Okay, rewind your minds with me for a second. Picture the fluorescent hum of the video store, the slightly musty smell of well-loved plastic clamshell cases. You're scanning the comedy section, and there it is: a bright-eyed Tom Hanks, looking charmingly bewildered, alongside the title The Man with One Red Shoe. The premise alone – pure, distilled 80s high-concept – was probably enough to make you grab the tape. And revisiting it now? It's like finding a comfortably worn-in sweatshirt in the back of the closet – maybe not high fashion, but undeniably cozy.
Released in 1985, this flick dropped right in the sweet spot of Hanks' transition from TV sitcom goofball (Bosom Buddies) to bona fide movie star, hot off the splash (heh) of, well, Splash (1984). Here, he's Richard Drew, an affable, slightly nebbish concert violinist utterly oblivious to the fact that he's become the linchpin in a ridiculously escalating game of internal CIA espionage. It’s a classic case of mistaken identity, dialed up with Cold War paranoia and slapstick sensibilities.
### The Setup is Everything (and Nothing)
The plot, frankly, is thinner than the magnetic tape on a bargain-bin VHS after too many plays. Rival CIA factions are locked in a power struggle. The deliciously slimy Deputy Director Cooper, played with quintessential bureaucratic menace by the legendary Dabney Coleman (who basically owned the market on exasperated, morally bankrupt authority figures in the 80s – think 9 to 5 or WarGames), needs a scapegoat to deflect attention from his own dodgy dealings. His underling randomly picks a guy at the airport – our unsuspecting violinist Richard, notable only for wearing one red shoe due to a prank by a fellow musician – and paints him as a deep-cover operative.
What follows is a cascade of surveillance, attempted seductions, bungled operations, and general spy-vs-spy silliness as Cooper’s team tries desperately to figure out Richard’s non-existent secrets, while the "good guys," led by the beleaguered Director Ross (Charles Durning), try to protect him. It's the kind of setup that thrives on comedic misunderstanding, and Hanks is the perfect everyman anchor amidst the chaos. His bewildered reactions as his apartment gets secretly redecorated by spies, or as bizarre accidents keep happening around him, are the film's comedic engine.
### Charm Over Chops
Let's be honest, The Man with One Red Shoe isn't exactly a masterclass in intricate plotting or biting satire. It's a remake of a successful French film, Le Grand Blond avec une Chaussure Noire (1972), and like many American remakes of European hits, some of the original's edge feels sanded down for broader appeal. Director Stan Dragoti, who gave us the equally 80s-tastic Mr. Mom (1983), keeps things light and breezy, sometimes to a fault. The pacing can feel a bit leisurely, and some gags land softer than others.
But where the film shines is in its cast and its sheer, unpretentious likability. Hanks exudes that effortless charm that would soon make him America's sweetheart. You genuinely root for Richard, even as you chuckle at his cluelessness. Dabney Coleman is just pitch-perfect as Cooper, radiating smug incompetence. And then there’s Lori Singer, fresh off Footloose (1984), as Maddy, the agent assigned to seduce Richard. Her character adds a layer of romantic entanglement and divided loyalties. A nifty bit of trivia often overlooked: Lori Singer is actually a Juilliard-trained cellist, which lent a layer of authenticity to her scenes where Maddy uses her musical talents as part of her cover – a fun instance of real-life skill bleeding into the role.
The supporting cast, including Jim Belushi as Richard's perpetually horny best friend and Carrie Fisher in a small but memorable role as a hyper-enthusiastic flutist/spy enthusiast, add to the quirky energy. Even the score by a young Thomas Newman, who would go on to soundtrack countless acclaimed films, has hints of the playful, distinctive style he’d later perfect.
### 80s Spycraft, Sans Grit
Forget the gritty realism of Bourne or Bond's later iterations. The espionage here is pure 80s Hollywood: bulky surveillance equipment hidden in lamps, agents communicating via ridiculously conspicuous means, and action sequences that lean more towards physical comedy than genuine thrills. There aren't massive practical explosions or death-defying stunts in the vein of Lethal Weapon (1987), but there's a certain quaint charm to the low-tech spy games and the relatively grounded (if absurd) situations Richard finds himself in. It’s a reminder of a time when spy comedies could be silly and relatively bloodless, focusing on character reactions over spectacle.
Interestingly, the film didn't exactly set the box office on fire upon release. With a budget around $16 million, its $8.6 million domestic gross marked it as an underperformer. Critics were lukewarm too, perhaps comparing it unfavorably to the French original or finding it a bit too lightweight. Yet, like so many films of the era, it found a comfortable afterlife on VHS and cable, becoming one of those familiar faces you were always happy to stumble across on a Saturday afternoon. I distinctly remember renting this one, probably alongside something like Spies Like Us, for a double dose of Cold War silliness.
### Final Playback
The Man with One Red Shoe is undeniably a product of its time – a light, frothy concoction built on a simple premise and elevated by a winning lead performance. It lacks the sharp satire of its French predecessor and the laugh-a-minute density of Zucker-Abrahams-Zucker productions, but it possesses a gentle charm and features early glimpses of Tom Hanks' immense star power, alongside peak Dabney Coleman villainy. It’s an amusing, if not essential, piece of 80s comedy fluff.
Rating: 6/10
Justification: While the plot is thin and the comedy inconsistent, Hanks' effortless likability, Coleman's delightful sliminess, and the overall pleasant, goofy 80s vibe make it a watchable bit of nostalgic comfort food. It underperformed for a reason, but earns points for charm and its place in Hanks' early filmography.
Final Thought: It might not be the sharpest spy spoof on the shelf, but The Man with One Red Shoe is a comfy, familiar pair of slippers (one red, of course) for anyone nostalgic for the gentler side of 80s comedy. Just don't expect John le Carré.