Released on: 12 Sep 1979 • Rated: PG • Runtime: 103 min
Genre: Action, Adventure, Comedy
Director: Arthur Hiller
Writer: Andrew Bergman
Actors: Peter Falk, Alan Arkin, Richard Libertini
Plot: On the eve of their children’s marriage, NYC in-laws Sheldon Kornpett and Vince Ricardo embark on a series of misadventures involving the CIA, the Treasury Department and Central American dictators.
Box Office Gross: N/A
Awards: N/A
7.3/10
89%
72
66
3.7
69
“The In-Laws: A Tale of Two Comedies”
When it comes to remakes, Hollywood has a history of revisiting classics with a modern twist. “The In-Laws” is a perfect example of this trend, having first graced the silver screen in 1979 before making a comeback in 2003. These two films, while sharing a title and a basic premise, offer distinct flavors, reflective of their respective eras in comedy and cinema. Join me as we delve into a comparative review of both versions of “The In-Laws,” exploring how each film captures the humor and heart of unlikely familial bonds under the stress of pre-wedding chaos.
Directed by Arthur Hiller, the 1979 version of “The In-Laws” features Peter Falk as Vince Ricardo and Alan Arkin as Sheldon Kornpett, two soon-to-be in-laws whose encounter leads to a series of unexpected and wildly chaotic adventures. Vince, an undercover CIA agent with a penchant for danger, drags the conservative and mild-mannered dentist Sheldon into a bizarre plot involving international intrigue and government coups.
The chemistry between Falk and Arkin is the heart and soul of the film. Their contrasting personalities provide a fertile ground for comedic gold. Falk’s portrayal of the eccentric, risk-taking Vince is brilliantly offset by Arkin’s performance as the neurotic, cautious Sheldon, making every scene they share a delightful spectacle of comic tension.
The plot itself is a whirlwind of absurdity, perfectly balancing action and humor. From New York to Central America, the misadventures they embark on are both implausible and hilarious, embodying the best of late 70s comedy—broad, slapstick, yet smart.
Fast forward to 2003, and we have the remake directed by Andrew Fleming, starring Michael Douglas as Steve Tobias and Albert Brooks as Jerry Peyser. This version takes the basic premise of the original but updates it with a more contemporary flavor. Steve is a suave, somewhat reckless undercover agent for the CIA, whose work consistently bleeds into his personal life, much to the dismay of his future in-law, Jerry, a podiatrist with a much more risk-averse outlook on life.
While Douglas and Brooks are commendable in their roles, their on-screen chemistry doesn’t quite capture the magic of Falk and Arkin’s performances. That said, they bring a different kind of energy to the film—Douglas with his cool-dad vibe and Brooks with his signature neurotic fretting, making for plenty of amusing moments.
The humor in the 2003 remake leans more towards the absurd, with more explicit gags and a faster pace that reflects the comedic style popular in the early 2000s. The remake also amplifies the action sequences, perhaps in a bid to appeal to a younger audience, which adds a different kind of thrill to the viewing experience.
Cinematographically, both films reflect their times. The 1979 version utilizes a more straightforward, almost minimalist approach which helps highlight the comedy and the characters’ odd couple dynamic. The setting is gritty, real, and less polished, lending authenticity to the chaotic journey.
In contrast, the 2003 version features slicker, more dynamic cinematography. The film uses vibrant colors and quicker cuts to match its faster pacing and more action-packed script. The visual style is glossier, which fits the early 2000s Hollywood aesthetic but sometimes distracts from the relational dynamics that are the core of the film.
The original film’s soundtrack, composed by John Morris, perfectly complements its comedic and dramatic beats. The music underscores the absurdity and tension with a light-hearted touch that enhances the film’s overall charm.
The 2003 version, scored by Alan Silvestri, opts for a more robust and dramatic approach. The music in this remake aims to amplify the action and heighten the comedic effect, though it occasionally overwhelms the subtler jokes, favoring a bombastic over a nuanced approach.
At their cores, both versions of “The In-Laws” explore themes of family dynamics, the clash of personalities, and the unpredictable nature of forming new familial bonds. Each film, through its comedic lens, addresses how these relationships can be both fragile and strong, often at the same time.
The original “The In-Laws” is often hailed as a classic comedy, beloved for its sharp wit and the strong performances of its leads. It holds a place in the annals of American comedy for its originality and timeless humor. The remake, while not as critically acclaimed, still enjoys a fair share of fans who appreciate its more modern take on the story and its own brand of humor.
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Movie details, where to watch, and movie poster provided by TMDB, with permission.