For as many successful names are attached to the 1982 comedy Night Shift, it is strange that you do not find more discussion about it in popular culture. You had Ron Howard (Apollo 13) making a big directorial splash after his debut filming himself in the modest comedy Grand Theft Auto, and this time he was delivering his Happy Days co-star Henry Winkler one of his strongest roles up until this point, one that would further him from the shackles of “The Fonz” and land him a Golden Globe nomination for Best Actor in a Comedy. Perhaps more importantly, the film was critical in revealing the unique talents of newcomer Michael Keaton (Beetlejuice, Batman) who had only had a background part in a couple of projects prior to this. The film was a decent hit at the box office upon its release, but has seemingly only been relegated to being appreciated by the most ardent fans of comedies from this era. With a new release from the Warner Archive, a new generation will be able to discover the unique charms of this tale.
Winkler plays the polar opposite of his iconic role from Happy Days. This time out he skillfully brings to life Charles “Chuck” Lumley, a formerly successful, anxiety-ridden stockbroker who left that world behind due to not being able to endure the immense stress that comes with it. Things are much more peaceful at his new job at the New York City morgue, a job perfect for those craving isolation. Chuck is something of a doormat in his everyday life, be it with his self-loathing fiancee or his boss who “promotes” him by sending him to the night shift so his inept nephew can take over for Chuck. His new scenario is made even more maddening by his new co-worker, Bill “Blaze” Blazejowski (Michael Keaton), who has a bombastic personality that would make Richard Simmons seem a bit drowsy. Blaze considers himself something of an idea man, but most of these ideas could not have Chuck rolling his eyes any further back in his head. Things change when Chuck’s prostitute neighbor, Belinda (Shelley Long, Cheers) enters the equation and a smitten Chuck agrees to go into business with her and Blaze to earn some extra money while offering a safe environment for these business women.
The plot of the film is certainly high concept and not subject to the normal constraints of realism we might expect. It does not diverge into surreality, but this is not the type of situation that just casually happens in real life. Where this film succeeds is providing you with some grounded characters you love to explore. Winkler has a distinct way of underplaying his comedy perfectly which he has shown to magnificent effect recently on Children’s Hospital and Barry. He is a pushover, but he knows when to explode when the scene calls for it. He gets overwhelmed by the spark plug that is Blaze, but also needs to be shaken out of his typical way of living. When Winkler lacks for obvious comedy, Keaton comes through like a comedic wrecking ball destroying everything in his way. Not every line he says is hilarious, but his delivery makes even the minor moments connect in a major way. Shelley Long has gotten a lot of hatred over the years, but her presence here is very welcome. She is lovely and endearing, but also very funny much of the time. She provides the heart of the film that the most sentimental among us really appreciate.
For all of the charm the film has, it does not rank among the top comedies ever made in terms of pure laughs. You will have a consistent smile on your face, but boisterous laughter is another matter altogether. This movie sells general atmosphere rather than specific big, comedic moments. The general concept is a bit played out from a modern perspective. The “hooker with a heart of gold” is a trope that most screenwriters have retired by now, but with this film coming out when it did there are moments that feel dated and backwards thinking. The plot is straightforward without any major surprises, and the film does feel like it could have shaved off 15 minutes to a clean 90 minutes and not lost too much of value. Nevertheless, these performers make this material work and the film is an enjoyable use of your time. The film is not saddled with any grand expectations, so those coming into it relatively blind may find themselves surprised by what a good time this little treasure actually is.
Video Quality
Night Shift gets a stellar upgrade on Blu-Ray courtesy of Warner Archive with a new 2021 1080p master. The transfer provides natural film grain absent of any compression artifacts or other such digital anomalies. This disc also wonderfully represents the various settings from the morgue where business is conducted to the apartments and streets of New York City. There are elements in the production design that are easily visible for the first time ever on home entertainment. There are some nice, vibrant colors that make the film pop visually in an exciting way, especially in some of the outfits of the women. Skin tones look natural, and the presentation offers up deep black levels. Warner Archive has provided a lovely transfer for a film that has long gone unappreciated since its initial release.
Audio Quality
Warner Archive brings this new Blu-Ray to consumers with a DTS-HD 2.0 Master Audio mix that is just as worthy of praise as the video presentation. The dialogue comes through perfectly clearly even in the hustle and bustle of New York City. There are some notable environmental effects that give the track a bit of a kick, such as the rowdy morgue party with hollering and destruction of property. One key part of the movie is the music within, as everything from the title song and beyond slinks through with a pleasing fidelity. There are no defects to the track such as hissing or audio dropouts. This is a well-balanced track that gets the job done in a most pleasing manner. Optional English (SDH) subtitles are provided on this disc.
Special Features
- Trailer: The three-minute trailer is provided here.
Final Thoughts
Night Shift is a solidly entertaining 80s comedy that deserves more recognition than it gets. The direction from Ron Howard is quite capable, but it is the performances from Henry Winkler, Michael Keaton and Shelley Long that make the project something special. You may not find yourself crying from laughter, but you will be left feeling better than when you first started. Warner Archive has released a Blu-Ray featuring a terrific A/V presentation but not much in the way of special features. If you have been anxiously awaiting this one, you should not be disappointed by the quality. Recommended
Night Shift can be purchased directly through the Warner Archive Amazon Store or various other online retailers.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Warner Archive has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
