Down and Out in Beverly Hills Reviews

  • Jan 31, 2019

    The best comedy movie ever made!

    The best comedy movie ever made!

  • Jan 15, 2019

    Really well done look at 80's era class division but with a snarky edge and human side not done as well since. Nolte and Dreyfuss are gold, Middler has her best role, Elizabeth Pena's at her sexiest here, and you get Little Richard of all people in a supporting role and he is one of the more entertaining people in the film and steals the show each time he shows up. Nolte is in his prime here and is just a badass and Dreyfuss has one of his better goofball roles. Great soundtrack too, total fun each time I watch it.

    Really well done look at 80's era class division but with a snarky edge and human side not done as well since. Nolte and Dreyfuss are gold, Middler has her best role, Elizabeth Pena's at her sexiest here, and you get Little Richard of all people in a supporting role and he is one of the more entertaining people in the film and steals the show each time he shows up. Nolte is in his prime here and is just a badass and Dreyfuss has one of his better goofball roles. Great soundtrack too, total fun each time I watch it.

  • Sep 12, 2016

    Good 80's fun, no deep plot. None needed. Well read Homeless man with street knowledge helps wealthy family find its way while finding his own. Dare I say a "coming of age story for the homeless"!

    Good 80's fun, no deep plot. None needed. Well read Homeless man with street knowledge helps wealthy family find its way while finding his own. Dare I say a "coming of age story for the homeless"!

  • Aug 19, 2016

    I liked it in 1986 and seeing it on AMC today in 2016 I still like it. Its 30 years old but still one of those older movies that is fun to watch from time to time

    I liked it in 1986 and seeing it on AMC today in 2016 I still like it. Its 30 years old but still one of those older movies that is fun to watch from time to time

  • Apr 07, 2016

    Movies that deal with the disillusion of middle age are generally somber in tone, so "Down and Out in Beverly Hills," an exceptional jabbing of the bourgeoisie, is a welcome black comedy. Unlike its most notable peers, 1998's "Happiness" and 1999's "American Beauty," "Down and Out in Beverly Hills" isn't cursed with a twisted sense of humor nor off-putting poignancy. Instead, we're greeted with farce of the screwball kind, dissatisfaction a component but not a mood killer. The film is adapted from Jean Renoir's "Boudu Saved By Drowning," material I'm unfamiliar with and therefore cannot use as comparison. But a winning romp "Down and Out in Beverly Hills" is; it's a comedy that wholeheartedly believes in a Life Is Funny atmosphere, the laughs humanistic rather than incidental. Set in Beverly Hills, it focuses on the Whiteman family, a wild bunch that lives dysfunctionally in a big, brassy mansion. The man of the house, Dave (Richard Dreyfuss), is a hanger manufacturer who perhaps didn't set out to be a rich man, but has unwittingly ended up as one. His wife, Barbara (Bette Midler), is a bored housewife who likes to pass the time meditating, cleansing - really participating in any New Age self-help activity that will give her something to do. Their son (Evan Richards) is a wannabe filmmaker in the midst of an identity crisis; their daughter (Tracy Nelson), barely nineteen and barely having moved out of the house, is unlucky with men and has an eating disorder. None of this home's patrons are very happy. Feeling lost in his career and his responsibilities, Dave is having an affair with the maid (Elizabeth Peña). Barbara is sexually and intellectually unsatisfied. The kids, always privileged, are having a difficult time seeing themselves away from their background. These people have grown accustomed to the idea that they might as well be living like this for the rest of their respective years - so it serves as a surprise when a bizarre encounter changes their lives for the better. The bizarre encounter is with Jerry (Nick Nolte), a dirty hobo who stumbles upon the Whiteman home with suicidal intent. Having no friends and no prospects besides his relationship with his dog, the disappearance of the mutt prompts him to emotionally break down, hence the reason why he stuff his pockets with rocks and jumps into the Whiteman's pool. The incident would cause most to immediately rid themselves of such an unstable man - but, following rescue, Dave decides to take Jerry under his wing and make him a temporary part of the family. As breaking out of his usual routine is mostly unheard of, it's not so much an action of spontaneity as it is a desperate attempt to add a little zest to his surroundings. Predictably, Jerry does a lot of good for the Whitemans. A man of many talents and a man who bears a great deal of everyday wisdom, he provides each and every one of the family's members with the guidance they need to get out of their individual ruts (though things do eventually get out of hand). He and Dave become fast friends. He and Barbara become one-night lovers. He charms their children, especially Max (the son), whose confusion revolving around his sexuality is a frightening thing in the presence of such overbearing parents. We can hardly imagine what the Whitemans will do if Jerry leaves, but that's half the fun of "Down and Out in Beverly Hills" - it's a classic Fish Out of Water scenario combined with scathing commentary aimed at the upper class, and the results are farcical and pleasurable. Paul Mazursky, the film's director and co-writer, never mocks his characters, proving the age old theory that even money can't buy you happiness, and that privileged problems are still problems all the same. The movie is a great comedy, but it's also a terrific character study; no matter their screen time, these characters prove to be more than just figments of our comedic imaginations. They're dispirited people in search of purpose, and the actors, along with Mazursky, find a delicate balance between bright humor and a melancholic output. And I think comedies with a hint of sadness to them are always a bit more substantial - like a pop song, vulnerability is often the very thing that makes a hit. On paper, "Down and Out in Beverly Hills" sounds like a bleak drama with touches of humor; but it is, in truth, the other way around, a bang-up comedy kept at ground level. It's more linguistically, situationally funny than haha funny, but that's not what we'd want here - it's easier to laugh at another's misery, but what a strange case it is when you actually care about that person and when their misery might have more than just a little bit in common with your own.

    Movies that deal with the disillusion of middle age are generally somber in tone, so "Down and Out in Beverly Hills," an exceptional jabbing of the bourgeoisie, is a welcome black comedy. Unlike its most notable peers, 1998's "Happiness" and 1999's "American Beauty," "Down and Out in Beverly Hills" isn't cursed with a twisted sense of humor nor off-putting poignancy. Instead, we're greeted with farce of the screwball kind, dissatisfaction a component but not a mood killer. The film is adapted from Jean Renoir's "Boudu Saved By Drowning," material I'm unfamiliar with and therefore cannot use as comparison. But a winning romp "Down and Out in Beverly Hills" is; it's a comedy that wholeheartedly believes in a Life Is Funny atmosphere, the laughs humanistic rather than incidental. Set in Beverly Hills, it focuses on the Whiteman family, a wild bunch that lives dysfunctionally in a big, brassy mansion. The man of the house, Dave (Richard Dreyfuss), is a hanger manufacturer who perhaps didn't set out to be a rich man, but has unwittingly ended up as one. His wife, Barbara (Bette Midler), is a bored housewife who likes to pass the time meditating, cleansing - really participating in any New Age self-help activity that will give her something to do. Their son (Evan Richards) is a wannabe filmmaker in the midst of an identity crisis; their daughter (Tracy Nelson), barely nineteen and barely having moved out of the house, is unlucky with men and has an eating disorder. None of this home's patrons are very happy. Feeling lost in his career and his responsibilities, Dave is having an affair with the maid (Elizabeth Peña). Barbara is sexually and intellectually unsatisfied. The kids, always privileged, are having a difficult time seeing themselves away from their background. These people have grown accustomed to the idea that they might as well be living like this for the rest of their respective years - so it serves as a surprise when a bizarre encounter changes their lives for the better. The bizarre encounter is with Jerry (Nick Nolte), a dirty hobo who stumbles upon the Whiteman home with suicidal intent. Having no friends and no prospects besides his relationship with his dog, the disappearance of the mutt prompts him to emotionally break down, hence the reason why he stuff his pockets with rocks and jumps into the Whiteman's pool. The incident would cause most to immediately rid themselves of such an unstable man - but, following rescue, Dave decides to take Jerry under his wing and make him a temporary part of the family. As breaking out of his usual routine is mostly unheard of, it's not so much an action of spontaneity as it is a desperate attempt to add a little zest to his surroundings. Predictably, Jerry does a lot of good for the Whitemans. A man of many talents and a man who bears a great deal of everyday wisdom, he provides each and every one of the family's members with the guidance they need to get out of their individual ruts (though things do eventually get out of hand). He and Dave become fast friends. He and Barbara become one-night lovers. He charms their children, especially Max (the son), whose confusion revolving around his sexuality is a frightening thing in the presence of such overbearing parents. We can hardly imagine what the Whitemans will do if Jerry leaves, but that's half the fun of "Down and Out in Beverly Hills" - it's a classic Fish Out of Water scenario combined with scathing commentary aimed at the upper class, and the results are farcical and pleasurable. Paul Mazursky, the film's director and co-writer, never mocks his characters, proving the age old theory that even money can't buy you happiness, and that privileged problems are still problems all the same. The movie is a great comedy, but it's also a terrific character study; no matter their screen time, these characters prove to be more than just figments of our comedic imaginations. They're dispirited people in search of purpose, and the actors, along with Mazursky, find a delicate balance between bright humor and a melancholic output. And I think comedies with a hint of sadness to them are always a bit more substantial - like a pop song, vulnerability is often the very thing that makes a hit. On paper, "Down and Out in Beverly Hills" sounds like a bleak drama with touches of humor; but it is, in truth, the other way around, a bang-up comedy kept at ground level. It's more linguistically, situationally funny than haha funny, but that's not what we'd want here - it's easier to laugh at another's misery, but what a strange case it is when you actually care about that person and when their misery might have more than just a little bit in common with your own.

  • Jesse O Super Reviewer
    Sep 23, 2015

    This is a film that time may have not been very kind to. Don't get me wrong, though, the film features some great performances from Bette Midler, Nick Nolte, and Richard Dreyfuss. Dreyfuss has an everyman quality about him that makes easily likable in films. Yet he can also play these characters that are slowly losing their mind as the film progresses and things start to unravel. If you've seen What About Bob? then you know exactly what I'm talking about, Dreyfuss' performance in that film is comedy gold and it's a movie that also features Bill Murray, so you can imagine how good he is. While this film doesn't see him go as nuts as What About Bob? there's still hints of it here. But, with that said, I liked this movie quite a bit. Like I said, perhaps time hasn't been as kind to it as one might expect, it's still what I would call a good movie. One of the things I liked about the movie, and perhaps it has nothing to do with quality per se, is the fact that the film is pretty progressive as far as characters go. The film is actually pretty diverse when it comes to characters. Perhaps not all of the characters were featured prominently, but the film does have a pretty diverse cast of characters. And, particularly, for a film in the 80s, where it was pretty much all white casts with a token black character forced in there somewhere, it's pretty impressive to see a film with such an open mind about casting. It's not like it improves the film's quality by much, but it's really cool to see from an era that lacked actual diversity. With that said, it's not like I'd call the film consistently funny. There's parts of it that work and parts of it that don't. I think the good stuff still outnumbers the jokes that miss, but it's also elevated by the performances of Richard, Bette, and Nick. The funniest part of the film would, absolutely, have to be Little Richard's, yes, first appearance in the film, where he goes absolutely nuts, yelling at people and insulting them and their dogs. It's not like he was a good actor, but I was wildly entertaining and Little Richard's yelling. To the point that I was hoping that every appearance he made would've been like this one. He'd just appear out of nowhere and start yelling. I suppose it wouldn't have made sense within the context of this story, but I wouldn't have cared. With that said, the story progression is good enough. Dave feels guilty at all the success he has achieved while others suffer on the streets, so he's taken Jerry, a homeless man, under his wing and let him stayed in his house. Plus, he's in a loveless marriage, so Jerry starts to help him loosen up and have a little fun. Usual stuff, but solid enough. Of course, if you couldn't tell, once Jerry starts helping out his wife, son, maid, and daughter with their problems then that's when Dave starts having a problem with Jerry. Again, it's nothing that you've never seen before, but it's all well-done. I think, probably, the best part of this is the fact that there's a certain mystery about Jerry. He gives all these supposed facts about his life, but you know that he's either lying or embellishing. You never do find out what Jerry was before he was homeless or what he did, but it's pretty interesting to think about the type of person he was and how he got to that point. But it's good that there's a little bit of mystery and intrigue to the character and Nolte does a great job with the character. As does Bette Midler. I wouldn't necessarily call her a trophy wife, but she's the type of wife that completely forgot where she came from now that she's found a little bit of wealth. She's got a snobbish attitude towards Jerry at first, but once you start to dig in a little deeper then you get to see her real personality. And, of course, Bette Midler is a talented actress so she also does a great job with her character. Now that I think about it, I really loved the cast in this film. I don't think there's any weak links in the entire group. Maybe Little Richard, but that's due to the fact that he wasn't an experienced actor and even then, his first appearance is the comedic highlight of the film. With that said, I definitely enjoyed this movie. It's good, it's well-written, it's smart and, most of all, it's got a great cast. Yet, at the same time, the film never gets to that next level. It's certainly enjoyable, but I wouldn't call it great, though I lament the fact that this film has, pretty much, been forgotten in the 30 years since its release. This is a solid Netflix watch.

    This is a film that time may have not been very kind to. Don't get me wrong, though, the film features some great performances from Bette Midler, Nick Nolte, and Richard Dreyfuss. Dreyfuss has an everyman quality about him that makes easily likable in films. Yet he can also play these characters that are slowly losing their mind as the film progresses and things start to unravel. If you've seen What About Bob? then you know exactly what I'm talking about, Dreyfuss' performance in that film is comedy gold and it's a movie that also features Bill Murray, so you can imagine how good he is. While this film doesn't see him go as nuts as What About Bob? there's still hints of it here. But, with that said, I liked this movie quite a bit. Like I said, perhaps time hasn't been as kind to it as one might expect, it's still what I would call a good movie. One of the things I liked about the movie, and perhaps it has nothing to do with quality per se, is the fact that the film is pretty progressive as far as characters go. The film is actually pretty diverse when it comes to characters. Perhaps not all of the characters were featured prominently, but the film does have a pretty diverse cast of characters. And, particularly, for a film in the 80s, where it was pretty much all white casts with a token black character forced in there somewhere, it's pretty impressive to see a film with such an open mind about casting. It's not like it improves the film's quality by much, but it's really cool to see from an era that lacked actual diversity. With that said, it's not like I'd call the film consistently funny. There's parts of it that work and parts of it that don't. I think the good stuff still outnumbers the jokes that miss, but it's also elevated by the performances of Richard, Bette, and Nick. The funniest part of the film would, absolutely, have to be Little Richard's, yes, first appearance in the film, where he goes absolutely nuts, yelling at people and insulting them and their dogs. It's not like he was a good actor, but I was wildly entertaining and Little Richard's yelling. To the point that I was hoping that every appearance he made would've been like this one. He'd just appear out of nowhere and start yelling. I suppose it wouldn't have made sense within the context of this story, but I wouldn't have cared. With that said, the story progression is good enough. Dave feels guilty at all the success he has achieved while others suffer on the streets, so he's taken Jerry, a homeless man, under his wing and let him stayed in his house. Plus, he's in a loveless marriage, so Jerry starts to help him loosen up and have a little fun. Usual stuff, but solid enough. Of course, if you couldn't tell, once Jerry starts helping out his wife, son, maid, and daughter with their problems then that's when Dave starts having a problem with Jerry. Again, it's nothing that you've never seen before, but it's all well-done. I think, probably, the best part of this is the fact that there's a certain mystery about Jerry. He gives all these supposed facts about his life, but you know that he's either lying or embellishing. You never do find out what Jerry was before he was homeless or what he did, but it's pretty interesting to think about the type of person he was and how he got to that point. But it's good that there's a little bit of mystery and intrigue to the character and Nolte does a great job with the character. As does Bette Midler. I wouldn't necessarily call her a trophy wife, but she's the type of wife that completely forgot where she came from now that she's found a little bit of wealth. She's got a snobbish attitude towards Jerry at first, but once you start to dig in a little deeper then you get to see her real personality. And, of course, Bette Midler is a talented actress so she also does a great job with her character. Now that I think about it, I really loved the cast in this film. I don't think there's any weak links in the entire group. Maybe Little Richard, but that's due to the fact that he wasn't an experienced actor and even then, his first appearance is the comedic highlight of the film. With that said, I definitely enjoyed this movie. It's good, it's well-written, it's smart and, most of all, it's got a great cast. Yet, at the same time, the film never gets to that next level. It's certainly enjoyable, but I wouldn't call it great, though I lament the fact that this film has, pretty much, been forgotten in the 30 years since its release. This is a solid Netflix watch.

  • May 26, 2015

    Paul Mazursky's film has held up well. While it is often silly, there are a great deal of potent observations not only about the characters on the screen, but the audience watching.

    Paul Mazursky's film has held up well. While it is often silly, there are a great deal of potent observations not only about the characters on the screen, but the audience watching.

  • Feb 08, 2015

    barely got a laugh out of me

    barely got a laugh out of me

  • Dec 22, 2014

    This is very dated in it's idealism, but it somehow still manages to deliver a few laughs. It was nowhere near as funny as I was hoping it to be though. Nick Nolte and Richard Dreyfuss provide more talent than the script does.

    This is very dated in it's idealism, but it somehow still manages to deliver a few laughs. It was nowhere near as funny as I was hoping it to be though. Nick Nolte and Richard Dreyfuss provide more talent than the script does.

  • Aug 04, 2014

    Little Richard freaking out scenes were great. The movie was okay at best. A little scattered.

    Little Richard freaking out scenes were great. The movie was okay at best. A little scattered.