“Easy Money” might feel a bit chaotic and uneven, much like the life of its main character, but that’s precisely where its charm lies. Starring the incomparable Rodney Dangerfield, credited as Monty Capuletti, the film is essentially a vehicle for Dangerfield’s signature brand of self-deprecating humor, reminiscent of a modern-day W.C. Fields. For fans of classic comedic performances and those intrigued by the lighter side of financial windfalls, “Easy Money” offers a unique, if imperfect, cinematic experience.
The film’s premise is straightforward, serving as a comedic framework for Dangerfield’s antics. He plays a baby photographer who stands to inherit a $10 million department store from his wealthy mother-in-law. However, there’s a significant catch: to claim his fortune, he must abstain from his beloved vices – drinking, gambling, smoking, late nights, and betting on horses. This sets the stage for a series of hilarious trials and tribulations as Rodney attempts to navigate a life of sobriety and responsibility, a stark contrast to his naturally chaotic lifestyle.
Dangerfield is brilliantly supported by a cast of seasoned New York character actors, who populate the numerous poker games and bar scenes that typically define his world. One particularly memorable and uproarious sequence revolves around his daughter’s wedding to a Puerto Rican man, culminating in a riotous backyard celebration that perfectly encapsulates the film’s comedic spirit.
As a showcase for Rodney Dangerfield’s comedic genius, “Easy Money” delivers plenty of laughs. Yet, the film leaves a lingering sense of incompleteness. This feeling stems from a couple of key issues: the introduction of numerous subplots that are never fully developed, and a somewhat softened portrayal of Dangerfield’s typically cynical and edgy persona. It feels as though “Easy Money” was originally envisioned as a more expansive narrative. Certain scenes, like the groom’s clandestine bathroom escapade, conclude abruptly without a satisfying resolution. Similarly, entire sequences, such as the department store fashion show inspired by Rodney’s questionable wardrobe choices, feel somewhat detached from the overarching storyline.
Furthermore, the film arguably misses a comedic goldmine by not fully exploiting Rodney’s struggle to overcome his addictions. Imagine the comedic possibilities of Dangerfield navigating an Alcoholics Anonymous meeting – scenarios ripe with potential for his signature brand of humor that remain largely untapped.
While Dangerfield’s trademark cynicism is present, it’s somewhat diluted in “Easy Money.” The hard-edged persona familiar from his stand-up routines and records is softened, presenting a slightly more affable version of the comedian. Casting him as a baby photographer, a role reminiscent of W.C. Fields, seems like a stroke of comedic genius on paper. However, the film doesn’t fully capitalize on this premise. While Rodney occasionally loses his patience with the infants, he never quite reaches the level of comedic disdain that could have elevated the humor to truly memorable heights. This reluctance to fully embrace Dangerfield’s more acerbic side is a missed opportunity.
For devoted Rodney Dangerfield fans, these shortcomings are likely to be easily overlooked. However, those unfamiliar with his comedic style might find themselves less enthralled. While “Easy Money” provides ample chuckles and showcases Dangerfield’s unique talent, it falls short of being the definitive Rodney Dangerfield film. It’s a funny film that hints at greater comedic potential, ultimately suggesting that the truly great Dangerfield movie is still waiting to be made. “Easy Money” offers a glimpse into the chaotic and often humorous side of sudden wealth, but perhaps doesn’t quite cash in on all its comedic assets.
