{"id":89453,"date":"2023-01-24T23:07:14","date_gmt":"2023-01-25T06:07:14","guid":{"rendered":"https:\/\/filmfanatic.org\/?p=89453"},"modified":"2023-01-26T12:18:48","modified_gmt":"2023-01-26T19:18:48","slug":"48-hours-1982","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=89453","title":{"rendered":"48 Hrs. (1982)"},"content":{"rendered":"<p><strong>&#8220;We ain&#8217;t brothers, we ain&#8217;t partners, and we ain&#8217;t friends.&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Poster.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Poster-195x300.png\" alt=\"\" width=\"195\" height=\"300\" class=\"alignleft size-medium wp-image-89454\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Poster-195x300.png 195w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Poster-83x128.png 83w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Poster-175x270.png 175w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Poster.png 605w\" sizes=\"auto, (max-width: 195px) 100vw, 195px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nA white cop (Nick Nolte) joins forces with a black prisoner (Eddie Murphy) on a 48-hour pass to help hunt down a sadistic criminal (James Remar) who has escaped from a chain gang.\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>Detectives and Private Eyes <\/li>\n<li>Eddie Murphy Films<\/li>\n<li>Ex-Cons<\/li>\n<li>Nick Nolte Films<\/li>\n<li>Race Relations and Racism<\/li>\n<li>Search<\/li>\n<li>Walter Hill Films<\/li>\n<\/ul>\n<p><strong>Response to Peary&#8217;s Review: <\/strong><br \/>\nPeary writes that this film about a &#8220;racist San Francisco detective [who] springs black thief-conman Eddie Murphy&#8221; (in &#8220;his debut&#8221;) &#8220;from prison for 48 hours to help track down Murphy&#8217;s former partner&#8221; is almost as if Rod Steiger and Sidney Poitier from <em>In the Heat of the Night<\/em> became partners without resolving their differences or hiding their hatred for one another.&#8221; He points out that &#8220;their &#8216;hip&#8217; verbal battles are continuous (and eventually annoying) and they even come to blows&#8221; &#8212; but &#8220;of course, since they are both misfits with singular talents, they come to respect one another.&#8221; <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Buddy-Cops.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Buddy-Cops-1024x582.png\" alt=\"\" width=\"640\" height=\"364\" class=\"alignnone size-large wp-image-89456\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Buddy-Cops-1024x582.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Buddy-Cops-300x171.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Buddy-Cops-128x73.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Buddy-Cops-768x437.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Buddy-Cops-475x270.png 475w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Buddy-Cops.png 1261w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>He notes that while &#8220;brawny Nolte and skinny Murphy work well together,&#8221; &#8220;Roger Spottiswoode&#8217;s dialogue is too calculated for audience response [and] laughter.&#8221; He argues that the film&#8217;s &#8220;best sequences are those with violence and action.&#8221; <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hours-Hostage.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hours-Hostage-1024x572.png\" alt=\"\" width=\"640\" height=\"358\" class=\"alignnone size-large wp-image-89466\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hours-Hostage-1024x572.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hours-Hostage-300x168.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hours-Hostage-128x71.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hours-Hostage-768x429.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hours-Hostage-483x270.png 483w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hours-Hostage.png 1291w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>This &#8220;mismatched buddy cop&#8221; flick is notable as one of the first of its kind (or at least the title that seriously sparked the subgenre), and it&#8217;s held up reasonably well despite its flaws. Hill&#8217;s direction is confident as always, and good use is made of location shooting in San Francisco (and Los Angeles). <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Location2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Location2-1024x572.png\" alt=\"\" width=\"640\" height=\"358\" class=\"alignnone size-large wp-image-89462\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Location2-1024x572.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Location2-300x168.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Location2-128x72.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Location2-768x429.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Location2-483x270.png 483w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Location2.png 1287w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>While it&#8217;s not must-see viewing, this remains worth a look for its historical significance as Murphy&#8217;s breakthrough cinematic role.  <\/p>\n<p><strong>Notable Performances, Qualities, and Moments: <\/strong><\/p>\n<ul>\n<li>Eddie Murphy as Reggie Hammond<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Murphy.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Murphy-1024x573.png\" alt=\"\" width=\"640\" height=\"358\" class=\"alignnone size-large wp-image-89458\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Murphy-1024x573.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Murphy-300x168.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Murphy-128x72.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Murphy-768x429.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Murphy-483x270.png 483w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Murphy.png 1293w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/li>\n<li>Nick Nolte as Jack Cates<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Nolte2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Nolte2-1024x561.png\" alt=\"\" width=\"640\" height=\"351\" class=\"alignnone size-large wp-image-89457\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Nolte2-1024x561.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Nolte2-300x164.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Nolte2-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Nolte2-768x420.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Nolte2-493x270.png 493w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Nolte2.png 1295w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a>\n<\/li>\n<li>James Remar as Albert Ganz<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Remar.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Remar-1024x572.png\" alt=\"\" width=\"640\" height=\"358\" class=\"alignnone size-large wp-image-89461\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Remar-1024x572.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Remar-300x168.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Remar-128x71.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Remar-768x429.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Remar-483x270.png 483w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Remar.png 1291w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a>\n<\/li>\n<li>Ric Waite&#8217;s cinematography<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Lights.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Lights-1024x575.png\" alt=\"\" width=\"640\" height=\"359\" class=\"alignnone size-large wp-image-89460\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Lights-1024x575.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Lights-300x169.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Lights-128x72.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Lights-768x432.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Lights-480x270.png 480w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/01\/48-Hrs-Lights.png 1283w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/li>\n<li>James Horner&#8217;s score\n<\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nNo, but it&#8217;s recommended for its status as an &#8217;80s buddy-cop classic. <\/p>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.imdb.com\/title\/tt0083511\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/www.thespinningimage.co.uk\/cultfilms\/displaycultfilm.asp?reviewid=5972\">Spinning Image Review<\/a><\/li>\n<li><a href=\"https:\/\/www.tvguide.com\/movies\/48-hrs\/review\/2030282202\/\">TV Guide Review<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;We ain&#8217;t brothers, we ain&#8217;t partners, and we ain&#8217;t friends.&#8221; Synopsis: A white cop (Nick Nolte) joins forces with a black prisoner (Eddie Murphy) on a 48-hour pass to help hunt down a sadistic criminal (James Remar) who has escaped from a chain gang. Genres, Themes, Actors, and Directors: Detectives and Private Eyes Eddie Murphy Films Ex-Cons Nick Nolte Films Race Relations and Racism Search Walter Hill Films Response to Peary&#8217;s Review: Peary writes that this film about a &#8220;racist&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=89453\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-89453","post","type-post","status-publish","format-standard","hentry","category-responses-to-peary"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/89453","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=89453"}],"version-history":[{"count":9,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/89453\/revisions"}],"predecessor-version":[{"id":89528,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/89453\/revisions\/89528"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=89453"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=89453"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=89453"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}