Not to be confused with either David Letterman or The D-Generation, The Late Show (1977) is another entry in the seventies era’s love of film noir. Produced by Robert Altman, director-writer Robert Benton goes for a different take rather than Altman’s own deconstructive The Long Goodbye. There’s more of a classic witty vibe of detective movies like The Thin Man (which is name checked in the movie). Art Carney plays an ageing detective, Ira Wells, who even though he has a limp and a hearing aid, still speaks like a snappy 1940s film noir protagonist even though it’s the tail end of the 1970s. When his old partner shows up dead on his doorstep, Ira is on the case, which intertwines with a missing cat job for a new client, an actor and agent, Margo Sperling (Lily Tomlin at peak Tomlin energy) who is more of the times, a flighty, rambling kook. The patter between them is very well written, smartly constructed and more importantly, it’s delivered naturally, and there’s a lovely subtle energy in the growing partnership between Carney and Tomlin. Alongside them is Bill Macy’s gambler, Charlie Hatter, with all the connections, who contributes to their untangling of this mystery. Also stars a young Joanna Cassidy as a sultry dame, and Eugene Roche strikes a unique, funny note as a shady businessman. From the leafy plants and maroon platte of Tomlin’s apartment to the lamp-lit hues of Macy’s smokey bar, there’s such a great look to the film, blending nostalgia for a former era with a warm naturalism associated with Altman’s work. Sharp, funny, and comforting in a unique way, particularly for a 1970s neo-noir. Rented on iTunes. Recommended.
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