Repo Man (1984)

User Rating:

6.8/10   

Director:

Alex Cox

Writer:

Alex Cox (written by)

Release Date:

2 March 1984 (USA)

Genre:

Action | Comedy | Sci-Fi

Tagline:

A repo man is always intense... but only a fool gets killed for a car.

Plot:

Young punk Otto becomes a repo man after helping to steal a car, and stumbles into a world of wackiness as a result.

Plot Keywords:

Repossession | Punk | UFO | Televangelist | Punk Rocker

Awards:

2 wins & 2 nominations

Cast

Harry Dean Stanton	...	Bud
Emilio Estevez	...	Otto
Tracey Walter	...	Miller
Olivia Barash	...	Leila
Sy Richardson	...	Lite
Susan Barnes	...	Agent Rogersz
Fox Harris	...	J. Frank Parnell
Tom Finnegan	...	Oly
Del Zamora	...	Lagarto
Eddie Velez	...	Napo
Zander Schloss	...	Kevin
Jennifer Balgobin	...	Debbi
Dick Rude	...	Duke
Miguel Sandoval	...	Archie (as Michael Sandoval)
Vonetta McGee	...	Marlene

Runtime:

92 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

New Zealand:R | USA:R (Approved No. 27271) | Argentina:18 | Australia:M | Australia:R (video rating) | Finland:K-15 (re-rating) (2003) | Finland:K-18 (original rating) | UK:18 | West Germany:16

Filming Locations:

Los Angeles, California, USA

Company:

Edge City

Trivia:

No special effects were used to make the Chevy Malibu glow while parked at the repossession lot. Instead, the car was completely coated with 3M reflective paint, at an approximate price of $600 per bucket.

Goofs:

Continuity: When Otto first enters the Helping Hands building, Marlene is on the phone. The camera then cuts to her and she is holding a pen instead of the phone.

Quotes:

Mrs. Maddox: Put it on a plate, son. You'll enjoy it more.
Otto Maddox: Couldn't enjoy it any more, Mom. Mm, mm, mmm.

Movie Connections:

References "Fridays" (1980)

Soundtrack:

Happy Animals

"This is intense."

I put this eighties cult classic right up there with Blazing Saddles (1974) and Dr. Strangelove (1964) as one of the best satires ever to hit the silver screen. No exaggeration: this is one bizarre and one very funny flick. Seeing it again after almost twenty years, I gotta say, it lost nothing.

Emilio Estevez stars as Otto Maddox, a head-strong and slightly naive ex-supermarket stock clerk and sometime punk rocker. He's kicking a can down the street when up pulls Bud, "a repo man," played with a fine degeneracy by Harry Dean Stanton, who asks him if he wants to make ten bucks. (Otto's reply is memorable but not printable here.) When he learns that Bud just wants him to drive a car and not...uh, never mind, he bargains it to twenty-five bucks. When he finds out that Bud repossesses cars for the "Helping Hand Acceptance Corporation," he is sorely offended. But when he realizes how intense the life is (and how bleak his other employment opportunities), he becomes a repo man himself.

Meanwhile there's J. Frank Parnell (Fox Harris wearing a demonic grin and weird black and empty frame glasses) driving a "hot" '64 Chevy Malibu. "You don't want to look in the trunk, Officer," he tells a cop who pulls him over on a desert highway. By the way, the map under the opening credits shows the action of this film beginning somewhere on old Route 66 in New Mexico, suggesting alien mecca Roswell territory perhaps, but most of scenes were clearly shot in LA, and the desert scene just mentioned was also probably shot in California as evidenced by the Joshua Trees in the background.

What director and scriptster Alex Cox does is combine urban ghetto realism with bizarro sci-fi shtick. He adds a fine punk soundtrack including the title song from Iggy Pop with a brief appearance by the Circle Jerks, and wow are they appropriate, but you have be a punker or a 15-year-old to really visualize their moniker. The supporting players, Sy Richardson as Lite, a black cat repo ace, and Tracey Walter as Miller, a demented street philosopher, really stand out. I also liked the black girl repo person with attitude (Vonetta McGee).

The real strength of the movie, aside from probably the best performance of Estevez's career, is in the street scene hijinks, the funny and raunchy dialogue, and all those sight gags. My favorite scene has Otto coming home to find his parents smoking weed on the couch zombie-like in front of the TV listening to a Christian evangelist while he scarfs down "Food" out of a blue and white can from the refrigerator. I mean "Food" is on the label, period. The Ralphs plain wrap (remember them) are all over the sets, in the convenience store, at the supermarket, bottles of plain wrap whiskey and plain wrap "Tasteetos," plain wrap beer and plain wrap cigarettes.

Some other good shtick: the dead rat thrown in the car with the woman that doesn't accomplish its purpose; the money in the presents that Otto throws out the window busted open by the tires of another car for us to see and drool over; the "I left a book of matches" line that diverts Otto's idiot friend pumping gas; the pepper spray; Miller by the ashcan fire contemplating the disappeared from the future and "the lattice of coincidence that lays on top of everything" (trippy, man); and the punk criminal act of "Let's go get sushi and not pay." And Otto's clean pressed white dress shirt and the tie--I love the tie--as Lite tells him, "Doing my job, white boy."

See this for the authentic eighties street scenes and for my UCLA Bruin buddy (by way of Oxford) director Alex Cox who dreamed the whole thing up. Only an Englishman could really see America authentically.