THE BIG FIX (1978, USA, 108m, 12) ***
Comedy, Mystery, Thriller
dist. Universal Pictures (USA), Cinema International Corporation (CIC) (UK); pr co. Universal Pictures; d. Jeremy Kagan; w. Roger L. Simon (based on the novel by Roger L. Simon); pr. Carl Borack, Richard Dreyfuss; ph. Frank Stanley (Technicolor | 1.85:1); m. Bill Conti; ed. Patrick Kennedy; pd. Robert F. Boyle; ad. Raymond Brandt.
cast: Richard Dreyfuss (Moses Wine), Susan Anspach (Lila), Bonnie Bedelia (Suzanne), John Lithgow (Sam Sebastian), Ofelia Medina (Alora), Nicolas Coster (Spitzler), F. Murray Abraham (Eppis), Fritz Weaver (Oscar Procari Sr.), Jorge Cervera Jr. (Jorge), Michael Hershewe (Jacob), Rita Karin (Aunt Sonya), Ron Rifkin (Randy), Larry Bishop (Wilson), Andrew Bloch (Michael Linker), Sidney Clute (Mr. Johnson), John Cunningham (Hawthorne), Frank Doubleday (Jonah’s Partner), Joyce Easton (Woman in Mercedes), Martin Garner (Bittleman), Danny Gellis (Simon).
Dreyfuss’ performance as the misfit private investigator and single father Moses Wine is the main draw in this overly complex comedy mystery. Wine is approached by his former college flame, Lila Shay (Anspach), to dig into a political smear attack on the campaign she oversees. What starts out as a seemingly run-of-the-mill attempt at dirty politics evolves into a plot involving an unsolved murder; former 1960s radical leader Howard Eppis (Abraham), who has settled into suburban life; and a terrorist plan to explode a Los Angeles freeway. Simon adapted his own novel, altering the ending at the studio’s behest. He draws on Watergate in his portrayal of shady political dealings and blends it with Chandler-esque mystery elements and a detective hero as much of his time as Marlowe had been. Where Simon diverges from the source inspiration of his creation is that he allows Wine to have a full backstory and often saddles him with his kids from his failed marriage, as ex-wife Bedelia forges a new life for herself. This, along with Dreyfuss’ wisecracking and cynical character, gives the film a comedic overtone as it slowly builds the plot almost as an afterthought. Karin is a comic delight as Wine’s politically opinionated aunt. Kagan directs efficiently and handles the shifting of tone into the final act skilfully, but the plot can often feel secondary to the character study of Wine, rendering it even more convoluted than it needs to be, resulting in an entertaining but frustrating viewing experience.
