Chevy Chase's best film and outside of "Vacation" is probably his only classic film. "Caddyshack" is a classic, but he was part of an ensemble and even that one had it's weak points. That may be too harsh, because he was in some funny movies like "íThree Amigos!" "Spies Like Us" and the underrated "Funny Farm," but the quality of films he appeared in were not deserving of his talent (and I consider him a very talnted comedian). But to this film in particular, he plays a investigative journalist doing a story about drug dealers on seedy Venice beaches. While disguised as a beach bum, he's propositioned by Tim Matheson to kill him. Fletch then becomes curious about the story behind this proposition and gets sucked into something of a conspiracy. The mystery is solid, but it's the con-man elements of the Fletch character that make this film so memorable. It's a lot of fun to see Fletch con his way into tennis clubs as a guest of the Underhills, into airplane hangers as plane repair technician and any other number of disguises. My only complaint for the film is that some of the disguises are a bit broad (i.e. funny teeth) and I would have liked to have the disguises be more like those in "Burn Notice" which I think must have been influenced by "Fletch." And the one Lakers dream sequence, while funny, seems like it belongs in a coupletely different film. Written by one of the best comic Hollywood comedic screenwriters, Andrew Bergman, who's written the likes of "The In-Laws," "The Freshman" and even "Blazing Saddles," and directed by Michael Ritchie, who's a director who I can't quite tell if he deserves to be treated as a "serious" filmmaker. He did some smart films early in his career, like "Downhill Racer," "Prime Cut" and "The Candidate," but then spent most of his later career directing comedies. They were good comedies, but I'm not sure they contained any kind of deep subtext, although I will day that "The Bad News Bears" is the greatest sports movie of all time and does have a quite a few subversive elements. So add in a strong supporting cast (including Joe Don Baker, Dana Wheeler-Nicholson, Richard Libertini, M. Emmet Walsh, George Wendt, Menneth Mars, Geena Davis, James Avery, William Sanderson) and that off with a memorable score from Harold Faltermeyer, arguably his best, this all adds up to a classic.