highly impressive. If it weren't for the bundles of humour employed, one would almost think at times that this actually is a film noir from the 1940s, so legitimate and believable is the 'feel' or the atmosphere of the film.

I cannot believe that some people who commented on this film have said that the plot is merely an excuse to hang old movie clips onto, and not much use at all; and the person who claims that Steve Martin overacts in this movie mustn't realise that this is regarded as one of Steve's more restrained, deadpan comedic performances (the 'cleaning woman!' device turns out to be an important part of the plot and also seems to be a way of using the strangling scene that is taken from the Bette Davis movie - it is also a chance for Steve to get in a very tiny element of his 'wild and crazy guy' persona, which he substituted with a more suitable [for parody] 'straight' performance).

A rousing and side-splittingly funny success - they don't make 'em like this anymore!

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