The Great Outdoors

Howard Deutch, 1988

Can I Stream It?

2/5

Chet Ripley (John Candy) is looking forward to spending some quality time with his family on their vacation in rural Wisconsin when his in-laws Roman (Dan Akroyd) and Kate (Annette Benning) suddenly show up expecting to join in on the fun.

The Great Outdoors is probably one of those films that you put on thinking you've never seen it before, and when it hits a couple of the key scenes you realize that you've seen it. The Old 96'er steakhouse scene. The bat loose in the house scene. Or perhaps the quintessential 80's romance scenes are enough to jog the memory. The point is, those comical scenes stand out in what's ultimately a rather forgettable film. While John Hughes has plenty of notable writing credits over the course of his career (Home Alone, Ferris Bueler's Day Off, The Breakfast Club), not all of them are winners (Curly Sue, Beethoven, Career Opportunities). The presence of two of the great Canadian imports Dan Akroyd and John Candy are certainly enough to pull you in. What's interesting with both of them is they do what they typically do, and as long as that's within the proper framework it's fine. Akroyd is always the fast-talking chubby(ish) robotically-toned force who relies on and shifts in accent and facial expression rather than slapstick comedy. Candy typically uses more physical comedy and is more limited as an actor, but is certainly more of a warm force on screen. There's a familiarity with him, a sentimentality. Whenever you see John Candy on screen it reminds you of how much you miss him. The Great Outdoors certainly has it's flaws. Distracting edits, poor set design, weak story, too much bear, too much raccoon subtitling. Why did they have to talk so much? At times the very heavy animal presence is as wearisome as watching bears pick through the garbage heap like they do in the film. Perhaps their was a SAG quota for animal trainers' working hours in 1988.

Planes, Trains & Automobiles

John Hughes, 1987

Netflix

3/5

Neal Page (Steve Martin) is a marketing executive rushing to catch a plane from New York to Chicago two days before Thanksgiving. Struggling to flag down a taxi cab, he has to pay a stranger off quickly to take theirs only to have it abruptly stolen from him by shower-ring salesman Del Griffith (John Candy). Little does he know his confrontations with Del would continue to become unavoidable as an unlikely friendship forms over the bad circumstances that he continues to fall into.

A heartfelt picture, light on story but carrying comedic weight. Made in a time when Steve Martin was making crowds laugh, and not making them listen to him playing banjo. You are hit with the stick of the time period early on with the very present synthesizer sounds. You continue to be constantly reminded that you are in the 1980's with the automobiles, clothing, vibrating beds, primitive credit card machines with paper carbon slips, smoking indoors. Bad karma has struck Neal. His misfortune continues to mount, as Chicago continues to feel further and further away. Opposites attract because they have to when you are unavoidably stuck with the other person. Interestingly the sense of the film being dated is felt with the evident homophobia when they wake up in bed with each other and have to force a Chicago Bears reference to prove to each other, you know, that they aren't into that kind of thing.

The obvious concept quite early on is that they are living in very different worlds. Not only from a social class perspective. When any little conflict may arise in Neal's day, his whole world is shaken up. Not a good way to live your life, as it only sets you up for constant disappointment. Your flight is cancelled? Big deal. You can get the next one. Car broken down? Big deal, it can be fixed. It can always get worse. And it will. Life is not about stepping over everyone around you to get to your destination. It's about community, living in the moment, savoring the experience - regardless of how horrible it can be. While Del Griffith's character is an exaggeration of the annoying heavy-set guy (the coughing in the motel room is a bit much), he is likable nonetheless because of his obvious sense of optimism. He's been in the run down motel rooms before. He knows how to make the best of a situation. Neal is so caught up in his own life that he barely gives Del's life experience any thought. By the time that he does during a reflective state, Hughes has to wrap up the film quite quickly. And while the final moments of the film are played out effectively, they do feel a bit rushed and ultimately predictable. So clearly the film is not without it's flaws, but to be fair it was not made to break ground. To it's credit - the story opens up, delivers consistent laughs, and wraps it all up nicely. Perhaps it could be credited with influencing later slapstick films with stranded pairs like Dumb and Dumber or Tommy Boy. It's an amusing Thanksgiving story with a lot of situational comedy. Loaded with characters like a lot of Hughes' other work. And it certainly makes you miss the late great John Candy.