#17 — Lethal Weapon
This is part of an ongoing, illustrated countdown of my 49 1/2 most essential action movies — using a strict method of testing and criteria that has been overseen and approved by the board of ACU (Action Cinema University) and is also kid tested and mother approved. Last week I talked about the John Wick movie where he does the thing with the pencil.
Man, I have to admit it’s getting harder and harder to write about action cops right now, what with Judge Dredd now playing a regular part in an American judicial system controlled and operated by OCP, at the behest of whatever version of evil Ronny Cox you prefer (I’m a Dick Jones man myself, but you can’t go wrong with Cohaagen). Maybe this is a good movie to focus on because the side effects of bad action copping are shown to be real and dangerous, and sometimes the treatment requires the support system of an action buddy and some saxophone.
Shane Black didn’t invent the concept of the “buddy cop” movie (which obviously came from the hit tv show CHiPS) but he’s responsible for roughly eighty five percent of its GDP. Other buddies of the law existed before and after, but none of them have buddied harder than Martin Riggs and Roger Murtaugh. And much like their sometimes rocky relationship, it took me some time to wise up to the charms of this movie.
It’s not as flashy as something like The Matrix, and at times, it slips into a Family Matters costume. This would be frustrating if you were looking for some bullet time, but pretty good if you understood it’s about friendship, trust, and second chances. There’s plenty of heart, and much of the humor comes from the way the two leads antagonize each other rather than the deranged methods they might use for killing criminals (although there is a certain Christmas Jiu-Jitsu Duel that I’d like to talk about later).
A lot of these action cops have trouble with things like eating pizza properly, staying married, or being emotionally available and transparent. Mel Gibson plays this archetype from a more realistic perspective. He does all the wild stuff that Marion Cobretti or Harry Callahan would do, but he also has to live with the consequences of it. Instead of coming up with cool nicknames and catchphrases for himself, he carries around a special bullet in case he decides it’s time to kill himself. He’s devastated by the loss of his wife and the only thing that keeps him going is the adrenaline rush of performing his job, usually without any regard for his own safety.
It’s good that we have a movie where a regular cop and an action cop team up. Murtaugh is introduced in his bathtub, where his family surprises him with a birthday cake for his 50th. I think they could have waited ten minutes, but the idea is that they really love him, so they can’t help but do things like that. Riggs is also introduced naked, waking up in his trailer with a hangover and a cigarette — much less in control of his surroundings and much more vulnerable than a Marion Cobretti. Nobody is there to greet him but his dog. Murtaugh has a picture perfect family and one of those idyllic sitcom houses in the suburbs, complete with four bedrooms, two baths, and a boat in the driveway. Riggs’ wife now only exists in pictures, and his PTSD brings back memories of war.
Murtaugh doesn’t want to be the Angel of the City and shout “Yippee Ki Yay”. Nearly getting blown up or tortured is not very appealing to him. He doesn’t live by action cop rules (I don’t think there are any). He does seem impressed by Riggs’ sharpshooting, and remarks his body should be registered as a lethal weapon. Hey, that’s the title of he movie! “Lethal Weapon” is a reference to Riggs and his dehumanizing identity as a government molded killer, BUT it also admittedly sounds kinda rad — appealing to our base desires and convincing us to watch the film. He’s dangerous, but he’s also a misfit toy that needs repairing. So it ends ups being a story about a regular cop that is trying to survive an action movie, and an action cop that is trying to find stability.
There’s a great scene where Murtaugh is talking to Riggs’ therapist to get a sense of what he’s dealing with, and he’s in a complete panic. Maybe he watched Mad Max and saw the dead wife connection. Maybe he realized his partner is Mel Gibson. After he hangs up from a pay phone, the camera pans over to Riggs sitting in the car like a dog ready for a big day out. Then Murtaugh reveals it was his birthday and Riggs congratulates him with a disarming sincerity that could only come from someone who understands true pain, love, and loss. He doesn’t wish his misery on anyone else. His chaos highlights the day-to-day pleasantries that someone like Murtaugh might take for granted. It’s the beginning of a real friendship.
That’s the draw for the whole franchise. The action is great when it happens, but their survival is the real reward. Numerous hangout scenes that would feel extraneous in other action films are essential here, building a relationship that will literally save Riggs’ life. The Murtaugh home is revisited again and again, becoming a safe haven and the reason you need to see them survive a gunfight. If they die, Riggs will never get to joke about Mrs. Murtaugh’s cooking and Mr. Murtaugh will never get to have another bubble bath, or go bass fishing, and they’ll never get to watch movies like The Matrix. There are other important things they’d miss too, but those are the main ones. Every brush with death brings them closer together.
Not only does Shane Black create a brilliant dynamic for his protagonists, but he provides evil counterparts for them. Unlike the corrupt retired General McAllister, or his old war buddy Hunsaker, Murtaugh doesn’t seem jaded by his profession. He’s not a sell-out. Gary Busey plays a mercenary named Mr. Joshua with psychotic conviction. He’s the NEGA Riggs. The film is cleverly setting up payoffs even when you think it’s just another hangout scene at the shooting range, so eventually Riggs and Murtaugh can face their darker selves.
The climax goes full action cop, with Riggs arresting Mr. Joshua on the front lawn of the Murtaugh home — but this guy has killed some of their friends, so he wants payback. A whole squad of cops show up to control the situation, but Murtaugh waves them off. They actually stand down, and become spectators to an MMA fight with a backdrop of Christmas decorations. This is kind of insane, and yet it makes sense within the internal logic of the movie. In spite of some choppy editing, they pull off some legit moves that weren’t really being performed by other films of this era. After Riggs wins the fight, Joshua steals an officer’s gun, forcing Riggs and Murtaugh to shoot him together, as friends. I think there are healthier ways to form a bond, but in Action Cop Land it’s sort of like cleaning up a stain on the carpet before mom and dad get home. No harm, no foul.
The actual ending, which is perfect, comes when Murtaugh invites Riggs into his home for Christmas dinner (along with his dog). While it’s fun watching these guys escape violent situations, the best part is seeing them not have to. Gibson is so charismatic, and his portrayal of Riggs is pitch perfect. When he has to do something unpleasant (like shoot people in the head) his tone changes. He reaches into a well of expertise that he’d rather not be familiar with. His off-the-wall humor registers as a coping mechanism to fight combat stress. When he’s given an opportunity to simply enjoy another person’s company, he opens up and his jokes serve a different purpose. He’s somehow able to make others feel at ease, even when he can’t find peace himself, and eventually it comes back around to him.
It’s a shame the actor can’t seem to find the same peace, but I don’t want to turn this into a stranger’s TMZ highlight reel. I’m just not interested in that story. I like these characters more, and this is the ending I choose.
