John Hughes normally concentrated on teen films in the 1980's. Most of these were very good, but Planes, Trains & Automobiles was a nice change of pace. The pairing up of Steve Martin and John Candy was an inspired choice, and these two great actors turn the film into a comedy masterpiece.
Normally, I can't stand Steve Martin, because in almost everything I've seen him in, he goes completely over the top. But his performance in PTA changed my outlook of him. He plays Neal Page, a snobbish, cynical advertising executive in New York, who is going home to Chicago for Thanksgiving. The film is called Planes, Trains & Automobiles because these are the means of transportation Neal has to go through to get home.
Desperately late for his plane home, there is an hilarious scene at the beginning where he makes a mad dash for a taxi with Kevin Bacon (making a cameo). Unfortunately, Neal loses out, and then loses a second taxi stolen by John Candy. He plays Del Griffith, a shower curtain ring salesman, who is also on his way to the airport.
The two of them properly meet at the airport after Neal's flight is delayed. I like this scene because they both recognise each other from somewhere, but can't quite place where. Neal then has the bad luck of being seated next to Del on the plane. At some point in our lives, we've all met someone like Del Griffith. Someone who is over friendly, chatty, and a real pest. But they're so full of the best of intentions you don't have the heart to tell them to leave you alone.
Just when it looks like things can't get any worse for Neal, the flight is then cancelled. So begins the hysterical chain of events of Neal's odyssey to get home.
Now stuck with Del, who wants to help Neal, our hapless duo go from one disaster after another to get to Chicago. Steve Martin and John Candy make a great double act, because although they seem like the archetypal Odd Couple, there are more complexities to their relationship then at first thought.
One of the best scenes is when they are forced to spend a night in a motel. Del's slobbish behaviour finally drives Neal to explode. He begins ranting about how boring Del is, and what a real failure he is. In short, Del is nothing but a plague on humanity.
What is so good about this scene, is at first you are chuckling at Neal pointing out Del's shortcomings. But Del looks so genuinely hurt your sympathies start to switch to Del instead of Neal. Then something very unexpected happens, when Del tells Neal (and the audience) something I thought was very moving:
"You wanna hurt me? Go right ahead if it makes you feel any better. I'm an easy target. Yeah you're right. I talk too much. I also listen too much. I could be a cold hearted cynic like you... but I don't like to hurt people's feelings. You can say what you like about me; I'm not changing. Me... I like me. My wife likes me. My customers like me. 'Cause I'm the real article. What you see is what you get."
This scene alone speaks volumes about the personalities of these two men. You begin to really feel sorry for Del, because he seems like a lonely man. And Neal is not such a nice person after all. He doesn't mind insulting people if it makes him feel better. But still, the laughs come thick and fast afterwards. One of the most hysterical scenes is when Neal mouths off at a car rental saleswoman after being dumped in the middle of nowhere. I've never heard so many F words in one sentence. This had to have been what gave the film its 15 certificate. Its possible Hughes inserted this scene to make it clearer to the audience PTA is more adult-oriented than his previous films.
Del and Neal end up sharing a rental car, and they manage to completely wreck it. They are nearly killed by two trucks, and the funniest part is when Del appears as the Devil to Neal. Everything just seems to be conspiring against them. Gradually, the two men start to become friends. What's satisfying is it doesn't feel artificial. It feels like its been building up to it. This is due to John Hughes' slick direction. Neal and Del are two men who are both social misfits for different reasons. Neal is too organised and structured to relate to others, and Del tries so hard to make friends he often ends up alienating them.
Despite all the disasters that befall them, they do make it to Chicago. This is where the film takes on a more serious tone, but doesn't lessen the enjoyment. Del has a secret he hasn't told Neal concerning his wife, but I won't reveal it for those who haven't seen the film.
The ending is very touching, and a little sad too. But you have grown to like both Neal and Del by the end of the film. Both of them realise things about themselves. Neal learns to be more tolerant and kind, and Del learns not to be so overbearing with his friendliness. The film ends with where their friendship will lead to, and its probably best left that way.
Its a pity Steve Martin and John Candy couldn't have made more films, because they worked so well together. This is my favourite Steve Martin film, and it never seems mawkish or cloying in any way. A great little study into the personality changes you can go through on the road. I always notice something different to this film every time I watch it. This was the best film John Candy ever made. There is so much of him in Del.
R.I.P. John Candy.
Normally, I can't stand Steve Martin, because in almost everything I've seen him in, he goes completely over the top. But his performance in PTA changed my outlook of him. He plays Neal Page, a snobbish, cynical advertising executive in New York, who is going home to Chicago for Thanksgiving. The film is called Planes, Trains & Automobiles because these are the means of transportation Neal has to go through to get home.
Desperately late for his plane home, there is an hilarious scene at the beginning where he makes a mad dash for a taxi with Kevin Bacon (making a cameo). Unfortunately, Neal loses out, and then loses a second taxi stolen by John Candy. He plays Del Griffith, a shower curtain ring salesman, who is also on his way to the airport.
The two of them properly meet at the airport after Neal's flight is delayed. I like this scene because they both recognise each other from somewhere, but can't quite place where. Neal then has the bad luck of being seated next to Del on the plane. At some point in our lives, we've all met someone like Del Griffith. Someone who is over friendly, chatty, and a real pest. But they're so full of the best of intentions you don't have the heart to tell them to leave you alone.
Just when it looks like things can't get any worse for Neal, the flight is then cancelled. So begins the hysterical chain of events of Neal's odyssey to get home.
Now stuck with Del, who wants to help Neal, our hapless duo go from one disaster after another to get to Chicago. Steve Martin and John Candy make a great double act, because although they seem like the archetypal Odd Couple, there are more complexities to their relationship then at first thought.
One of the best scenes is when they are forced to spend a night in a motel. Del's slobbish behaviour finally drives Neal to explode. He begins ranting about how boring Del is, and what a real failure he is. In short, Del is nothing but a plague on humanity.
What is so good about this scene, is at first you are chuckling at Neal pointing out Del's shortcomings. But Del looks so genuinely hurt your sympathies start to switch to Del instead of Neal. Then something very unexpected happens, when Del tells Neal (and the audience) something I thought was very moving:
"You wanna hurt me? Go right ahead if it makes you feel any better. I'm an easy target. Yeah you're right. I talk too much. I also listen too much. I could be a cold hearted cynic like you... but I don't like to hurt people's feelings. You can say what you like about me; I'm not changing. Me... I like me. My wife likes me. My customers like me. 'Cause I'm the real article. What you see is what you get."
This scene alone speaks volumes about the personalities of these two men. You begin to really feel sorry for Del, because he seems like a lonely man. And Neal is not such a nice person after all. He doesn't mind insulting people if it makes him feel better. But still, the laughs come thick and fast afterwards. One of the most hysterical scenes is when Neal mouths off at a car rental saleswoman after being dumped in the middle of nowhere. I've never heard so many F words in one sentence. This had to have been what gave the film its 15 certificate. Its possible Hughes inserted this scene to make it clearer to the audience PTA is more adult-oriented than his previous films.
Del and Neal end up sharing a rental car, and they manage to completely wreck it. They are nearly killed by two trucks, and the funniest part is when Del appears as the Devil to Neal. Everything just seems to be conspiring against them. Gradually, the two men start to become friends. What's satisfying is it doesn't feel artificial. It feels like its been building up to it. This is due to John Hughes' slick direction. Neal and Del are two men who are both social misfits for different reasons. Neal is too organised and structured to relate to others, and Del tries so hard to make friends he often ends up alienating them.
Despite all the disasters that befall them, they do make it to Chicago. This is where the film takes on a more serious tone, but doesn't lessen the enjoyment. Del has a secret he hasn't told Neal concerning his wife, but I won't reveal it for those who haven't seen the film.
The ending is very touching, and a little sad too. But you have grown to like both Neal and Del by the end of the film. Both of them realise things about themselves. Neal learns to be more tolerant and kind, and Del learns not to be so overbearing with his friendliness. The film ends with where their friendship will lead to, and its probably best left that way.
Its a pity Steve Martin and John Candy couldn't have made more films, because they worked so well together. This is my favourite Steve Martin film, and it never seems mawkish or cloying in any way. A great little study into the personality changes you can go through on the road. I always notice something different to this film every time I watch it. This was the best film John Candy ever made. There is so much of him in Del.
R.I.P. John Candy.