THE BEVERLY HILLBILLIES
A film review by James Berardinelli
Copyright 1993 James Berardinelli
THE BEVERLY HILLBILLIES
Rating (Linear 0 to 10): 4.1
Date Released: 10/15/93
Running Length: 1:34
Rated: PG-13 ("Adult" humor)
Starring: Jim Varney, Erika Eleniak, Lily Tomlin, Dabney Coleman,
Cloris Leachman, Diedrich Bader, Lea Thompson
Director: Penelope Spheeris
Producers: Ian Bryce and Penelope Spheeris
Screenplay: Lawrence Konner, Mark Rosenthal, Jim Fisher, and Jim
Staahl, based on the TV series created by Paul Henning
Music: Lalo Schifrin
Released by Twentieth Century Fox
Perhaps the clearest evidence of the dearth of original ideas in Hollywood is the constant need to regurgitate old, worn-out television series. While there is an occasional exception to this rule (STAR TREK being an illustration), the endless plundering of old programs is proof that it's easier to rely on something tried-but-true than to attempt something new. THE BEVERLY HILLBILLIES, following in the wake of the unfortunate revival of THE ADDAMS FAMILY, is an example of something that should have stayed in re-runs.
When Jed Clampett (Jim Varney) discovers oil on his Arkansas property, he becomes a very rich man. Wanting to make his daughter Elly May (Erika Eleniak) into a "sophisticated woman", he decides to move the clan to Beverly Hills. There, in a place filled with strange and unusual customs, he is greeted by the fawning bank manager in charge of his billion dollars (Dabney Coleman) and the assistant manager, Miss Hathaway (Lily Tomlin). When Jed expresses a desire to re-marry, everyone gets involved in the matchmaking, but the woman who emerges as the leading candidate to be the next Mrs. Clampett is actually a scheming fortune- hunter (Lea Thompson).
Those who loved the television series (which served as light comedy, at best) will probably be pleased by the motion picture, which stays rigidly faithful to the spirit of its predecessor. This is a farce, pure and simple, with all the depth and intelligence (or lack thereof) that marked TV's THE BEVERLY HILLBILLIES. In fact, the most clever moment of the movie comes when Miss Hathaway, searching for a private investigator, is sent to the offices of Barnaby Jones (Buddy Ebson). Ebson, as many viewers will doubtless recall, was responsible not only for creating the role of Jones, but also portrayed the original Jed Clampett.
Those sitting through this film will experience a few guffaws and chuckles, but much of the humor is surprisingly unfunny. There's some serviceable slapstick, and a couple of amusing moments made possible by the country-meets-city mentality (such as the Clampetts mistaking obscene hand gestures for a "Californy greeting"), but these pretty much vanish by the end of the first thirty minutes. After that, it's a long and uninspired wait for the end-credits (which are shown over various out- takes and "bloopers").
The producers of THE FUGITIVE knew what they were doing when they accomplished their TV-to-movie transformation: give the audience something fresh. The idea worked, as proven by generally-favorable reviews and a high box-office gross. THE BEVERLY HILLBILLIES disdains this method, however, and suffers greatly because of it. If I want to see ninety minutes of the television series, I'll sit at home and watch three back-to-back episodes.
While the storyline may be dull, and the jokes lacking in humor, at least the casting is on-the-money. None of the performances are examples of great acting, but for the movie that they've been placed in, the actors are perfect. Jim Varney is no Buddy Ebson, but he gives the new Jed Clampett a certain air of dignity not expected from a guy who's most famous line is "Hey Vern!" Erika Eleniak, although probably cast for attributes other than her acting skill, gives a decent (and somewhat airheaded) rendition of Elly May. Cloris Leachman is perfect as Granny.
I was among those unimpressed by director Penelope Spheeris' previous effort, the overly-smug WAYNE'S WORLD (another television-derivative). This time, however, the few sparks of originality shown there are mostly absent. Most of the attempts at irreverent parody ring false.
My advice is to wait and see this version of THE BEVERLY HILLBILLIES the same way that you've seen all that's gone before - on the small screen. And let's hope that when the closing song chimes in with the familiar "Y'all come back now, hear?", it's not a reference to a sequel.
- James Berardinelli (blake7@cc.bellcore.com)
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