Weekend At Bernie’s (1989) - Yuppie Scum, Italian Mobsters & a 2 Million Dollar Error - That Aged Well

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Ah Erica. It's another it's another month with five Mondays,
and this is Labor Day.

Speaker 2 (00:06):
The day where we decide to labor more more.

Speaker 1 (00:10):
I believe that we're continuing to labor.

Speaker 2 (00:12):
We're continuing to live. This is the day where we
say thank you to people who have gone into labor.
Our parents.

Speaker 1 (00:22):
Pull it out, pull it out. Come on, yeah, steer
into the kids, steer into it.

Speaker 2 (00:25):
This is the day.

Speaker 1 (00:26):
When it's Labor Day, we are taking a day off,
but we didn't want to leave you hanging. So what
we have here is another another Reducs episode. We'll released
Point Break a couple months ago, and this time it's
Labor Day. So we're going to re release our old
episode on Weekend at Bernie's with a new edit.

Speaker 2 (00:44):
Yes, yes, it says Labor day more like a weekend
at the Hampton's with your dead boss, with your dead
boss's corpse.

Speaker 1 (00:51):
You know when you can't labor when your boss dies. Yeah, yeah,
that's it.

Speaker 2 (00:54):
That's actually when you labor even more. You gotta hide
the boss is dead from the mobsters who are out
to get him. It's been a minute since I've seen
Weekend at Bernie's. I'm pretty sure that's it.

Speaker 1 (01:03):
Ladas to our first question, Erica, do you remember anything
specific about this episode?

Speaker 2 (01:06):
I remember the girlfriend who went boy Me Boyney, that's
I remember.

Speaker 1 (01:10):
And she ate with gloves on at one point, like.

Speaker 2 (01:12):
But but not like not like wash gloves, like lace gloves, yes,
like little black lace gloves. And she was eating like
I want to say shellfish.

Speaker 1 (01:20):
Right, But doesn't she unwittingly fuck the corpse?

Speaker 2 (01:24):
Oh? You know what, I was gonna say a hard no,
like no, I would remember that, but I'm not sure
I would remember that. I'm not one hundred for she
doesn't fuck that corpse.

Speaker 1 (01:34):
The only other two things I remember are I know
there's a one point where there are there are men
in suits that are shorts, like they have short song
with a suit jacket.

Speaker 2 (01:41):
Yeah, yeah, yeah, that's what the Hampton's police looks like.

Speaker 1 (01:44):
And I think there's a boat chase.

Speaker 2 (01:46):
Yeah, of course there is. It's the Hampton. There's a
fabulous house. Yeah, there's a corpse. There's corpse fucking. It's
typical Hampton's.

Speaker 1 (01:55):
Absolutely all right, Erica. We didn't do the tagline back then,
so you already we have two tag lines where we
at Bernie's. You can choose a twenty like better. Okay, okay.
The first tagline is Bernie would be the perfect toast
except for one small thing. He's dead. Now he's the
life of the party.

Speaker 2 (02:14):
Just life of the party. That's all you have to do.
We all, no one went in cold. If we can imbrace.

Speaker 1 (02:22):
No you imagine if you did.

Speaker 2 (02:23):
No one went in being like, what is this movie about?
You know what? I don't care. Here's my money, moving on,
moving on. I did not watch a single commercial. I
did not I did not read a single review. I
don't know anything about this week. I didn't look at
the poster on my way in.

Speaker 1 (02:42):
All right, so how about this tagline? How this one
hit you? Two morons, one corpse and the plot thickens.

Speaker 2 (02:48):
Okay, that's good, that's good. That's a legit plot. That's
the winner tagline. I honestly think Life of the Party
is still the best way.

Speaker 1 (02:54):
Life of the party.

Speaker 2 (02:55):
Yeah, but however, this one's good and they are two morons.

Speaker 1 (02:58):
This is a movie genuinely.

Speaker 2 (03:00):
Characters are so deeply unsympathetic that I'm not at all
attracted to Andrew McCarthy in Wow, which is hard for
me to do.

Speaker 1 (03:06):
That's hard. He did that late in life with that
Brats movie that we saw that he really killed your
boner for him with that. No, honestly, it's still you
can still get.

Speaker 2 (03:13):
It up, still do it still. But this movie, I'm like, no,
thank you. Even Jonathan Silverman, who's adorable, adorable, but in
this movie, I'm.

Speaker 1 (03:21):
Like, no, thank you, no thank you. What do you
think you rated it?

Speaker 2 (03:25):
Oh, in terms of aging, well, yeah, probably not well
I'm gonna get especially if there was corpse fucking I'm
not even sure I remember. I'm gonna say a five.

Speaker 1 (03:35):
A five.

Speaker 2 (03:36):
What did you give it?

Speaker 1 (03:37):
I don't remember, because I agree, I don't think there
was anything super offensive. I have a vague memory of
maybe there was a there was a gays learn it,
And I don't know if I was more strident about
those back then, and I don't remember who said it.

Speaker 2 (03:47):
So the amount of gazlers you've come across since you're
just like whatever.

Speaker 1 (03:51):
She really standed the edge off, maybe like a four.
I'm guessing a four.

Speaker 2 (03:56):
I'm thinking you obviously know people of color, but also
don't we sometimes give a pass when it's a lot
of white people nonsense?

Speaker 1 (04:02):
Yeah, And also in the Hamptons when.

Speaker 2 (04:04):
It's a lot of white nonsense. We're like, you know what,
we don't want people of color to be involved.

Speaker 1 (04:09):
We want to excuse We've done enough to you. We
like to excuse you from this.

Speaker 2 (04:12):
Yeah, you don't have to be involved in this. I
don't recall because it's the Hamptons. I do not recall
if there was any like Maids right color.

Speaker 1 (04:21):
I want to say that I don't remember no.

Speaker 2 (04:22):
Hispanic maids or anything like that, which always wrinkles me.
Uh yeah, you know what, Maybe I do remember a
conversation I actually remember where I asked you, like, did
you find the depictions of the Italian mafia? And you
were like, really, what's it like?

Speaker 1 (04:39):
Come on, don't do the crime if you can't do
the time. All right, listeners, so thank you so much.
Please enjoy this re edit of Weekend at Bernie's. We
will be back next week in your feeds with a
brand spanking new episode for the rest of September.

Speaker 2 (04:56):
Go out and labor today. Labor as much as you can,
for it is Labor Day, that's right, and enjoy Weekend
at Boyne Boynie. Okay, So, if you if you were
to go on a game show, right, either like a
past game show from like the seventies or something that's
on today. Okay, what game show do you feel like

(05:18):
you could confidently go on and win?

Speaker 1 (05:21):
Oh? I want to say, like the Challenge on MTV,
but I'm too old for that. Now maybe match game? Yeah,
match game. I'm usually pretty because the match game relies
on kind of wordplay. Oh. I also think i'd be
good at Hollywood Game Night. Okay, yeah, I'm good at
like I'm good at those kind of games.

Speaker 2 (05:41):
Also, like if you just have to play against celebrities.

Speaker 1 (05:43):
Yeah, come on, you're going to win, how about you?

Speaker 2 (05:45):
So my answer is insufferable, Okay, and I know it's insufferable.

Speaker 1 (05:48):
Okay, Jeopardy it's jefardy fuck off.

Speaker 2 (05:52):
So here's the thing we remember. Jeopardy is a lot
harder than it actually is because when we watched it
as children, it seemed inconceivable that people knew shit about,
like the French Revolution or whatever. Now that you're an adult,
you realize the question has the answer in it already.
You just have to suss it out. When they're like
this first American president won the Battle of blank in

(06:13):
the blank blank blank year and you're like, Okay, I
may not know the fucking Battle of whatever, but I
know who the first American president was.

Speaker 1 (06:20):
I know who was buried in grants too. Hey, Paul
in America, and this is that aged Well.

Speaker 2 (06:40):
Yesterday's pop culture today?

Speaker 1 (06:42):
All right, we're back. We're back in stewed.

Speaker 2 (06:45):
Gross. You're gross now I get disgusting.

Speaker 1 (06:48):
Podcast over the podcast podcast o canceled. I hate everything
on account of douchetom Erica. What are we talking about today?

Speaker 2 (07:00):
Speaking of douches, Yeah, we're on brand. We are talking
about a classic Americans, a classic of American cinema.

Speaker 1 (07:09):
The fact that we have to refer to this as
a classic.

Speaker 2 (07:11):
Of nineteen eighty nine's Weekend.

Speaker 1 (07:13):
At bernie I can't believe this was nineteen eighty nine.

Speaker 2 (07:17):
It feels like nineteen thirty.

Speaker 1 (07:19):
Five, like nineteen eighty one. I legit thought it was
a nineteen eighty one movie until I did this.

Speaker 2 (07:24):
This is later than I expected as well. I really
thought it was a lot later than this.

Speaker 1 (07:27):
Yeah. Weekend at Berniey, I mean earlier than this Weekend
at Bernie's is an American black comedy directed by Ted Kotcheff,
sure written by Robert Klain and starring Andrew McCarthy and
Jonathan Silverman.

Speaker 2 (07:41):
Okay, black comedy is wrong. This is not a black comedy. No,
this is a full like farce.

Speaker 1 (07:47):
It's a farce.

Speaker 2 (07:47):
It's a full farce. It's just not even close to
being a black comedy. Wrong, You're wrong, Internet. This movie
reminded me of bringing up baby Like. It is that
level broad ridiculous doors, slamming people, people like running in
and out. Yeah, something's on fire.

Speaker 1 (08:04):
I think we should also mention that it stars Terry
Kaiser as Bernie I was gonna say, and Catherine Mary
Stewart as Gwen, who I thought was quite winning.

Speaker 2 (08:12):
I thought she was great too. Terry Kaiser is much
better than I remembered. I didn't think much about Bernie
because when I so, I we'll get to this later.
But I saw it as a kid and haven't seen
it since. So I was like, oh, yeah, and there's
a guy who's dead. That guy is amazing.

Speaker 1 (08:30):
He's doing all the work.

Speaker 2 (08:31):
He's doing all the work. He's like, I've got excellent physicality.
He's like you could tell he took like clowning or
dance or something. But also his performance is Bernie when
Bernie's Alive is excellent? Yeah, agree, Terry Kaiser kind of
steals the movie.

Speaker 1 (08:45):
The film inspired a sequel, Weekend at Bernie's two in
nineteen ninety three.

Speaker 2 (08:48):
Would you believe that I saw this movie is a theater?

Speaker 1 (08:52):
Oh? Good lord. This film is apparently about Larry and
Richard using the voodoo revived corpse of Bernie to track
down money and clear their names.

Speaker 2 (09:01):
Yep, h I know, I know, I saw this.

Speaker 1 (09:04):
This came out the year before The Lion King, before
before Weddings in a Funeral. Uh huh, it came out
after Terminator.

Speaker 2 (09:13):
Two nineteen ninety three. Yeah, it takes place literally the
day after this one ends, because there's a corpse involved,
and that corpse is gonna start to get a little kamy.
The house where the movie was shot was built solely
for the film and torn down afterwards.

Speaker 1 (09:31):
Does that seem incredibly wasteful?

Speaker 2 (09:32):
It does, But that can't be right. That feels wrong.

Speaker 1 (09:35):
I mean unless maybe they did, like no plumbing and
no electric in it, so it's just a structure that
they put up on the beach.

Speaker 2 (09:40):
Okay, sure, sure, why not?

Speaker 1 (09:42):
Yeah?

Speaker 2 (09:43):
Oh but it's a beautiful house.

Speaker 1 (09:45):
Weekend at Bernie's has a fifty four percent critical rating
on Rotten Tomatoes and a fifty seven percent audience score.

Speaker 2 (09:50):
What the fuck are people smoking? This should have a
ten on both.

Speaker 1 (09:58):
I was at I was surprised that the audience score
wasn't higher, just because I have Maybe it was Friends,
with it being Rachel's favorite movie on Friends. That may
maybe that skewed my perception, but I would suddenly impression
this was a massive hit, which it was.

Speaker 2 (10:13):
It was. I saw both of these in the theater. Yeah,
like these were hits. These were hit movies. You're right,
And to be fair, it's really not that. It's it's
not that bad. It's it's bad, but it's not that
and there are parts of it that are fairly entertaining.

Speaker 1 (10:27):
I think I think fifty percent critical rating is maybe
about right. No, well no, but I'm still thinking about
it as like a nineteen eighty one movie. It's a
nineteen eighty nine movie, so it should be like thirty percent.

Speaker 2 (10:41):
It should be at like twenty percent. Yeah, it should
be low.

Speaker 1 (10:44):
It should be low because there are.

Speaker 2 (10:45):
You're right on the audience score. Audience score could be
very high. It's silly and fun. Who gets a shit, right, Yeah,
so fine, but like the critical reading should be like yeah, basement.

Speaker 1 (10:55):
Like we're paying our critics for a reason. We want
them to look at movies and critique them.

Speaker 2 (11:00):
You went to college for this.

Speaker 1 (11:03):
All right, Erica, So we already you already spoiled the audience.
But when did you first see this movie? I'll ask
the question. Yeah, theater, in the theater with your family.

Speaker 2 (11:11):
With my family. I remember seeing this movie in the
theater with my family. I don't remember anything else about it, honestly,
like I didn't haven't seen it since then, And so
it's been thirty years since I've seen this movie, and
it's ridiculous. It is even more ridiculous than I remembered

(11:31):
it being, which is bonkers. Yeah, I didn't think that
could be that could be reached.

Speaker 1 (11:37):
Well, I've never seen it.

Speaker 2 (11:39):
You thought it yesterday.

Speaker 1 (11:40):
I saw it yesterday for the first time, which is bonkers,
because I knew what it was. I mean, it's so
it's so in the zeitgeist that I must have seen
pieces of it when I was growing up, but I
never watched the whole thing. Like all these things didn't
ring a bell. I didn't know that. The reason like
the reason it was okay this guy was dead was
because he was a crook. I was like, did they
show up at the house and the guy's dead? Like

(12:02):
what is the backstory of this? So I was kind
of like, where, how are they laying the track for
this plot to even make it even like even a
tiny bit of sense, which, to be fair, it kind
of doesn't. It makes no sense.

Speaker 2 (12:13):
It makes no sense. Some of it is. It's a
farce though, right, So.

Speaker 1 (12:16):
Like, it's fine, you give a lot of leeway to fart.
I have a lot to say about the farcical aspects
of this and where I think they succeed in where
I think they fail. Agreed, Yeah, me too. So I
read the last synopsis. Do you want to read this one?

Speaker 2 (12:29):
Sure? When two working stiffs I love when people call
people working.

Speaker 1 (12:34):
Stiffs, But do you see what they're doing there?

Speaker 2 (12:36):
I do see what they're doing there, because because corpses
are stiffs. Exactly, when two working stiffs Andrew McCarthy and
Jonathan Silverman uncover an embezzlement plot in their company, they're
thieving Boss Vernie. This is I'm like, basically, I am
just like an anchorman. I'm just like Ron Burgundy, I

(12:58):
will read anything you put more.

Speaker 1 (13:01):
Sometimes they are typos.

Speaker 2 (13:02):
They're thieving boss, that conniving bitch Erica. Wait, I didn't
write this. The thieving boss Bernie Terry Kaiser invites them
to his beach house for the weekend, planning to have
them killed, But when it's Bernie that gets whacked instead,
our two bumbling heroes realize that in order for them
to stay alive, they'll have to make everyone believe that

(13:23):
Bernie is still the life of the party.

Speaker 1 (13:26):
That's not even accurate.

Speaker 2 (13:27):
It is accurate. I think it's perfect. No, no, I
think it's completely accurate.

Speaker 1 (13:35):
I mean, I think it's accurate. For the last third
of the movie, the Wes kind of divided into three parts,
and the middle part is completely left out.

Speaker 2 (13:45):
Uh sh what is the middle part?

Speaker 1 (13:49):
Middle part is? You know what, let's just for two
of the Weeds. For two of the Weeds, cut it out,
cut it cut come back afterwards. We'll talk about we
get it Bernie's Hey, listeners, future Paul here, would you
believe we forgot to do an actual synopsis for this episode?
So actual synopsis for weekend at Bernie's. Either I thought

(14:13):
rigamortis made a corpse's muscles stiff, or how many assassination
attempts does it take to kill one coquette one of
those two Take your pick, and we're back. We're gonna

(14:35):
talk about weekend at Bernie's.

Speaker 2 (14:38):
So I still can't believe this is such a massive hitty,
I know. So let's talk about it in terms of
like eighties cinema again, Like we talked about this during
Back to the Future and how like and Splash and
Weird Science and all these like very high concept films
that were coming out and overboard that like somehow the eighties,
like literally anything goes. You can make a movie about

(14:59):
anything and it will get greenlit.

Speaker 1 (15:01):
Yeah, whereas, but I'm so bewildered by this being nineteen
eighty nine. This must have been the last gasp of that.

Speaker 2 (15:06):
Like, yeah thing before before the independent cinema came and
like crushed everything.

Speaker 1 (15:12):
Yeah.

Speaker 2 (15:12):
This came out the same year as sex Lies and Videotape. Yeah,
think about that, like and the same year like the
Sundance Film Festival started. I think where maybe it was
like a couple of years before like Bunkers and the
whole landscape is about to change, and this is the
last the last dinosaur of this like ridiculous, high concept,

(15:33):
cocaine fueled era right of cinema.

Speaker 1 (15:36):
Uh so we open It's New York City, hot summer day.
It's a hot summer day, hot time summer in the city.

Speaker 2 (15:43):
Everyone's talking about it.

Speaker 1 (15:44):
Back of my neck, getting burt and gritty.

Speaker 2 (15:46):
Every single characters like hot enough for you, hot right,
hot enough for you.

Speaker 1 (15:50):
We'd score to like a calypso music.

Speaker 2 (15:52):
Uh huh.

Speaker 1 (15:53):
I'm gonna say, I'm guessing the artist is black. It's
the only black person involved in this movie.

Speaker 2 (15:57):
Sure, this movie is such white nonsense. I'm I don't
think it needs of the highest order. So yeah, we
see Richard Jonathan Silverman and Larry which is Andrew McCarthy
on their way to work.

Speaker 1 (16:15):
Hey you backdoor Broncos and stage door Sally's dropping in
here again to let you know that there is elitist
East Coast content on the horizon. Current forecast cloudy with
a one hundred percent chance of EECC content.

Speaker 2 (16:30):
Enjoy From the beginning. If you live in New York City,
you're like, what the fuck is this movie doing? Because
they they meet at seventy second Street in Central Park
West at a very like iconic location right in front
of the Dakota, and then they walk to their job,
which is later established to be on fifty second Street

(16:52):
on the East Side. So on the hottest day of
the year, for some inexplicable reason, even though they live
one lives in Brooklyn and the other one lives in
like downtown Manhattan, they meet on the Upper West Side
to walk to walk to work in Midtown East. If
I know, this is insufferable to listen to if you're
not in a New Yorker, but you have to understand

(17:14):
this is already the dumbest choice possibly ever made on film.
So the two of them work at a company called
Titan Allied Insurance.

Speaker 1 (17:25):
Yes, on their walk, they also almost get mugged right
by the worst mugger I've ever seen. He like pulls it.
He's in the middle of the day, standing like in
Central Park. I guess it was the eighties that you know,
New York wasn't his nice. But he comes out, he's like,
give me your money, and uh Andrew McCarthy, Andy McCarthy,
Larry Huh says it's hot and just keeps walking, and
the mugger just like shrugs.

Speaker 2 (17:48):
There is some character like at like building. In these
first scenes, you realize Richard is fussy. Larry is sort
of world weary and wise. He's got street smarts. Richard
is a hard worker, a diligent worker. I have no
idea why he's friends with Larry. Richard is Jewish, Richard
is Jonathan Silverman, but like Larry is like the worst

(18:08):
coworker ever ever. He doesn't do anything. He's just he's
just a drain on the system. But it's Andrew McCarthy,
so he's got he's got charisma for days. Yeah, so
they they walk it's a Sunday. We find out it's
a Sunday afternoon or Sunday morning. They're coming in on
the weekend to work. Andrew McCarthy is not happy about this. Larry,
so he's like, let's go to the beach. And then

(18:29):
they cut to the two of them on the roof
of the building of the company.

Speaker 1 (18:33):
Yeah, and it's gross New York. It's so hot that
the tar on the roof is like sticking to them,
and it's just it's disgusting.

Speaker 2 (18:39):
Yeah. The movie does an excellent job of being evocative
of how disgusting New York gets on a summer day.

Speaker 1 (18:47):
So while they're up there, Richard Jonathan Silverman.

Speaker 2 (18:49):
The one who actually does his job.

Speaker 1 (18:51):
Uncovers a two million dollar error in the books of
this Titan insurance. They've paid out the same life insurance
policy numerous times.

Speaker 2 (19:00):
Mhm.

Speaker 1 (19:00):
So they and they think, fantastic. This is gonna get
us raise, it's gonna get us promoted.

Speaker 2 (19:06):
We're gonna be heroes. We're saving the company two million dollars.

Speaker 1 (19:10):
Exactly.

Speaker 2 (19:10):
They go to work Monday morning, Quick fashion report, Paul.
There is a shot of the lobby of the building,
the office building right to work. Did you see the
two gentlemen in short suits? No, there are two men
wearing like the top half is a full business suit
with shorts and then knee high socks.

Speaker 1 (19:33):
Oh my goodness walking through this lobby. Were they from
the sound of music? Like?

Speaker 2 (19:38):
That is not some hit for youth nonsense. It is
so bizarre. I will find a screenshot for you.

Speaker 1 (19:45):
Well, you know what. This is free on HBO right now.
If anyone wants to watch it after listening to this,
go to HBO. It's right there. No longer true. In
twenty twenty five, it is now on Hulu aren't the
streaming worst fun by physical copies of the stuff that
you love, so billionaires can't make it disappear.

Speaker 2 (20:02):
Okay, get real high and watch this movie. I bet
if you're stone, this is pretty funny.

Speaker 1 (20:08):
Yeah. So they're at work and they see Gwen this
is she's a summer intern. She's very pretty, she's a
very actress, is a very earthy presence. Fresh face, yeah,
fresh faced, and Richard has a crush on her. And
Larry is the prototypical straight bro being like people got
sk grout be you know, not up, not up. You
can do it. You can do it. He doesn't say no,

(20:28):
not up. That would be anachronistic, but.

Speaker 2 (20:30):
Also it can We tell a little bit about Andrew
McCarthy is he's fine in the park, but he's very miscast.

Speaker 1 (20:36):
He's very aggressive.

Speaker 2 (20:38):
Yeah, he's like playing like this brokin, Andrew McCarthy, this
is not for you. Yeah, you were not meant to
play this. Yeah, this isn't this is This is like
a Judd Nelson roll.

Speaker 1 (20:48):
This isn't your pocket, you know, or Emilio Estevez.

Speaker 2 (20:51):
Yeah. He does an excellent job though, because again Andrew
McCarthy charisma for days.

Speaker 1 (20:55):
Yeah, Okay, if you would like to hear a more
ex ended and frankly quite a bit bluer version of
Erica rhapsodizing about Andrew McCarthy, might I suggest our episode
on Saint Elmo's Fire, available wherever you get your podcasts.

Speaker 2 (21:15):
Richard finally goes up to her to ask her out.
He's so bumbling and nervous and has so little self
confidence that the only thing he could think to say
to this woman that he's been crushing on for like
an entire summer is my aunt is very sick. And
then he walks away. Turns out he doesn't even have
an aunt. She's not sick because he doesn't have an aunt.

(21:36):
He has no idea why he said that. He is
the most awkward person on the face of the planet. Luckily,
this woman, Gwen, finds awkwardness incredibly.

Speaker 1 (21:46):
Attracting, incredibly so it's worth saying.

Speaker 2 (21:49):
Jonathan Silverman's also very cute, bute, but like she's like,
tell me more.

Speaker 1 (21:56):
Did you notice that Richard is wearing It's not a
wedding ring, but I think it's like a signet ring
or something. But it's on his left ring finger, which
is where a wedding ring would go. It just bothered
me because there's a couple of times where he lit
like he gestures with his hand and it's a gold ring,
So it was just very noticeable. Yeah, like why would
you put it on that finger? I was waiting for
the other shoe to drop for like the first ten

(22:18):
minutes of this movie, Like is he supposed to be married?
Why are you putting a ring on that finger?

Speaker 2 (22:23):
All these people are supposed to be like, she's a
she's in college and there I'm guessing supposed to be
like twenty three years old, but because it's nineteen eighty ninety,
all look thirty five.

Speaker 1 (22:33):
Yeah, yep, that's yep. That's it. So Richard and Larry
get a meeting with Bernie, the Boss, the big Man.
They want to tell him about their discovery. He says,
it's come back after lunch, come back.

Speaker 2 (22:44):
Bernie shoes them away. Bernie is very like the movie
does an excellent job in like very short while of
establishing Bernie is this like big high roller, spends a
shit ton of money. His office is incredibly opulent. Right,
He's kind of a dick to everybody. He's like short
with everybody. He's like, yeah, whatever, I don't care about you.
Go come back after lunch, Like, yeah, way after lunch, right,

(23:06):
leave me alone.

Speaker 1 (23:07):
So they go to lunch at a hot dog cart.

Speaker 2 (23:09):
Yeah, there's pore yep.

Speaker 1 (23:10):
They see Bernie with a beautiful date, this like.

Speaker 2 (23:13):
Blonde model woman who seems to be wearing like some
sort of resort whar to lunch.

Speaker 3 (23:16):
Oh.

Speaker 2 (23:17):
Yes, she's wearing like a full like gown to lunch.
I'm like, yeah, Brokray. So the Yeah, Bernie is taking
like a really like lovely attractive woman in a very
expensive dress to a very expensive restaurant. That's his lunch.
He pulls up in his Porsche or whatever that car is,
Like he's he's he's the ultimate eighties yuppies scumbag.

Speaker 1 (23:38):
Yeah. I was amazed at this point that he was
not being played by Dabney Coleman. I know, Yeah, later
I realized why because this actor, I mean, the actor's
doing a very good Terry Kiser is doing a very
good job. But later, like what you spoke about earlier,
his physicality.

Speaker 2 (23:52):
Yeah, is really excellent, amazing.

Speaker 1 (23:54):
Yeah, And I don't know whether or not Dabney Coleman
could do that, but this guy clearly could, and I
suspect that's why he got absolutely.

Speaker 2 (24:01):
I would suspect they built this movie around him, honestly. Yeah,
So they come back to lunch. From lunch, they come
back to the office. They meet with Bernie. He's like
so uninterested in talking. I don't know if you notice this.
He like leaves for a second and comes back and
then is like clearing his sign and he clearly just
did a bump of coke.

Speaker 1 (24:19):
Yeah. He goes into his unsweet bathroom in his office and.

Speaker 2 (24:24):
They start to tell him about the two million dollar discrepancy.
At first, he's like, no, you're wrong, that's not how.
He gets kind of like defensive on the company's behalf
and they're like, oh shit, we're in trouble. And then Richard,
for some reason, finding the first and only amount of
self esteem he has in the entire movie, sticks to
his guns and is like, no, but you'll see that

(24:45):
the policy blah blah blah, and Bernie's like, oh my god,
you're right. There are two million dollars missing. And Richard says,
I'm so sorry for the for the audience who doesn't
know already. I'm so sorry to tell you Bernie, but
looks like someone we don't know who, yeah, is defrauding
the company.

Speaker 1 (25:01):
We've only met Bernie and Gwen the summer intern so
we're guessing it's probably not Gwen.

Speaker 2 (25:06):
It's probably the guy who when they walked into his
office was ordering a maserati over the phone. Did you
hear that? He's like, I only want the maserati. If
it comes in.

Speaker 1 (25:14):
Black, then paint it.

Speaker 2 (25:17):
I wonder who defrauded the company out of millions of dollars.

Speaker 1 (25:20):
It's a mystery.

Speaker 2 (25:21):
We'll never find out.

Speaker 1 (25:22):
No, no, so Bernie so grateful for them for helping
him find out find out this issue. Invites them to
his beach house in the Hampton's for Labor Day weekend
to go over the books with them, and they are thrilled.

Speaker 2 (25:36):
Yeah, He's like, well, we'll work, we'll play. It'll be great.
They're really thinking, this is it, this is our ticket.
We're going to climb the corporate ladder. We cut to
Bernie at dinner in a little Italy restaurant with a
bunch of Italian mobsters.

Speaker 1 (25:50):
I think you meant you miss pronounced stereotypes. A bunch
of Italian.

Speaker 2 (25:53):
Stereotypes, A bunch of Italian stereotypes as an Italian American
deeply offended.

Speaker 1 (25:58):
Okay, deeply, I'm.

Speaker 2 (25:59):
Serious though, Like, doesn't that annoy you? It's all the
goddamn time.

Speaker 1 (26:04):
You know, honestly it does. But it's also unlike, this
struggle is not the top of the priority list.

Speaker 2 (26:10):
It isn't. But you know what, like enough enough with
the fucking Italian mob in the in the red sauce
and checkered tablecloth restaurants.

Speaker 1 (26:19):
Can we can we be done with this Chinese food too?

Speaker 2 (26:22):
Can the fact that, like, can we just could this
have ended with Tony soprano?

Speaker 1 (26:26):
We call it a day, it's peaked.

Speaker 2 (26:27):
Yeah, we're good. So yeah, so they're they're the mob boss.
His name is Vido, you know, because I guess Giuseppe
was taken I don't know, Bruno and Bernie asks them
to murder Richard and Larry because they found out. So
clearly Bernie has been stealing the money from the company

(26:49):
and maybe I don't know, using the mob to help
launder it for some reason, he's connected to the mob.
While this is happening, Bernie is like sweating and like
freaking out and like telling Vito like he's you got
to kill these guys otherwise, did you g is up?
And while this is happening, Veto's girlfriend played by the
broadest actress. I've never seen a performance this brought in

(27:10):
a movie before.

Speaker 1 (27:11):
I stun it. This has to be the director's Like Niece.

Speaker 2 (27:17):
Is a full fucking cartoon.

Speaker 1 (27:19):
It's like Betty Boop from Staten Island.

Speaker 2 (27:22):
It's like when bugs Bunny pretends to be a girl. Yeah,
it is so bizarre.

Speaker 1 (27:27):
She keeps saying Bernie with the worst New York accent,
like Boyne Boyne, Like she's actually saying Boyne, Boyne.

Speaker 2 (27:35):
I'm gonna kill you if you don't hang out with me.
She while this is happening, she's like playing footsie with him.
And then she like she does that thing that happens
in movies, but I swear to god never happens in
real life. Like she like like puts her foot in
his crotch basically and starts tickling them under.

Speaker 1 (27:51):
I don't that does as someone as a proud owner
of a of a penis and.

Speaker 2 (27:55):
A scrutum, you wouldn't be that proud of it.

Speaker 1 (27:57):
I don't. I know, I'm very proud of it. I
wouldn't want anyone to tickle either one of them with
their toes. No, no, no, I don't see that feeling.

Speaker 2 (28:05):
You know what I'm eating?

Speaker 1 (28:06):
Yeah?

Speaker 2 (28:07):
Can you? Can we do this later? There is a
time and a place. Yeah, and this, this spaghetti carbonara
is not going to get eaten if you keep doing that.
Thank you, ma'am, but no, thank you, thank you.

Speaker 1 (28:17):
Angela Angela?

Speaker 2 (28:19):
We know her name is Angela? Is that her name?

Speaker 1 (28:21):
I actually don't know. Look it up.

Speaker 2 (28:23):
I'm gonna call her a Italian girlfriend number one in
this film.

Speaker 1 (28:29):
Wait, hang on, I'm gonna look it up. Would the moon?

Speaker 3 (28:35):
It's your eye? I bean sipply, that's waner one in
the world see the shine? Give that too much winter?

Speaker 2 (28:48):
That's you want to should I guess what her name is?

Speaker 1 (28:54):
Sure? Go ahead?

Speaker 2 (28:56):
Is it?

Speaker 1 (28:56):
Is it? Is it?

Speaker 2 (28:57):
Marie?

Speaker 1 (28:57):
Nope?

Speaker 2 (28:59):
Angela?

Speaker 1 (29:00):
No one more? Uh?

Speaker 2 (29:02):
Constanza?

Speaker 1 (29:03):
Tina?

Speaker 2 (29:03):
Tina? Isn't that what all of Joey's sisters are called
on Friends? I should have known this, damn it. So
Bernie is obviously stooping Veto's girlfriend Tina. As soon as
Bernie leaves the table.

Speaker 1 (29:17):
The PSA for this episode, Oh, if you're going to
be a small town crook. Don't stoop the big mobster's girlfriend. Yeah,
that's dumb.

Speaker 2 (29:26):
That's stupid, especially if you're Bernie. And for some reason,
even though you are a six, I'd say, yeah, charitably
getting it from from everyone. Yeah, he didn't have to
go after Tina. Yeah, but of course he did, and
that signs his death warrant.

Speaker 1 (29:39):
It does. So at the dinner table, I just want
to put this out. This other thing, He's like, let's
make it a murder suicide.

Speaker 2 (29:45):
Oh yeah, he's like telling them how to like.

Speaker 1 (29:47):
How to kill how to kill Larry and Richard.

Speaker 2 (29:49):
Uh huh.

Speaker 1 (29:50):
This was when my antenna went up and I was like,
there's going to be some horrible gay stuff in this movie. Yep,
because murder suicides are generally born of romantic relationships, certainly
in movie situations. I don't know about what the real
life statistics are, but like it's more of a sometimes
when Juliette kind of figed situation.

Speaker 2 (30:10):
Sometimes it's podcasters.

Speaker 1 (30:11):
Yeah, hold the look, hold the look, don't break, don't break.

Speaker 2 (30:19):
Don't you love physical comedy? Yeah, done for the audience.

Speaker 1 (30:22):
Podcasting is a visual medium.

Speaker 2 (30:23):
My antenna went up to can I say, it's not
as bad as I thought it was.

Speaker 1 (30:27):
I agree, it was not it. It ultimately was not
as bad as I expected.

Speaker 2 (30:32):
But I mean, what a bar to set.

Speaker 1 (30:34):
Yeah, So Bernie leaves and the mall Tinas immediately follows
after him.

Speaker 2 (30:44):
You know, it's pronounced Tina, right, Tina.

Speaker 1 (30:46):
Tina, And it's like, Boyne, you haven't paid attention to me.
We got to go on a date.

Speaker 2 (30:53):
She like, even though like they're in a fully glass
enclosed restaurant with her mom boss boyfriend ten feet away,
she follows Bernie outside and starts to try to make
out with him. Yeah, on the street. Cool, cool, cool.

Speaker 1 (31:06):
Yeah, back in the restaurant, the mob boss is like,
he's fucking my girlfriend. Turns out Vito is not stupid. Yeah,
it doesn't mean he's smart. It just means he's not.

Speaker 2 (31:14):
Like, I don't know how he caught onto them. They
were being so careful.

Speaker 1 (31:19):
You know what's the best part about this movie is
the subtlety. Yeah, it's it's the subconscious, the subtext.

Speaker 2 (31:26):
I feel like it teaches me a little bit about
the human condition. Yeah, in a way that like it
took several days.

Speaker 1 (31:31):
You know, it reminded me of Jean Paul starts no,
no exit.

Speaker 2 (31:35):
Yep, yep, yep. It reminds me of the films of
Wigmar Bergmann.

Speaker 1 (31:38):
Yeah. Yeah, so he puts the hit on Bernie. He
tells the guy that was going to arrange the murder
suicide pact.

Speaker 2 (31:47):
Whose name is Paul Paullie Poullie, his name is Pollie Pollie.

Speaker 1 (31:52):
To instead kill Bernie.

Speaker 2 (31:54):
U huh.

Speaker 1 (31:56):
So we cut to elsewhere in the city. Richard's date
with Gwen is going very well, even though she's leaving
New York City the next day.

Speaker 2 (32:05):
Yeah, she so does not look like a summer like
an intern like Colorge.

Speaker 1 (32:09):
Student, and she's lovely, but she looks twenty five.

Speaker 2 (32:12):
It's very funny. Neither they look the same age. So, yes,
she's leaving the next day. She has such a strange
line here. They're like, well, we should go somewhere and
like hang out, and she's like, well, i'd invite you
over to my place, but I have five roommates and
they're all washing their hair tonight or they're all doing
their hair tonight. And I'm like, huh huh, what a

(32:34):
weird fucking thing to say.

Speaker 1 (32:35):
Possibly written by a man.

Speaker 2 (32:37):
Was this possibly written in nineteen thirty, Like, what does
that even mean?

Speaker 1 (32:41):
Everyone's putting their hair in curlers.

Speaker 2 (32:43):
Yes, they're like using a flamethrower somehow, I don't know. Yeah,
it makes no sense. So five women in New York
City somewhere in a tiny apartment are doing their hair.

Speaker 1 (32:53):
If there are five blow dryers going, that is blowing
a fuse. There is no doubt.

Speaker 2 (32:58):
So they are like, well, we can't go back to
my place, and she's like hint, hint, And he's like, well,
she goes, you have a roommate. We've established earlier in
the film that both Richard and Larry are on the
lower income spectrum, yes of the film, and Larry lives
in a like cockroach infested garbage hole in the East

(33:18):
looks like East Village or Laurie's side to me. And
Richard lives with his parents, and he is very embarrassed
about the fact that he lives with his parents, so
he lies says he doesn't have roommates. They go back
to his place. His place, of course, is his parents' apartment,
which is decorated like it's nineteen sixty five. Still, she
actually thinks it's kind of cool in retro. He's like, yeah,

(33:40):
I'm fully intended for that to happen. She asks him, look,
I'm sorry to ask you this, but how can you
afford this place? And he stupidly lies and says his
parents died and left him a ton of money and
that's how he's able to afford it. Even though he like,
they're there in the apartment. I'm like, what was your plan,
Richard if she had spent the night Richard.

Speaker 1 (34:01):
Uh huh. So they're making out in the couch and
his father immediately appears, wearing only his underwear. His father,
interestingly is played by the director of the movie huh,
Terry Kachov, and Richard tells Gwen that he's the butler. Yeah,
and then they immediately have a very normal father and
son interaction where the father's.

Speaker 2 (34:20):
Like, oh, sorry to interrupt her son, or he didn't
say son, but sorry to interrupt here. And he's like,
that's that's fine, Monroe. Go lay out my blue suit please,
and he's like I'll lay you out.

Speaker 1 (34:29):
Yeah, and then just leaves and Gwen, not being an idiot,
is like, well, that's not your butler, Yeah, that's your father.
And I'm leaving, so good. For her getting out of
the situation. Yeah, honestly, Richard level up.

Speaker 2 (34:41):
I was expecting the movie to like make her so
stupid that she was like sil and so I was
very pleased when she was immediately like, well, you're lying
to me, So I'm leaving.

Speaker 1 (34:50):
Yeah, bye bye bye. So the next day we see
Bernie out at his beach house. He's an asshole to
all of his all of his staff, but seems very
popular with the with the local gentry.

Speaker 2 (35:02):
Yeah, everyone loves him. He's like the big man on campus.
There's like some conversation about how like there's like a
roaming party that happens throughout all of the Hampton's and
like they always end up at Bernie's house eventually. But
the thing he does to the plumber guy, I don't
know if it is like again straight out of like
a cartoon from the twenties. Bernie shows up to his

(35:24):
house and there's a man sleeping basically under his house
and he's like, I told you to get out of here,
and he's like, you have to pay me for the
work I did and he's like, no, you didn't, blah
blah blah, and then he literally kicks him.

Speaker 1 (35:38):
Yeah, on the.

Speaker 2 (35:39):
Butt, get him off his property, and like chases him
off his property.

Speaker 1 (35:42):
Keeps trying to kick him, will chasing, which is very ineffective.

Speaker 2 (35:45):
It is so weird and so aggressive and like it
looks like a cartoon the movie. When it you'rs into
like cartoon territory, sometimes it works sometimes like this for
this interaction, it really doesn't work.

Speaker 1 (36:00):
Yeah, we also see the gardener is the other person
he abuses, and the gardener is Asian. This is the
only person of color that will appear in this one.

Speaker 2 (36:06):
Amazing representation.

Speaker 1 (36:08):
Fantastic. So he gets a call from Pollie, the hit man.
He accidentally records their conversation on his answering machine, which
is now with plot device that no longer works.

Speaker 2 (36:16):
The answer machine looks like like a laptop now it's humongous.

Speaker 1 (36:21):
But he crucially tells Pollie, don't kill them while I'm around,
because I want to have an excuse. I want to
be back in the city before they get killed, so
I'm not suspected.

Speaker 2 (36:32):
And he says something about planting a note, etc. Pollie's like, so,
where's your house? He tells him where he is. Polly
then shows up and.

Speaker 1 (36:42):
Murders Bernie that the kindest, happiest murder I've ever seen.

Speaker 2 (36:47):
It really works plot rice. So basically, Bernie stands up,
Polly takes a needle and injects Bernie in the butt
with something, and Bernie dies with a smile on his face,
and Pollie says something the effect of like yeah, feels good,
doesn't it. And then he plants like a bunch of
heroin in his pocket, so and the needle. So I'm
guessing it's a heroin overdose.

Speaker 1 (37:08):
I'm assuming yeah.

Speaker 2 (37:09):
This movie doesn't know how heroin overdoses work, if that's
the case. But yeah, crucially this is important. Bernie dies
with a big, dumb smile. In his case, the actor
who plays Bernie now has to have this like.

Speaker 1 (37:22):
Smile stupid expression the entire.

Speaker 2 (37:25):
Rest of the movie. This guy deserves an oscar.

Speaker 1 (37:27):
He really does best corpse work. So Richard and Larry
show up. They're marveling at the house.

Speaker 2 (37:35):
Polly high tails it out of there.

Speaker 1 (37:37):
Right, and then they find the corpse.

Speaker 2 (37:39):
At first, they don't think he's dead. They think he's drunk.

Speaker 1 (37:41):
They think he's drunk for an almost ludicrous level of
amount of time.

Speaker 2 (37:45):
I mean, you don't expect you don't expect to find
a corpse. Yeah, So they try to like walk him,
like get him to walk it off. They're like, we're
gonna make you some coffee, Bernie, don't worry, You'll be fine.
They put him on the couch. The physical comedy here
is actually pretty great when they're all like stumbling on
the couch together and they're like a human pretzel and
then they un pretzel. They put Bernie on the couch.

(38:06):
Jonathan Silverman sits next to him, and the drugs fall
out of Bernie's pocket. Oh, and then he starts to
take his pulse and he tries the whole mirror under
the nose trick. Larry comes back with the coffee and Richard's.

Speaker 1 (38:18):
Like, uh, he did Boyne dead? A Boynie is.

Speaker 2 (38:24):
No Mony, don't laugh at that. Don't laugh at that.

Speaker 1 (38:29):
I'm keeping it.

Speaker 2 (38:30):
No, I don't deserve a laugh.

Speaker 1 (38:33):
So they start to panic fair Fair.

Speaker 2 (38:36):
Richard immediately is like, well, we're calling the police. And
for some inexplicable reason at this point in the movie.
It makes sense later, but at this point in the movie,
Larry's like, wait, don't and he's like I'm like why,
and he's like, well, they'll think we did it, and
I'm like, Larry, that's why you do call the cops
right away. But while they're having this argument, literally two

(38:58):
hundred people show up at the house. The roving party
has come to the house right before this. They meet
one neighbor. Her name is Tawny, which is the perfect
eighties sexy neighbor name.

Speaker 1 (39:10):
She's in a neon geometric bikini.

Speaker 2 (39:14):
With like she looks amazing, excellent, excellent bikini, but then
she's wearing like ugly sneakers and socks with it, and
I'm like.

Speaker 1 (39:20):
It very it's very eighties. Look like she almost looked
like an aerobics instructor totally. Because the actress was muscular.
She wasn't just rail thin. She like was Yeah, she
obviously had a beautiful, statuesque body, but she wasn't like
she had muscles, yeah, like like a surface.

Speaker 2 (39:34):
She's so gay you didn't notice her tits. Her tits
were amazing fair enough, she had amazing breasts.

Speaker 1 (39:41):
So we have this party arriving and it's a lot
of people, like hundreds of people.

Speaker 2 (39:45):
Literally two hundred people like showing up all at once.
There's like a funny montage of like what a she
SHEI party in the Hamptons would be like with someone
like a couple talking about plastic surgery, another like an
art critic. I think this is the gay representation.

Speaker 1 (40:00):
Male minor character in this party is gay.

Speaker 2 (40:03):
Yeah, the drunk guy, the drunk there's.

Speaker 1 (40:05):
Only one guy that actively hits on them, but like
they're all speaking in a gay voice and gesturing very grandly.

Speaker 2 (40:13):
I think this is rich talk. I think this is
what we're now thinking might be gay talk is actually
rich talk in nineteen eighty nine.

Speaker 1 (40:20):
Maybe it aged right into gay though. Yeah.

Speaker 2 (40:24):
The art critic character I think is the gay one, right,
and he's like he's like, I'm sorry, we're not we're
not running your show some artists, and she's like, you
were a philistine. It's I found this very funny. I
found a montage of like of like yuppy yuppy conversation
at a Hampton's house party.

Speaker 1 (40:42):
I found it funny. It didn't. It wasn't incredibly funny,
but it was funny enough.

Speaker 2 (40:46):
It could have been cleverer, for sure, And.

Speaker 1 (40:49):
The ongoing joke about no one realizing Bernie was dead
was actually kind of a pretty good joke about like
how little people are actually listening when they talk to you. Yes,
like people just can't talking about My favorite was the
bodybuilders who were.

Speaker 2 (41:03):
With the Valley Access, who were.

Speaker 1 (41:05):
Clearly reading off the que cards like right off the camera,
like they're like massaging Bernie's shoulders, like hey man, you're
like more tense than usual. But the guy playing them
is just looking like right off the camera. It's like
you have to memorize a sentence like come on.

Speaker 2 (41:23):
And then yeah, while he's massaging him. The drunk guy
is sitting next to Bernie goes ah and he's like yeah, Bernie.
And then of course a woman sits on Bernie's hand
that's on the couch and she's like Bernie, you rascal.
And then crucially another woman like sits next to him
and is like I heard you have something for me.
And then he's quiet and she's like, don't play koy
and she goes into his pocket. She takes the heroin

(41:45):
and she's like thanks Bernie, and she kisses him like
he was her her connection. Yeah, which, okay.

Speaker 1 (41:51):
What a sure you might think that's gonna get picked up.
It's not.

Speaker 2 (41:54):
Also, this woman is not what you think of when
you think of a heroin addict. Picture a heroin addict. Now,
picture the exact option.

Speaker 1 (42:02):
Now, picture Dame Judy Dench. So Larry is trying to
convince Richard not to call the police, so he wants
to have fun. The party so much fun. No one's
realizing Bernie is dead.

Speaker 2 (42:14):
Like, don't worry now, Larry's motivation makes sense to me.
He's like, look, once we call the cops, we're gonna
spend the rest of the weekend in jail talking about
like what happened and having to deal with lawyers. This
is the most fun I've had in ages. Let me
enjoy this. No one notices he's dead.

Speaker 1 (42:29):
This is the third of the movie. Once they know
he's dead, but before the rest of the plot as
to how he became dead comes out, is the part
where I'm like, this is really working to make it
self work, like it is trying. They put reasons in.
I'm not saying they didn't, but the reasons are pretty flimsy.

Speaker 2 (42:47):
Absolutely well, Andrew McCarthy's motivation, sure, and then well, what
happens next is Richard's like, no, I'm calling the cops.
I don't care what you say. And then Larry's like,
Gwen just walked into the birdie and he's like, so,
it turns out Gwen she mentioned earlier on the date
that she was gonna spend the weekend with her parents,
and I guess her parents are Hampton's socialites as well.

(43:09):
So she's at the party now. So that Richard is like, Okay,
we won't have to call the cops today. I'm gonna
hang out with Gwen for a while.

Speaker 1 (43:16):
First, and he apologizes about lying to her about his parents.
She accepts, and they they seem to reconnect.

Speaker 2 (43:22):
Yeah. Yeah, Well, first before they leave the house, Larry
and Richard decide to put Bernie's body somewhere less conspicuous
than the couch in the middle of the party.

Speaker 1 (43:32):
I mean fair fair, So they.

Speaker 2 (43:35):
Try to move him to the deck next to the pool,
and they overshoot and Bernie's body falls into the sand
on the beach below the house, and they're like, oh, okay, well,
we're just gonna leave him there for a while. Yep,
it's not like he's going anywhere. And then Larry continues
at the party. Richard and Gwen go off and have
like a little romantic test atik.

Speaker 1 (43:55):
Yes, they go to a lighthouse where apparently the light
is motion sensor activated because they're on the top. Richard
looks directly into the light, it turns on, and he
falls down the stairs up the lighthouse.

Speaker 2 (44:09):
Pratfall, pratfall, pratfall.

Speaker 1 (44:10):
It's the man. They're working hard. It's well.

Speaker 2 (44:14):
Also, like, don't give Jonathan Silverman a pratfall in a
movie where Terry Kaiser is doing like the most brilliant
body work I've ever Like, yeah, when when some when
you have someone who can really land a pratfall in
a movie, don't give it to the other guy who's
funny in other ways. Jonathan Silverman's a very funny actor,
but like not not a physical guy at all.

Speaker 1 (44:34):
Or have a stuntman do it, because it it didn't
look great. It didn't look right at all.

Speaker 2 (44:39):
And also luckily for Richard, Gwen is so into awkwardness
that she's like, oh my god, he fell down the stairs.
I think my panties just fell off.

Speaker 1 (44:48):
She's so turned on, she's.

Speaker 2 (44:50):
So turned on by him.

Speaker 1 (44:51):
I'm like, really, she's turned on enough to do it
from here to eternity homage in the sand with him.

Speaker 2 (44:57):
Yes. Then they go to the beach and they start
making out on the sand.

Speaker 1 (45:01):
Making out on sand is awful. I will not hear otherwise,
I will not be taking arguments or questions. It's terrible.

Speaker 2 (45:09):
Yeah, yeah, fair. As they're making out on the sand
on the beach, Bernie's body washes up next to them.
I'm glad you laughed, because, honestly, at this point and now,
part of it is I watched this movie late. I
started watching it like around midnight, that's right, and like,
this made me laugh really hard.

Speaker 1 (45:30):
It made me laugh, and I was like, is it
okay to be laughing at corpses washing up on beaches?
And yes, whatever, it's weekend at Bernie's moving on.

Speaker 2 (45:36):
It's weekend at Bernie's that I thought that was really
fucking funny. And the corpse just washing up next to them.
Jonathan Silverman's like bah, and he tries to get Gwen
to look the other way, yeah, and like gets her
to the house, and then he gets Larry and the
two of them come down to the beach and bring
Bernie back up to the house. They dump Bernie in
his bed upstairs. What happens next, Paul, What have It's next?

(46:01):
Does not age very well?

Speaker 1 (46:03):
No, it does not What happens next The Return of
Tina by.

Speaker 2 (46:08):
May Boynee Byny are you in this house? Boyne?

Speaker 1 (46:12):
She busts in. She's running real hot. She's yelling at
the two of them, where's Boynie?

Speaker 2 (46:18):
Where's Biney? We don't know? You know what Boynie is?

Speaker 1 (46:21):
She winds up going into the kitchen. She gets a knife.

Speaker 2 (46:24):
If he's with another woman, I'll slice him to pieces.

Speaker 1 (46:29):
She goes up the stairs and she finds Bernie's corpse
in the bed, in.

Speaker 2 (46:33):
The dark bedroom, and she immediately goes oh.

Speaker 1 (46:37):
By and she fucks him.

Speaker 2 (46:41):
She sucks the corse.

Speaker 1 (46:43):
No, now, now, now, now, now?

Speaker 2 (46:49):
Can you fuck a car?

Speaker 1 (46:51):
I don't know.

Speaker 2 (46:52):
I don't think you can. Hey, guys, if you're a
mortician listening to this call in, let us know you.

Speaker 1 (46:58):
Definitely can't fuck a without knowing it's a corpse.

Speaker 2 (47:03):
I mean, Paul, the corpses off, you buggs because oh,
I don't know, because it's cold, because it's stiff, because
it doesn't talk, because it won't move, because it doesn't
have an erection.

Speaker 1 (47:15):
Because maybe she just sat on his face.

Speaker 2 (47:25):
Well, my vagina closed up. It'll never open again. It's done.
We're good. Closing up shop. So she's being followed by
one of Vito's henchmen, another not Pauli, another henchman who
watches her go into Bernie's house, go into Bernie's bedroom.
The henchman can see what's happening, although gracefully the movie

(47:48):
spares us, so we don't actually see the sex scene.
We just know that she comes downstairs afterward looking very satisfied.

Speaker 1 (47:57):
She's very happy with what happened. Uh oh God, and
she leaves the house, secure in her relationship with Boynie Blainie.

Speaker 2 (48:06):
This again, I had a laugh in this next scene.
So the NeXT's the same scene, but like, so Larry
and Richard are sitting on the couch and they're like,
she's been They expect her to scream. They're waiting for her, yeah,
to find the corpse and scream. And the jig is
up and she's up there for fifteen minutes, twenty minutes,
thirty minutes, and they're like, what the why hasn't she
screamed yet?

Speaker 1 (48:26):
Yeah?

Speaker 2 (48:27):
And then she comes down post post coitus, yeah pollitus
baany coitus, and they're like, holy shit. She leaves and
then Andrew McCarthy is my favorite line in the movie.
He goes, I get yelled at when I just lay there,
and Jonathan Silverman laughs. I kind of think it might

(48:47):
have been an improv line because they look so relaxed
at that moment. Is the most relaxed these two actors
look in the entire movie. Yeah, and I'm like, okay, fuck,
this movie won me over. Yeah, despite the insanity that
has witnessed, I'm into this.

Speaker 1 (49:01):
Yeah. So Vito now thinks Bernie is still alive because
Tina has just fucked him as far as he knows,
and he sends Polly back to kill him again.

Speaker 2 (49:11):
Yeah, get it right, Polly.

Speaker 1 (49:13):
So the next morning Richard has passed out. We come
upon Larry on the deck with Bernie, with Bernie's corpse.

Speaker 2 (49:20):
And he's playing like GoFish, No, No, he's.

Speaker 1 (49:23):
Playing Monopoly, playing Monopoly against himself with Bernie. And he's
rigged up a little Pulley system so when people go
by and say hey, Bernie, he can like pull and
it looks like Bernie's like waving.

Speaker 2 (49:34):
So Larry has gone full Norman Bates at this moment,
like Larry is full baitsing it at the beach house.

Speaker 1 (49:43):
Richard is like, okay, enough is enough, we have to
call the police. He goes to call the police and
Gwen arrives, and.

Speaker 2 (49:49):
Gwen is his kryptonite.

Speaker 1 (49:52):
So while he's trying to get rid of Gwen so
he can call the police, Richard Larry Larry jumps the
corpse off the side of the bed. When so Richard
actually does tell Gwen the truth at this point, he
tells her. He tells her that Bernie has died, we
have to call the police, and she doesn't believe him.
She's like, you're making up lies again.

Speaker 2 (50:12):
Yeah, because he lied about his parents being dead and
about having a sick aunt. So he is a weird
fetish about lying about death for some reason she I
don't know. And also I'm wondering what Gwen's thought process
is here. She's like, why are you trying to keep
me from Bernie?

Speaker 1 (50:27):
Yeah? Well, she wants to say thank you for giving
her the summer, the summer internship. That's so many of
the of the motivations of so many accisions are so flimsy.

Speaker 2 (50:37):
I know, how about you just write a note? Okay.

Speaker 1 (50:40):
So Larry doesn't want Gwen to find out. He doesn't
want the jig to be up, so he winds up
dumping Bernie's corpse off the side of the deck, which
lands on Polly right, who has returned to kill him again.

Speaker 2 (50:50):
He's casing the house. Polly, of course, thinks Bernie is
attacking him from above, right, and he's like, and he
pushes Bernie off of him, and again. The actor who
plays Bernie does an amazing job of like being a
corpse but also sort of attacking Polly. Yeah, he keeps
falling on him. Polly pushes him off and strangles Bernie. Yes,
so finally he's.

Speaker 1 (51:09):
Dead, and Gwen, furious that she thinks again Richard's been
caught in a lie, leaves so Richard is like, it's
time to call the goddamn police. He goes to call
the police, and this is when they hear the act
the recording on Bernie's answering machine about the hit that
he put on them.

Speaker 2 (51:28):
Yep, I would say Andrew McCarthy is very funny in
a lot of this movie, and one of them is
in the scene when he's like, he wanted to kill me.
Why do these things keep happening to me? Like even
though Bernie said you, a guy invites you to his
house and then dies how rude is that. That's from

(51:49):
earlier in the movie. But he has a few of
these self pitying moments that, for some reason I find
very funny.

Speaker 1 (51:55):
Yeah. So the suicide note that he has left that
Bernie has written makes it look like Larry has killed
his lover, Richard, because Larry was going to steal the
money to pay for his sex change operation. Yep, Richard
has said that he doesn't love him anymore.

Speaker 2 (52:13):
Very dog day afternoon.

Speaker 1 (52:14):
Yes, and so Larry killed Richard and then committed suicide.

Speaker 2 (52:19):
Yep, yep.

Speaker 1 (52:23):
Hey, there's a phrase we try not to say anymore
right now, we say died by suicide. The language, if
you didn't know, is a living thing.

Speaker 2 (52:35):
He also he leaves the suicide note, the fake suicide note,
inside of a suitcase with one hundred thousand dollars in it.
So Larry's reaction to the news that he is being painted.

Speaker 1 (52:46):
As, in his words, a drag queen, you know, he's.

Speaker 2 (52:48):
Like, Richard's like, well, we're not the ones who died.

Speaker 1 (52:51):
He is.

Speaker 2 (52:51):
He's like, I know, but he's made me out to
be a drag queen. Yeah, I'm like, ummmm, that's not
the same thing.

Speaker 1 (52:57):
Not correct. Maybe watch a couple of seasons of RuPaul's
you might want to learn a little bit about your
queer culture. Larry.

Speaker 2 (53:04):
Larry immediately gets over it because.

Speaker 1 (53:06):
He's like, which is why I say it was better
than I expected. I was waiting for the gay panic
jokes to just come roaring forward. There was just one
little thing.

Speaker 2 (53:16):
Well, he says something to the effective like I have
a reputation to a pold.

Speaker 1 (53:19):
Yeah, and then it's like he didn't. He's not even
just making me gay now, he's making me out to
be a drag queen or something. It's definitely not good.

Speaker 2 (53:26):
No, it's not good.

Speaker 1 (53:27):
But it's also not as vitriolic as I expected.

Speaker 2 (53:32):
No, right, it's more concerned. He's more concerned with his
quote unquote reputation as a ladies man. Yeah, being impugned,
which is weird because the entire movie he keeps hitting
on women and getting shut down.

Speaker 1 (53:43):
Yeah, this is nothing more than like Ross and Chandler
at weekend at Bernie's.

Speaker 2 (53:47):
Like, that is what this is, undred percent. And Richard
of course has his eye on the on the ball
the whole time and is like Larry, who gives a
shit about the suicide note Larry is a hit on us. Yeah,
and then immediately like they move into that mode. So
now you're right, we're into the third act of the
film in which Larry and Richard still think there is

(54:09):
a hit on them and have not realized that Bernie died,
that Bernie was murdered. Yeah, they still think Bernie just
died of a heroin overdose or whatever.

Speaker 1 (54:18):
And they hear him saying the answering machine, let me
go home. So they think, as long as we're with Bernie,
they're not going to kill us.

Speaker 2 (54:25):
You know what, when you say it out loud, the
plot of this movie is pretty funny. There are liking
it more and more as I'm talking about it.

Speaker 1 (54:33):
There are aspects that do work. I think that the
motivation now totally justifies insanity.

Speaker 2 (54:41):
Yeah.

Speaker 1 (54:41):
Right, So now it's literally, as far as they're concerned,
a life and death situation. People have to believe that
Bernie's alive, and they have to believe that he is
with us. Okay, fine, I'm on board. It's a farce.
I can let everything else go.

Speaker 2 (54:54):
They have to get off this island. Yeah, because they
don't know who the hit man is and or whether
or not they're when they're coming, so they they try
to get the ferry off the island. They tie Bernie's
shoes to their shoes so it looks like the three
of them are all walking together like Lamil Schlama Pride
from Corporated once again. Terry Kaiser doing amazing work In

(55:15):
that scene. Paulie, the hit man, is on the fairry,
thinking he has finally completed his mission. The fairry is
pulling away. The three men missed the fairry yep, but
not before Paulie sees them together and thinks Bernie is
still alive and he has to come back again and
kill Bernie. So they missed the faerry. Then they hatch
a plan to use Bernie's boat to get off the island.

Speaker 1 (55:39):
So they have to go back to the house to
get the boat keys. While they're there, the plumber and
the gardener that Bernie was an asshole to earlier come in.
The plumber to get his money and the gardener, I think,
just to do work. Richard thinks they're the killers. Uh huh,
knocks them both out with it's very violently.

Speaker 2 (55:57):
By the way, it's a full cartoon because it's.

Speaker 1 (56:02):
Like rare and also and I mean again, I don't care.
It's a farce, but like, if you hit someone with
something like that, you could legit hurt them very very bad. Yeah, Like,
this is not a guaranteed knockout situation.

Speaker 2 (56:12):
The way they do it, it looks like there should be
birds circling their heads as he hits them over the head. Yeah,
he knocks them both out. They hide them in a closet,
and then they get the keys and they go to
Bernie's boat.

Speaker 1 (56:24):
Yeah, they get on the boat.

Speaker 2 (56:25):
The most random assortment of garbage Incis it goes on
for like ten minutes. Yeah, this is not a long
movie either.

Speaker 1 (56:33):
No, it's a tower in thirty five minutes.

Speaker 2 (56:35):
Ten minutes is a lot of real estate for this
for this to play out. First, they neither of them
knows how to drive a boat. Larry, of course, as always,
just lies and says he knows. Then he tries to,
he sucks at it. They tie burning down to the
back of the boat. Then they immediately crash into another boat.

Speaker 1 (56:51):
Well, first they forget to untie the boat from the dock.
Oh right, so there's that. Then they crash into another boat.

Speaker 2 (56:56):
Then they don't know how to stop.

Speaker 1 (56:58):
Because Richard falls off the boats around trying last year,
I try to get up, doesn't know how to stop
the boat, and Richard's like throw the anchor, so he
throws the anchor into like another boat and like destroy
someone's glass table on there.

Speaker 2 (57:10):
Yeah, well they're like having brunch on their boat. This
is being watched by dozens of people who are just like, huh,
what's happening with Bernie and those guys. Then they finally
they get they all manage to get back on the boat.
They almost hit a large yacht, like a huge yacht.
They kareem to skip to miss that yacht, and they

(57:30):
accidentally capsize a fishing boat with three dudes on it
who are now in the water.

Speaker 1 (57:35):
Yep.

Speaker 2 (57:36):
Then while all this is happening, Bernie falls off and
they're dragging Bernie behind like some sort of garbage on
the back.

Speaker 1 (57:45):
Keeps hitting the diving bells, keep hearing dung dong.

Speaker 2 (57:49):
What's that sound. Oh, it's the man. It's the man
who's corpse we've been dragging around. We're accidentally letting him
hit a bunch of metal spikes in his head. So anyway, yeah,
probably get him out.

Speaker 1 (58:00):
Of the water. Also, what was the were they going
to drive the boat to New York.

Speaker 2 (58:06):
That's the plan. Yeah, they're just trying to get to safety.
I don't know if they've thought any further than that
this would be an excellent opportunity to dump that corpse,
just saying.

Speaker 1 (58:14):
Also, call the police. This guy was trying to kill us.
We didn't kill him, but like, yeah, we have proof. Yeah, no, no,
So the boat runs out of gas. They wind up
going back to the island.

Speaker 2 (58:27):
How do they go back to the island, Paul, This
is one of those gross parts of the movie.

Speaker 1 (58:31):
They let Bernie's floating corpse help them swim back.

Speaker 2 (58:35):
Yep. They use Bernie as a fucking flotation device because
corpses are very buoyant, So they use Bernie as a
flotation device to swim back to shore.

Speaker 1 (58:50):
They go back to the house, they finally call the police.

Speaker 2 (58:54):
Just as they get off the phone with the police,
Gwen shows up, yep, and they're like, look, we call
the police. Bernie's dead, and she's like, I don't believe you.
And at this point Larry joins in and he brings
Bernie's corpse down the stairs with him, like dragging it
behind him, and he's like he's dead. We're in trouble.
Can we hide at your house? And she's taking all

(59:16):
of this in at once, when who should show up
but Paullie.

Speaker 1 (59:19):
Paullie. So he comes back to the house. He shoots
Bernie multiple times, point blank range.

Speaker 2 (59:26):
Yeah, he like empties an entire gun out on them,
and which which is smart of the movie because I
was counting shots and I was like, aha, he doesn't
have any bullets left. Yeah, and so he tries to
shoot them after he finally thinks he's killed Bernie and
he doesn't have any bullets in the gun, and they're
like aha, and he's like, bitches, I got another gun.
He pulls out a second gun starts shooting at them.

Speaker 1 (59:46):
Yeah. They're fleeing through the house.

Speaker 2 (59:48):
Gwen and Richard hide in one of the bedrooms. Yeah,
Larry steps the fuck.

Speaker 1 (59:52):
Up finally using a telephone chord.

Speaker 2 (59:56):
Yeah.

Speaker 1 (59:57):
Well, but because Paulie is starting to go a little
bit crazy because he keeps think, he keeps thinking he's
killing this guy and he's not, so he's questioning his
own sanity. Yeah, So he's really starting to go a
little bit bonkers here, and Larry is able to kind
of comically wrap him up in the phone cord.

Speaker 2 (01:00:12):
Yes, it's actually a pretty funny scene. Yeah so yeah,
so Polly finally is subdued. Cut to next like next scene,
the police are there. Yep, it's all wrapped up in
a bow. Pollie's being hauled away to the to the station.
The boys, for some reason, are fully exonerated. Nothing has happened.
In fact, they're being treated like heroes. Yeah, some inexplicable reason.

(01:00:35):
They are sitting on the beach with Gwen, exhausted, decompressing,
just happy after the fucking nightmare they've just lived for
the last twenty four hours. When Bernie's corpse, which is
on a stretcher, accidentally gets pushed down the dock or
down the deck and is sliding down the deck and

(01:00:55):
eventually hits the edge of the deck. Bernie's corpse flies
off the stretcher and lands next to them, sitting behind them,
Tawny's still smiling, Still smiling. Tawny from the beginning of
the movie runs by and goes hi Bernie, and the
three of them turn around and there's Bernie behind them.

Speaker 1 (01:01:13):
They scream and run off film film.

Speaker 2 (01:01:16):
That's weekend at Bertie.

Speaker 1 (01:01:17):
That's weekend at Bernie's.

Speaker 2 (01:01:19):
Do you know, Paul, The more we talk about it,
the more I like it. I didn't like it this
much last night. Now I'm like, do you know what, guys,
this is pretty funny.

Speaker 1 (01:01:28):
All right, stick around, We'll be right back through the
rankings and straight observations.

Speaker 2 (01:01:42):
And we're back.

Speaker 1 (01:01:43):
We're back. We're gonna talk some random observations about weekend
at Bernie's.

Speaker 2 (01:01:47):
There is a lot of inappropriate fashion in this film.

Speaker 1 (01:01:49):
Oh so many.

Speaker 2 (01:01:50):
People are wearing sweaters. Like that first scene when it's
like establishes the hottest day of the year, Andrew McCarthy's
character is wearing a full fucking weather with like a
with like a shirt over it. Yeah, it doesn't make
any sense. Every time they cut to like a group
shot at the beach, everyone's wearing a cardigan, yeah, and
like or like a or like a jacket, And I'm like,

(01:02:12):
what isn't it August in New York? What is happening?

Speaker 1 (01:02:15):
What is going on the While we're on the subject
of fashion, I have two notes. One is Tina. Tina's
gloves in the restaurant scene. First of all, she's eating
with gloves on, which is gross. But they're like lace
gloves and then they have uh huh, I don't know what,
like the wrists.

Speaker 2 (01:02:32):
Yeah, like ruffles.

Speaker 1 (01:02:33):
Gathered at the gather at the rest in huge ruffles.

Speaker 2 (01:02:36):
Uh huh coming out of it. This very nineteen eighty
eight Married to the Mob.

Speaker 1 (01:02:40):
Yeah, it is ugly. But I also want your take
on the dress that Gwen is wearing for the date
with Richard. It's like blue and.

Speaker 2 (01:02:48):
It's very pretty. It's it's feminine in.

Speaker 1 (01:02:50):
It's very fashioned, but I think it's really quite nice.

Speaker 2 (01:02:53):
I agree, I agree it's feminine. In summary, it's uh,
she has she has a shawl, so she's not she's
not being too that scene when they're on their date
and they're walking through the street, there's like garbage cans,
garbage trucks everywhere, and like part of it is they're
in Chinatown. They just ate it like a Chinese restaurant.
And Richard's like, oh, do you want to go somewhere

(01:03:14):
where there isn't garbage being thrown over our heads? And
one off camera, one of the garbage men has an
ad libbed line which is, hey, buddy, you want to
throw her in there too?

Speaker 1 (01:03:25):
Oh I didn't even hear that.

Speaker 2 (01:03:26):
And Jonathan Silverman laughs because I'm ninety nine percent sure
it is a really bad improv and he can't help
himself because I was like, why is he laughing? And
I rewound and watch it again, and I'm like, he's
not laughing because it's funny. He's laughing because he can't
believe someone just set that off camera, which also makes

(01:03:47):
me wonder. I'm like, were those garbage trucks supposed to
be there? Or were they? Were they wandering New York
City and they found a corner with garbage trucks and
they were like, perfect, let's film yeah, because you don't
see the men ever.

Speaker 1 (01:03:58):
Right. So a moment we kind of skipped over, which
I actually thought was a fairly good joke is when
they're first trying to get to the ferry to get
to the Hampton's. Oh yeah, they're running and Richard is saying, look,
we'll just take the next one, and He's like, we
can't take the next one. Larry just wants to get
to his vacation, and they run and they nearly like
kill themselves trying to jump onto this ferry. They leap
from the dock onto the ferry and then they land

(01:04:20):
like we're here, and then they realize that they're that
ferry was docking. Yeah, and it was just coming in
and they didn't miss the fairry at all, which totally
pointless joke but funny.

Speaker 2 (01:04:30):
Yeah, Well, like it establishes these two are just like morons.
They like they're hapless. They get nothing right again. Andrew McCarthy,
though I have to give him props, he like leaps
onto the boat and almost misses it in a really
funny I have to imagine he did that on purpose.
Speaking of him, one more fashion report. Almost everything Larry
wears is awful, except he has purple converse on through

(01:04:51):
the entire movie, and I'm very cute. Love those purple
convers very cute. Bernie's golf cart looks like a Porsche.
So let's get to Hampton Island, which isn't a real
thing by the way. I'm like, is this fire island?

Speaker 1 (01:05:03):
Who is?

Speaker 2 (01:05:03):
Where? Where is it supposed to be? Once they get
to Hampton Island, everyone has to ride around in a
golf cart because there are no cars allowed, and everyone
has a normal white golf cart except Bernie, who has
a bright red one that looks like a Porsche, and
even has a spoiler on it. I like the details
to this, like Bernie is such a scumbag.

Speaker 1 (01:05:23):
Yeah, So that in the scene where after after Bernie's
corpse washes up and into interrupts from Here to Eternity
and Richard goes back to get Larry to get him
to help the help him get the corpse back. He's
knocking on Larry's door and Larry pops it out. He's like,
what leave me alone? And I'm like, what is he
supposed to be doing in there? Is just jerking off? Well,

(01:05:45):
apparently what happened there is that in the original movie
you see Larry getting it on with a woman, but
the assumption is it was cut because we can at
Bernie's too. Apparently there's a plot point that is dependent
upon Larry being a virgin, So that is that's why
you don't see him like having sex with a woman
in that moment. Oh my god. I did not know

(01:06:07):
that because I was like, why is he so like
I thought.

Speaker 2 (01:06:10):
That he was with someone. I heard. I thought I
heard like moans and shit when he came up to
the door.

Speaker 1 (01:06:15):
I mean, maybe they're like he was jerking off. I
don't know, but that that's why you don't see like
an explanation for why he's so annoyed that he's being interrupted.

Speaker 2 (01:06:23):
Oh weird, that's so much weird the real thing that
I thought was happening. Well, But also I'm like, which
woman at that party finally decided to have sex with
Larry because he was he was playing the numbers game.
Oh sure, literally every single thing with a vagina in
that room. He's like, yeah, no, okay, thank you, moving on.

Speaker 1 (01:06:41):
Uh.

Speaker 2 (01:06:42):
Two more and there both about Bernie. One is I
love the cigarette in Bernie's mouth. Every once in a while,
they'll put it, they'll shove a cigarette in Bernie's mouth,
look like he's still alive, and they.

Speaker 1 (01:06:51):
Put and they put the sunglasses on him so no
one can see that he's staring just.

Speaker 2 (01:06:54):
A vacant stare of a dead corpse.

Speaker 3 (01:06:57):
Uh.

Speaker 2 (01:06:58):
They again, really good work with them. It looks so
fucking funny and good.

Speaker 1 (01:07:02):
Yeah.

Speaker 2 (01:07:02):
The other is, at one point in the movie, Bernie's
two pay falls off, yes, and they staple it to
his head, Which is the actual most violent thing that
happens in this movie that includes a murder.

Speaker 1 (01:07:14):
Yeah, includes I mean three murders.

Speaker 2 (01:07:16):
Kind of, It includes three murders and a corpse.

Speaker 1 (01:07:18):
Rape, yeah and so and so.

Speaker 2 (01:07:22):
The stapling to the head is of like I actually
went ooh when I was watching it.

Speaker 1 (01:07:26):
Mm hmm, I just have one more and it the
the dnu maw of the movie. The actual defeat of
Paulie the Hitman comes because he stands kind of awkwardly
over Bernie's corpse. Bernie's leg sweat slips and he gets
knocked in the balls by Bernie's leg. And there is
just something kind of poetic about this movie culminating in

(01:07:50):
a kick to the nads that feels right.

Speaker 2 (01:07:54):
I will always enjoy a kick to the balls, swift
kick to the balls.

Speaker 1 (01:07:57):
Please? All right, is it time for us to rate
the movie?

Speaker 2 (01:08:03):
Let's rate this movie?

Speaker 1 (01:08:04):
All right? What should our scale be for weekend at
Bernie's one to ten corpses bo A. I think that
was our strongest refrain in this recording.

Speaker 2 (01:08:15):
You want to go first?

Speaker 1 (01:08:16):
Sure, Okay, here's my thing with this movie. I actually
love farce. Like when I was acting more it was
my favorite thing to do and it requires an enormous
amount of technical skill to do it. I think that
actually the acting and the direction of this movie is
pretty good, but I think as a structure of a farce,

(01:08:40):
it kind of falls it down a little bit. I
think the writing doesn't hold up because the thing with
farce is you have to lay all of your groundwork
very early and then everything has to come back and
matter yep, and it doesn't here, like the things like
the dead ant that shouldn't have just been a lie,
that should have for some reason, his aunt should have

(01:09:02):
showed up at the like he there should have been
specific aunt. My aunt Sally died and then Aunt Sally
for some reason is sleeping with Bernie, so she's there
and he has to keep it has to keep building
on itself, Like the whole boat sequence doesn't build anywhere.
It's just it's just a side tangent.

Speaker 2 (01:09:20):
It's a series of like one off ze yes, yeah.

Speaker 1 (01:09:22):
And so it doesn't, for me, continue to become funnier.
It kind of hits a low level of funny. And
I didn't hate it. I mean it was I wasn't
really a f like even the gay stuff in it.
I was like, this could have been so much worse that.
I guess it doesn't really offend me. I mean it
I don't like it, but I'm not like, Oh my God,
dying a fire. You know, it's not like Jack Nicholson

(01:09:45):
and as good as it gets or anything like that.
I just I think they had and the stuff with
Terry Kaiser and the stuff that does work. Like there's
a there's a bit where Richard is talking to Gwen.
It's when he's confessing the truth to Gwen. And in
the background you see Larry running back and forth with
Bernie's corpse on a Shay's lounge, running back and forth.

Speaker 2 (01:10:03):
On wheels, trying to figure out where to dump the body, get.

Speaker 1 (01:10:05):
Where to dump the body. Like that's like classic farce stuff,
which I love and I really I tickles me. Yeah,
but this didn't tickle me as much as a great
farce would have got it.

Speaker 2 (01:10:16):
So, and you enjoy being tickled.

Speaker 1 (01:10:18):
I do, just not with your foot on my balls.
So I don't know that means it didn't age.

Speaker 2 (01:10:26):
Well, I know, that's the thing.

Speaker 1 (01:10:28):
I think it is what it was in the eighties.
Gwen isn't really much of a character. I think the
actress who Placer is very charismatic, but she doesn't she's
never really really an active part of it. She just
kind of always dragged along in its wake, so by
its one real female character. You also have Tina. But
the one real female character is Gwen, and she's not
much of anything. Again, there are no people of color

(01:10:50):
in the movie. The gay stuff could have been worse.
I'm just gonna give it four out of ten and
call it a day. Let me say correctly, four of
ten brainies and call it a day. Good.

Speaker 2 (01:11:08):
Good, Yeah, you thought about this more than I did.

Speaker 1 (01:11:10):
Fair.

Speaker 2 (01:11:11):
Uh does it age? Well, I guess it does.

Speaker 1 (01:11:16):
It does.

Speaker 2 (01:11:17):
Actually, I thought I remember this being a lot worse
than than when I watched. It was like, oh, yeah, no,
this is kind of funny. There's moments it is bunkers
and stupid and terrible.

Speaker 1 (01:11:27):
Yeah it is.

Speaker 2 (01:11:27):
This is all those things. But at age is fine. Yeah,
there's a little bit of gay panic. There's a woman fucking,
of course, but blessedly the movie doesn't show that to us.
There's the inherent sadness of like of a corpse being
used as like fodder for jokes.

Speaker 1 (01:11:47):
Yeah, but they did establish it was a terrible person.

Speaker 2 (01:11:51):
Yeah, who brought it on himself by hiring a hit
on these two on these two hapless losers.

Speaker 1 (01:11:57):
And also stupidly fucking the mob boss's girlfriend. Yeah, that
is dumb.

Speaker 2 (01:12:01):
That is don't do that, don't do that, don't steal
two million dollars, and don't fuck the mob boss's girlfriend. Uh,
there is that weird Italian mob stuff which isn't great.

Speaker 1 (01:12:10):
But I wrote in my notes, I'm feeling very attacked.

Speaker 2 (01:12:15):
I think I have to give it, though, like a
five only because like, yeah, it doesn't age that badly,
it's not that good. It's very old tiny I feel
like forces are dying, you don't.

Speaker 1 (01:12:27):
Really just feels like a movie from nineteen eighty three.

Speaker 2 (01:12:29):
To me, it feels like a movie from nineteen forty
three to his Gal Friday, Yeah, and like you know,
bringing up baby and all those like like talking fast
and door slamming and those kind of like old tiny forces.

Speaker 1 (01:12:43):
The ones that almost looked like it took place on stage.

Speaker 2 (01:12:45):
Yeah, like who that were probably like players lace Yeah those,
So like it feels like it's of that era, but
it's just not as good or as clever unfortunately. So yeah,
I'm gonna I'm gonna give it a five to be
charitable because it it technically age is fine. It's just
not that great. Yeah, and there are there were moments

(01:13:06):
that were pretty funny and like the guy who plays
Bernie really fucking nails.

Speaker 1 (01:13:12):
Do you think this could be remade with like Bill
Irwin as Bernie, a better script? Yeah, having a man
and a woman, so it's not it's not all men again, right,
Bill Irwin can do all of that clowning stuff or
another clowning Bill Orham just popped into my head because
he's always the go to guy. Yeah for that.

Speaker 2 (01:13:28):
What if Melissa McCarthy were Bernie, Like what if it
was someone of that caliber? Yeah, like, yeah, I agree,
I think the premise isn't bad. You could you could
remake this movie and just actually write a script that works.

Speaker 1 (01:13:42):
I would just I just love farces, I really do,
and I would love to see like a big movie farce.
And I think most of McCarthy's movies tend to come
close to them, but not really door slamming farces. They're
more like situational forces. Yeah, where I want like that.

Speaker 2 (01:13:56):
Like everyone's in a big house and something goes.

Speaker 1 (01:13:59):
Wrong and this misunderstandings keep piling up and piling up
and piling up. Yeah that's what I like.

Speaker 2 (01:14:03):
Yeah, all right, Paul what's your palate cleanser.

Speaker 1 (01:14:07):
I'm just gonna go with Fraser. I feel like seven
out of ten episodes of Fraser are pretty much a
door slamming, misunderstanding, snowball, rolling down the hill kind of situation.
Anything with Niles is like that. So you can watch
all of Fraser. If you're looking for a specific episode
to watch, uh, you can watch the show where Lilith
Comes Back, which is in Fraser's first sees.

Speaker 2 (01:14:28):
My favorite episode and.

Speaker 1 (01:14:30):
It stars bb Newarth, who who as longtime listeners of
the pod will know, scored My coming out. So very
fond place in my heart for Bb new Earth. Fraser's funny.
I've watched Fraser recently. Every time I catch ae, we're
on a Fraser, I laugh.

Speaker 2 (01:14:45):
Fraser holds up better than most it comps. Oh yeah,
It's one of my favorite of the ninety six.

Speaker 1 (01:14:50):
Cards, and I think it's because it's a farce. They
of course they're making jokes about each other, but it
is about misunderstandings, which are funny all the time.

Speaker 2 (01:14:57):
Yeah, so that's a good one. I love Fraser.

Speaker 1 (01:14:59):
Fraser, how about you?

Speaker 2 (01:15:00):
Okay? So mine? I mentioned his girl Friday earlier, which
is a classic farce. There was a remake of it
that was made by this director, the same director Ted
Chef in nineteen eighty eight, and it's called Switching Channels, Okay,
And it's a remake of His Girl Friday with Kathleen
Turner and Christopher Reeve and Burt Reynolds. And I watched

(01:15:23):
it so many times as a kid, and it really works.
It's really funny and fast and well made, and it's
exactly now He's working with source material that he knows works,
and I feel like this is where the director wanted
to be with this. Yeah, so this is the year
before Weekend at Bernie and he made this like slamming

(01:15:44):
door farce that was like so the premise, if you
haven't seen His Girl Friday, is about like two reporters
going after the same story and one becomes like too
personally involved and nonsense ensues. I want to watch it,
and the the Switching Channels, the nineteen eighties version is
that story, but it takes place in like a news station,

(01:16:07):
so it also has like a lot of really funny
like satire of like local television news. Very funny, okay, awesome.
From nineteen eighty eight, Switching channels.

Speaker 1 (01:16:18):
So there you have it, folks, Weekend at Bernie's. I
don't know, I still don't know what to do with
this film. Whiney biney, Okay, last one here, we just
stopped recording. That was just the end, So thanks for listening.
We will be back next week with a with a

(01:16:40):
main feed episode for September. You can always sign up
for our Patreon. You get ad free episodes on our
Patreon and we'll see you in a week. Bye.

Speaker 2 (01:16:57):
All right, let's play a little match game right out.

Speaker 1 (01:16:59):
Ryah dumb Dora is so dumb?

Speaker 2 (01:17:04):
How dumb is she?

Speaker 1 (01:17:07):
When you tell her ouch that smarts after getting a
paper cut, she hands you what.

Speaker 2 (01:17:19):
My first thought was Smarties the candy. Okay, I was
gonna go with like blank book.

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Weekend At Bernie’s (1989) - Yuppie Scum, Italian Mobsters & a 2 Million Dollar Error

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Weekend At Bernie’s (1989) - Yuppie Scum, Italian Mobsters & a 2 Million Dollar Error