Okay, settle in, grab your beverage of choice, and let’s rewind the tape to 1989. Remember browsing those towering shelves at the video store, maybe slightly overwhelmed, and landing on a cover featuring a lanky Jeff Goldblum looking endearingly stressed? That’s how many of us stumbled upon The Tall Guy, a film that blends awkward romance, backstage theatrical absurdity, and a distinctly British sense of humour into something rather wonderful and unique. It wasn’t a blockbuster, perhaps, but finding this tape felt like uncovering a little gem, didn't it?
### American Gangly Charm Meets British Wit
At its heart, The Tall Guy is the story of Dexter King (Jeff Goldblum), an American actor living in London, stuck playing the long-suffering straight man (or more accurately, the stooge subjected to endless humiliations) in the stage show of egomaniacal West End comedy star Ron Anderson (Rowan Atkinson). Dexter’s life is a cycle of onstage abuse and offstage loneliness until a chance encounter – involving a misplaced injection at the doctor's office – leads him to the sensible, smart, and utterly charming nurse Kate Lemmon (Emma Thompson). What follows is Dexter's attempt to woo Kate while simultaneously trying to break free from Ron's tyrannical orbit and, just maybe, find his own spotlight.
The script comes from Richard Curtis, marking his first feature film screenplay after honing his craft on legendary TV comedies like Blackadder (which explains the Atkinson connection). You can definitely see the seeds of his later, more globally dominant rom-com style here – the witty banter, the slightly eccentric characters, the earnest romantic core. But The Tall Guy feels looser, quirkier, perhaps a bit more anarchic than Four Weddings and a Funeral (1994) or Notting Hill (1999). It’s less polished, maybe, but full of a raw comedic energy. Helming this was comedian Mel Smith (of Alas Smith and Jones fame), making his directorial debut and bringing a palpable understanding of comedic timing and performance to the proceedings. He knew how to frame a gag, whether physical or verbal.
### A Trio of Brilliant Performances
Jeff Goldblum is perfectly cast as Dexter. He weaponises that unique Goldblumian blend of intelligence, stuttering charm, and physical awkwardness to create a character who is instantly sympathetic, even when he’s being a bit hopeless. He's the quintessential outsider navigating the peculiar landscape of British comedy and theatre. You genuinely root for him to get the girl and ditch the awful boss.
And speaking of awful bosses, Rowan Atkinson is an absolute revelation as Ron Anderson. Utterly shedding the skin of his more bumbling personas like Mr. Bean or even the cunning Blackadder, Atkinson plays Ron as a truly monstrous, preening narcissist. It’s a masterclass in comedic villainy; every sneer, every passive-aggressive remark, every moment of inflated self-importance lands perfectly. It's almost jarring to see him be so genuinely unpleasant, but wickedly funny. A little retro fun fact: Curtis apparently based the character very loosely on some comedians he'd encountered, dialling the ego up to eleven for comedic effect.
Rounding out the central trio is Emma Thompson, already radiating the star power that would soon make her a global name (she'd win her first Oscar just a few years later for Howards End (1992)). As Kate, she's the grounded centre of the film – intelligent, funny, warm, and believably exasperated by Dexter's antics at times. Her chemistry with Goldblum feels genuine, making their burgeoning relationship the sweet anchor amidst the surrounding chaos. You can see why Dexter falls head over heels.
### Let's Talk About That Scene... and That Musical
Okay, you can’t really discuss The Tall Guy without mentioning two specific, rather infamous sequences. First, there’s the sex scene between Dexter and Kate. For a mainstream British comedy in 1989, it was… ambitious. Lengthy, acrobatic, and played for both laughs and genuine connection, it pushed the envelope quite a bit. I remember renting this and being genuinely surprised by its frankness and sheer silliness – it felt audacious, trying to capture the messy, slightly ridiculous reality of newfound passion. Does it feel a tad long now? Maybe. But it’s undeniably memorable and speaks to the film's willingness to be a bit different.
And then there’s Elephant! The Musical. After finally ditching Ron, Dexter lands the lead role in a new, lavish Royal Shakespeare Company musical based on the life of Joseph Merrick, The Elephant Man. What follows is one of the most gloriously over-the-top, hilariously misguided musical parodies ever put to film. Think Andrew Lloyd Webber meets Mel Brooks, with appalling lyrics ("Somewhere up in heaven, there's an angel with big ears!") and ludicrous staging. It’s brilliantly executed satire, poking fun at the excesses of West End blockbusters. The sheer commitment to the bit is hilarious, and it provides the perfect backdrop for Dexter’s personal and professional triumph. You have to wonder how much fun they had filming those sequences!
### A Warm Fuzzy Feeling from a Forgotten Tape
Watching The Tall Guy today is like finding a favourite comfy jumper at the back of the wardrobe. It’s warm, funny, and imbued with a specific late-80s London atmosphere. The fashions might raise an eyebrow, the pacing might feel a little different from today's rapid-fire comedies, but the charm is undeniable. It wasn't a film that set the box office alight (making back its modest budget but not becoming a phenomenon), yet it lingered in the minds of those who caught it on VHS, developing a quiet cult following. It captured early glimpses of future superstars and showcased Richard Curtis's burgeoning talent for blending heart and humour. The practical nature of the comedy, the physical gags, the reliance on actor chemistry rather than digital enhancement – it all feels very much of its time, in the best possible way.
VHS Heaven Rating: 8/10
Justification: The Tall Guy earns a strong 8 for its brilliant central performances (Goldblum, Thompson, and a deliciously vile Atkinson), Richard Curtis's sharp and witty early script, Mel Smith's assured comedic direction, and its sheer quirky charm. The Elephant! sequence alone is worth the price of admission (or rental!). It loses a couple of points perhaps for some pacing lulls and the fact that its specific brand of humour might not land universally today, but its heart and humour shine through brightly.
Final Word: A wonderfully awkward, genuinely funny, and surprisingly sweet British rom-com that feels like a perfectly preserved time capsule from the glorious days of video rentals – complete with bonus theatrical absurdity. Definitely worth tracking down if you missed it back then.