Alright, fellow tapeheads, slide that worn copy of The Survivors into the VCR, adjust the tracking just so, and let's talk about one of the odder, more fascinating comedies to escape from 1983. This isn't your typical blockbuster fare; it's a strange beast, a sometimes awkward, often hilarious collision of two comedic titans and some surprisingly sharp social satire that feels almost unnervingly relevant today. Finding this on the shelf back in the day felt like uncovering something a little offbeat, a promise of weirdness featuring faces you definitely recognized.
The premise alone is pure early-80s anxiety: corporate executive Donald Quinelle (Robin Williams) and gas station owner Sonny Paluso (Walter Matthau) are both unceremoniously fired on the same disastrous day. Adding insult to injury, they witness a robbery at a diner, only for Donald to foolishly identify the robber, Jack Locke (Jerry Reed), bringing the simmering threat of violence into their already upended lives. What follows is less a straightforward plot and more a descent into paranoia, particularly for Williams' character, fueled by the era's undercurrents of economic uncertainty and a burgeoning survivalist movement.
### When Titans Clashed (Hilariously)
Let's be honest: the main draw here is watching Walter Matthau and Robin Williams share the screen. Matthau is pure, uncut Matthau – the hangdog expression, the weary sighs, the impeccable timing honed over decades. He’s the reluctant anchor in a sea of absurdity. Williams, on the other hand, was still relatively fresh off the Mork & Mindy rocket ship, channeling that familiar manic energy but grounding it (mostly) in character. It's fascinating watching his early film work; you can see the sparks of the dramatic actor he would become, layered beneath the frantic comedic riffs. Their chemistry isn't always seamless – sometimes it feels like two different comedic styles occupying the same frame – but when it clicks, it's genuinely funny, capturing the bewildered dynamic of two ordinary guys thrown into extraordinary circumstances.
The film reportedly had a budget around $13.5 million and pulled in about $14 million domestically – not exactly a smash hit, which probably explains why it feels like more of a cult discovery today than a widely remembered classic. Maybe audiences weren't quite ready for its peculiar blend of tones. Critics were certainly divided, unsure what to make of a comedy that tackled job loss, gun culture, and inept hitmen.
### Satire with a Side of Slapstick
What makes The Survivors more than just a star vehicle is the surprisingly pointed script by Michael Leeson (who, fascinatingly, also wrote the techno-thriller WarGames released the same year – talk about range!). Director Michael Ritchie, a master of subtly skewering American institutions in films like The Bad News Bears and Smile, leans into the satirical elements. The sequence where Williams’ character, utterly convinced he needs to defend himself, dives headfirst into the world of firearms and survivalism is both hilarious and deeply uncomfortable. The gun show, the over-the-top training camp run by a grizzled Wes (James Wainwright), the sheer amount of weaponry – Ritchie doesn't shy away from showing the absurdity and the allure of this subculture. Remember how casually guns were often treated in 80s comedies? This film actually engages with the implications, albeit through a darkly comic lens.
And then there's Jerry Reed. Known to most as the charming Snowman from Smokey and the Bandit, here he plays Jack Locke, the hitman who is surprisingly... chill? He’s menacing, sure, but also possesses a weird sort of professional courtesy mixed with utter incompetence. It’s a great bit of casting against type, using Reed’s inherent charisma to create a uniquely memorable (and often very funny) antagonist. The scenes where he tries, and fails, to intimidate or eliminate our heroes have a certain low-key, practical charm. No CGI explosions here – just awkward confrontations and botched attempts that feel grounded, almost mundane, in their execution.
### Echoes in the Static
Watching The Survivors now, nestled comfortably on the couch decades after its release, its themes resonate perhaps even more strongly. The anxieties about job security, the debates around gun ownership, the way media can whip up fear – it feels less like a period piece and more like a slightly skewed prophecy viewed through an 80s filter. The film isn't perfect; the pacing sometimes wobbles, and the tonal shifts between outright slapstick (like the initial robbery fallout) and sharper satire can be jarring. Some of the comedy feels very much of its time, for better or worse.
Yet, there’s an undeniable charm to its messiness. It takes risks. The commitment of Matthau and Williams, even when the script sends them down truly bizarre paths, is captivating. Ritchie’s direction finds humor in the mundane details of suburban life suddenly interrupted by chaos. It’s the kind of movie that probably baffled studio executives but found its audience on late-night cable and, of course, those glorious VHS shelves. It wasn't trying to be the slickest action-comedy; it was trying to say something, wrapped in the personas of two comedy legends.
Rating: 7/10
Justification: While the tonal shifts can be uneven and it didn't set the box office ablaze, The Survivors earns points for its bold satirical premise, the unique and often hilarious pairing of Walter Matthau and Robin Williams, Jerry Reed's memorable turn, and Michael Ritchie's willingness to tackle tricky subjects within a comedic framework. It’s dated in spots, but its core anxieties and the sheer star power make it a fascinating and frequently funny watch that feels surprisingly relevant.
Final Take: A quirky, sometimes clunky, but ultimately rewarding slice of 80s satire powered by legendary comedic friction – the kind of oddball gem you’d excitedly tell your friends about after finding it hidden in the back aisles of the video store.