Film Review: The In-Laws (1979)

Until recently, inflation was thing of the past for young generations in the West, a concept as abstract as world war. In 1970s America, however, it was quite different matter. Inflation was reality so palpable and overwhelming that it found way to serve as element of plot in Hollywood films, even comedies. One of those was The In-Laws, 1979 film directed by Arthur Hiller.

Protagonist is Sheldon Kornpett (played by Alan Arkin), dentist who has successful practice in Manhattan and whose daughter Barbara (played by Penny Peyser) is just about marry Tommy Ricardo (played by Michael Lembeck). Sheldon is introduced to Tommy’s father Vince (played by Peter Falk), businessman whose bizarre and not particularly convincing tales about what he does for living makes Sheldon suspicious up to a point that he contemplates calling off the wedding. He nevertheless agrees to run small errand for Vince, which leads to some unpleasant people chasing and shooting him on the streets of New York. Vince rescues him and explains that he actually works for CIA, and that he had stolen engraving plates from US Mint. Those plates are sought by group of indebted Latin Americans who want to print US dollars in order to pay off debts, which would lead to catastrophic inflation in USA and the rest of the world. Despite not wanting to do anything with Vince, Sheldon ultimately joins him to the trip to Latin American island of Tijada.

The In-Laws is one of the more successful films of its time, both among the critics and at the box office. It won critics by pandering to left-wing and anti-establishment that were prevalent in 1970s, best seen in its mocking of CIA as organisation full of malevolent, corrupt or simply crazy people, while doing the same to tinpot right-wing dictators that were at the time running most of Latin America with US government’s blessing. Ordinary audience, unburdened by complicated politics, was brought to theatres by presence of Peter Falk, comic actor who, thanks to Columbo, enjoyed zenith of his popularity. Falk plays his role very well and there is excellent “buddy buddy” dynamic between his and Alan Arkin’s character. Falk plays crazy part of the duo, but does it with deadpan delivery, while Arkin, who plays a straight man, often becomes hysterical.

Many critics praised Andrew Bergman, screenwriter best known for his work with Mel Brooks on Blazing Saddles, for his work. However, it is his script that is the weakest element of the film. While there are some jokes that are funny, and Falk and Arkin often make funny those that are otherwise not, too many times there is simply not enough humour in the film. Director Arthur Hiller, best known for his work on Lover Story, at times tries to fill the blanks with action, but those scenes are uninspiring and make The In-Laws look cheap. Another important issue is the pacing. It takes some time to film to catch the proper rhythm and it happens too late, when the character of half-crazed General Garcia, played by very inspired Richard Libertini, is introduced. Today’s audience would have many difficulties understanding the film with its references to 1950s coups in Central America and JFK presidency. It is disappointing film, but it looks much better than its 2003 remake starring Michael Douglas and Albert Brooks.

RATING: 4/10 (+)

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