*. A movie full of not-quite debuts.
*. It wasn’t Ron Howard’s first feature film working behind the camera, but it was his first Hollywood studio film (and he’d done some TV-movies as well). It also wasn’t Michael Keaton’s first film, though it was the part that made him a star. Shelley Long had been on TV a lot. Going down the list of credits, it wasn’t even Kevin Costner’s first movie (he’s Frat Boy #1 here, but had appeared in Malibu Hot Summer the year before), or Shannon Doherty’s (she plays one of the Girl Guides).
*. It wasn’t Henry Winkler’s debut either, though again you’d be forgiven for thinking it was at the time. There can’t be that many people who had seen The Lords of Flatbush. He was, however, the biggest star in the cast because of his role as the Fonz on Happy Days.
*. It’s easy, but nonetheless fair I think, to ascribe the general small-screen feel of Night Shift to the fact that all of this talent was coming from television. This isn’t a big movie, and is content to mainly play within its handful of sets (the morgue, the jail, the different apartments). Sets, I would add, that very much look like sets. How many hallways in apartment buildings have we seen on sitcoms that look like the ones here?
*. Another near first: I remember this as being one of the first movies I watched on video after getting a VHS tape machine in the ’80s. Watching movies at home without commercials seemed almost magical then.
*. What also seems magical: the fact that Chuck (Winkler) is investing his hooker clients’ money in accounts that are returning 17.5% (you can read the numbers on his computer). Oh, those interest rates! I remember them going up even higher than that in the ’80s.
*. There is one first. That’s the first recorded version of “That’s What Friends Are For” being sung by Rod Stewart over the end credits. It seems a bit downbeat, however, to wind the movie down with.
*. As for the film itself, I can’t think of much to say. I think this was the first time I’ve seen it since the days of VHS, which is over thirty years ago now. I guess it’s kind of a sweet in a very conventional way. Winkler is Caspar Milquetoast. Long is the hooker with a heart of gold. Keaton I can still enjoy, but he’s only playing a type as well.
*. What sort of type? The American dreamer with endless entrepreneurial schemes for making it big. Night Shift is a movie dealing with adult subject matter but it doesn’t have much to say about the morality of what’s going on. In so far as it does glance in that direction it only suggests that conventional morals are for squares. Making money has its own, transcendent, morality. Is Belinda going to have to go back to work at the end? She will if Chuck can’t support her. And Billy . . . there’s no saying what depths he was likely to fall to after being fired as a towel boy. I hope his idea for microwaveable clothes took off.