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- <text id=89TT2257>
- <title>
- Aug. 28, 1989: Saturday Night Dead
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1989
- Aug. 28, 1989 World War II:50th Anniversary
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- CINEMA, Page 64
- Saturday Night Dead
- </hdr><body>
- <p>By Richard Corliss
- </p>
- <qt> <l>WIRED</l>
- <l>Directed by Larry Peerce;</l>
- <l>Screenplay by Earl Mac Rauch</l>
- </qt>
- <p> Well, they sure could have called it Weird. After all, the
- main characters in this bonkers biopic are two people John
- Belushi never met during his brief, explosive life: Bob
- Woodward, the actor's biographer, and John Belushi dead. You
- have to cherish the daredevil idiocy of a movie whose climax is
- a parody of Woodward's legendary deathbed chat with CIA director
- William Casey. The journalist visits the hotel room where
- Belushi took his fatal overdose and hallucinates an interview
- with the dying star. "Breathe for me, Woodward!" the samurai
- comic cries. And it's hard to hate a docudrama in which Cathy
- Smith, Belushi's last drug source, materializes in the
- straight-arrow reporter's fantasy and asks, "How 'bout you,
- Woody? You want a hit?"
- </p>
- <p> If Woodward does want a hit, he is unlikely to get one from
- this turkey, overstuffed as it is with mad ambitions and bad
- karma. Wired wants to turn the story of the Saturday Night Live
- comedian and gonzo movie star into a cautionary fable about
- celebrity in the fast lane -- and never mind that some powerful
- people in the movie business were not eager to see the picture
- made or released. Reprising Belushi's career without being able
- to use clips or skits from his most famous work should be
- challenge enough. But nooo! Wired insists on merging the complex
- flashback devices of two favorite old movies. So on one swerving
- narrative track, Woodward (J.T. Walsh), like the reporter in
- Citizen Kane, gets dirty dish from the star's friends. On the
- other, an angel of death (Ray Sharkey), a hipster version of the
- guardian angel in It's a Wonderful Life, escorts the dead
- Belushi (Michael Chiklis) to the scenes of his ebullient crimes.
- </p>
- <p> Woodward's best seller, though it traced Belushi's last
- days with a doggedness that would have done the Evangelists
- proud, was a turgid read that had little feeling for its subject
- and found no broad meaning in it. At least adapter Earl Mac
- Rauch (The Adventures of Buckaroo Banzai) knows that the only
- way to pin Belushi and Hollywood is to wax satiric and
- surrealistic. When the dead Belushi prowls his old haunts in a
- morgue sheet that looks like a toga out of the Animal House
- closet, the film almost has style to match its guts. So does
- Chiklis' boldly percussive performance. But Wired's take on
- Belushi is so lame and gross that it validates the verdict of
- a cop in the movie: "He's just another fat junkie who went
- belly-up."
- </p>
- <p> Was he? Not exactly, though the distinction eludes Wired.
- Professionally, Belushi was a gifted TV sketch artist who found
- the wide-screen format confining. Personally, he was a
- middle-class white kid with an anarchic urge to play the cool
- black jazzman -- so he partied and bullied and ODed just like
- his heroes. Early death was only the last piece of the legend
- this blues brother created for himself. In the film's one good
- laugh, a physician elicits Belushi's pharmaceutical history and
- then asks, deadpan, "Next of kin?" Belushi was delivered to his
- humongous family of fans, who mourned a talent that went up in
- free-basing flames. But where do you send a killer-B movie like
- Wired, with many enemies and no mourners?
- </p>
-
- </body></article>
- </text>
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