When he was dreaming up the story for Red Heat, director Walter Hill (visiting the area last week on a publicity tour) says there was just one sticking-point to his story: “Would the American filmgoing public accept an unregenerate Soviet hero?”
Hilll’s problem may have ben solved in the casting of the role, for these days almost anything with Arnold Schwarzenegger is automatically ticketed for public acceptance. The Soviet hero of Red Heat is a Moscow policeman who comes to Chicago in search of a lethal Russian criminal. There he gains the prickly comradeship of a Chicago cop (James Belushi) on the trail of the same man.
The cop-buddy movie is a familiar formula, but Hill consistently finds a way to put a distinctive spin on individual scenes. He begins the film in the Soviet Union with a crisply mounted manhunt, wherein Schwarzenegger pursues his quarry through a coed steambath, a fistfight in the snow, and a seedy Russian bar, where the pursuit climaxes in one of the truly outrageous physical punchlines of recent memory.
When the scene shifts to Chicago, Hill strikes the appropriate balance in the comic collision between Belushi and Schwarzenegger, a few effective action sequences, and some funky fish-out-of-water business for Schwarzenegger, who strides into a rundown hotel and bellows his name—”Danko”—to which the desk clerk replies, “You’re welcome.”
This is topped by Schwarzenegger’s deadpan announcement after he ditches his uniform and dons an ill-fitting blue suit: “I am working undercover.” He still looks every inch (and there are a lot of them, of course) the alien.
Though Red Heat is fundamentally lightweight, and its narrative locomotion occasionally threaten to outstrip the niceties of logic, it is always informed by wit. It’s a return to cruising speed for Hill, whose recent outings have included the curious byways of Brewster’s Millions, Crossroads, and Extreme Prejudice.
Hill says the genesis of Red Heat was his desire to direct Schwarzenegger, which brings some built-in problems. “He’s a little hard to make work, the accent and all. He can’t play from Peoria, or somewhere.” So Hill came up with the Soviet angle, and “We really wrote the script after we had the actors, which is unusual. The iconography of actors is critical,” he says.
Hill has heard Red Heat compared to his biggest hit, 48 HRS. “It resembles 48 HRS. a lot less than a bunch of other movies made in the last three years. 48 HRS. was a very funny movie, as long as you didn’t think it was a comedy.” Exactly the same is true of Red Heat.
What I make of Hill’s movies is that they continue to represent one of the most provocative talents in the American cinema. My favorite Hill film is The Long Riders, arguably the best Western in the lean two decades after The Wild Bunch.
Says Hill, “I don’t think the Western genre is going to make a comeback. And I say that with a sense of regret—underlined. I have a couple of scripts. You got any money?”
First published in the Herald, June 16, 1988
I interviewed Hill in a busy restaurant, but I can’t remember which one. He wore sunglasses during the interview, which a publicist explained had to do with his sensitivity to light. I probably told him I had a poster for The Long Riders hanging in my room. As for Red Heat, I seem to have enjoyed it, although the specifics have gotten hazy and the exchange, “Danko” “You’re welcome,” makes me question my standards.