A Glamorous Escape: Is “The In-Laws” Worth the Watch?
Whether you skip “The In-Laws” or dive right in, your world won’t tilt on its axis. This wildly glamorous comedy, directed by Andrew Fleming, offers one clear takeaway: saving for retirement is a must. Michael Douglas, in the lead role, wasn’t exactly born into poverty, but his energy levels – chasing planes, operating forklifts, and jet-skiing while maintaining a pristine tuxedo and a dazzling smile – come at a premium. So, start saving!
These over-the-top comedies were all the rage in the late '70s, a stark contrast to the stagnant era in some countries and the “greed is good” yuppie culture in America. White-collar workers, buried in paperwork during the day, sought escapism in absurd, adventurous plots filled with chaos and a disregard for etiquette. The catch? This wild abandon was confined to a beautiful, aspirational world, allowing those workers to mentally flaunt their first million. “The In-Laws” essentially retells the 1979 film of the same name, with only minor adjustments.
Absurdity on a Global Scale
The film opens with a Russian submarine, “OLGA,” lurking in the depths. The missing soft sign hints at the level of detail we’re dealing with. Douglas, playing a CIA agent, negotiates the sale of “OLGA” with a corrupt Soviet admiral-turned-Russian mafia millionaire in Prague. Their deal is interrupted by a hail of gunfire, but Douglas is unfazed, escaping to Illinois. The problem? His son is getting married on Sunday, and Douglas needs to bond with the bride’s parents first. Why he feels the need to do this is questionable, especially since the groom lies about his father’s profession, claiming he sells pies. Even more puzzling is why Douglas drags the bride’s father, a mild-mannered Jewish podiatrist (Albert Brooks), along on his mission, leading to chases on land, air, and sea, including the French Riviera. It’s a mystery, but somehow, they bond.
From Submarines to Wedding Bells
Douglas and Brooks bicker about whose father is better, CIA or Jewish, while jetting across the Atlantic on Barbra Streisand’s private Boeing, tranquilizing enemies with a bracelet, lounging in Turkish baths in women’s bikinis, and disabling elevators in Chicago skyscrapers. Back home, wedding preparations provide a contrasting backdrop, highlighting the emotional side of the story. By the end, it’s no surprise when “OLGA” surfaces in Lake Michigan. Our heroes blow up the submarine near the shore and escape with only a shockwave. Radiation? They’re immune. Despite the absurdity, the film is visually appealing. The beaches, the restaurants, the bride’s dress, the black FBI agent, and Candice Bergen (the groom’s mother) all contribute to the film’s aesthetic charm.
The original “In-Laws” suggested that the fast pace of modern life makes genuine connection difficult, leading to marital problems, strained relationships with children, and disrupted weddings.
This remake adds a modern twist: if someone calls you neurotic or a bad father, they’re probably projecting. It’s all relative.