For its first 20 minutes or so, The Pick-Up Artist shapes up as a lively little comedy of manners, as it chronicles a day in the life of a hopeless womanizer named Jack Jericho (Robert Downey) and his fast-talking cruise-through existence. Jericho can’t drive down the block without spotting a pretty girl, trotting up next to her and laying down a line of pick-up patter.
Usually, this line is, “Has anyone ever told you, you have the face of a Boticelli and the body of a Degas?” Although once, he gets confused and substitutes Chagall and Rubens, with predictably mixed results.
Jericho’s routine abruptly comes up short when he meets a woman (Molly Ringwald) who gives as good as she gets. After an afternoon quickie, she treats him the way he usually treats his women – by walking away, with no strings attached. Naturally, he’s hooked.
But just then, the movie bumps right up against a problem: plot. For whatever reason, writer-director James Toback has decided to take this romantic comedy, charming up until now, and graft it onto another story entirely.
It seems the woman’s dissipated father (Dennis Hopper, doing an amusing rehash of earlier roles) owes $25,000 to some local gangsters (led by Harvey Keitel). Jericho wants to help her, but she insists on finding the money herself. Everything ends up in Atlantic City, with gambling the only solution to making the money fast.
Basically, this is a mess. Scenes aren’t developed, characters are thrown away, motivations are murky. Toback seems to be making two movies in one.
However, Toback, who wrote The Gambler and directed the disastrous Exposed, is nothing if not idiosyncratic. The movie may be all over the place, but at least you get the feeling that it was made by one person, not a committee (although it’s been rumored the film underwent some post-production tinkering; at the very least, a few four-letter words have clearly been blipped out to avoid an R rating).
And the energy level is high, keyed as it is into the performance of Robert Downey, who may be most recognizable as a regular on Saturday Night Live a couple of seasons ago. He gives a full-speed portrait of a guy who does indeed bring an artistry to his vocation.
The film boasts good credits, with nice supporting work by Danny Aiello and Victoria Jackson, and typically tasty cinematography by Gordon Willis. One collaborator is not credited: Warren Beatty, a friend of Toback’s who reportedly served as an unlisted executive producer. Beatty’s own reputation as the all-time pick-up artist suggests the reason for his involvement, but one suspects that he could make a much more interesting movie on the subject.
First published in the Herald, September 19, 1987
Toback, of course, is strongly implicated in monstrous behavior that came out with the #MeToo movement. I suppose that changes this movie these days. Downey had bounced around and gotten noticed, but this one was a real lead. Beatty was apparently the producer and took his name off the movie; this was the period when he was somehow heavily concerned with guiding Molly Ringwald’s career, always a curious movie-history blip.