LOOSE CANNONS

US, 1990, 95 minutes, Colour.
Gene Hackman, Dan Aykroyd, Dom Deluise, Nancy Travis, Ronny Cox, David Alan Grier.
Directed by Bob Clark.

Loose Cannons is an oddball police comedy with touches of Police Academy as well as more conventional investigations. It was co-written and directed by Bob Clarke, whose films range from Tribute to the Porky's series. The film has a strong cast - Gene Hackman in his usual genial style, Dan Aykroyd being both sympathetic as well as mugging his way through impersonations, Dom DeLuise? and his carry-on. Nancy Travers, Ronnie Cox and Paul Kozlo appear in supporting roles.

The setting is Washington DC. The plot concerns a film made of Hitler's execution and its being suppressed by an ambitious German politician (Robert Prosky) sending his henchmen to get the film back. A pornographic film dealer has bought the film. The Israeli secret service are after it to expose the former Nazi official. The FBI are also after it. And our two heroes have the charge of pursuing murders connected with it. There are car chases, bursts of comedy, bursts of pathos.

1.Entertaining comedy? Police thriller? Combination?

2.Washington DC, the streets of Washington, buildings? The countryside? New York? Stunts and special effects? Musical score?

3.The title - and reference to Mac and Ellis?

4.The popular ingredients of the police thriller and investigation? Odd partners? The introduction of comic situations, dialogue? Farce?

5.The prologue, the fancy dress, the night, the boats, the decapitation, the shooting and the escapes? The plausibility of the film about Hitler's suicide? The use for German politics? Israel and its concern?

6.Gene Hackman as Mac: style and presence, at work in investigations, the comedy of the man and the condom? His car and separation? Cantankerous? Argument with his fellow officer? Relationship with his boss? Ellis as his partner, Ellis's analysis of what went on, Mac's scepticism and questions? In the car, Ellis's phobias, speed, his anger at Ellis? Ellis's personality changes? The boss and the explanation? Passing the night at Ellis's house - and the nightmares? The visit to the FBI and the smart talk at the officer? Seeing the Israelis - and surprising them? The pursuit by the Germans - and the rocket in the street? Harry Gutterman and his club, the humour in the club - and Ellis's odd performance? Harry in custody, the routines? The plan to get him to New York, eluding the FBI at the railway station? On the train, the pursuit by the helicopter, getting off, diving into the river, the rapids? Going to New York - in Harry's club, the baths and the shootout? Mac and his commandeering the bus, pushing the taxi? Grand Central station, the strategy, the chases, the confrontation with the German? The getting of the film - and giving it to the Israelis?

7.Ellis, in the monastery, the story of his torture and dysfunction? His analytic mind? His analysis of the crime? His range of phobias? Multiple personalities - and Dan Aykroyd mugging everything from Germans and Latin Americans to Woody Woodpecker and the Roadrunner? His confrontation with the Germans, the FBI, the Israelis - and the attraction of the Israeli agent? Participating in the chases, driving? On the train, jumping into the river? In New York - Grand Central station, the ambiguity of his threats, shooting the German?

8.The presentation of Von Metz, his ambitions, going on television - the screening of the film and his unmasking? His henchmen, the deals, the violence? Helicopter chases, car chases and rockets? The confrontation in New York?

9.The Israelis, secret agents - and being discovered by Mac and Ellis? Participation in the chase, Grand Central station?

10.Harry Gutterman, his pornography empire, his club, wanting to be in custody? On the train, New York - and his finally being shot after giving the advice? Ending genially in hospital with the children?

11.The familiar scenes of police work, chases? Violence? The blend of the comedy routines - working well or not?