What happens when Michael Keaton’s crazy, scene-stealing energy is combined with Henry Winkler’s suave charisma? You earn hilarious gold!
In addition to being Ron Howard’s first feature film, Night Shift (1982) marked the start of a cult classic. Shelley Long adds her irresistible charm, Winkler and Keaton’s electrifying chemistry lights up the screen, and if you look closely, you could even see a young Kevin Costner amidst the mayhem.
The true surprise, though? The enduring “magic in the kitchen” moment of Shelley Long. Are you prepared to explore the hidden meanings of this classic movie? Let’s begin!
From mortuary to chaos
Night Shift, a quirky comedy classic released in 1982, introduced viewers to Michael Keaton’s enduring charm and demonstrated Ron Howard’s developing directing skills.
The film, which takes place in a morgue in New York City, centers on the unexpected alliance between mild-mannered night shift worker Chuck Lumley (played by Henry Winkler) and his new, quirky, and extremely ambitious coworker Bill Blazejowski (played by Michael Keaton).
The two end up in unexpected and humorous situations after they discover an unusual business opportunity: using the morgue as a base for a posh escort service.
The remarkable chemistry among the three characters is what really sets this film apart, not just the witty humor. Their characters are all quite likable, which adds to the enjoyment of watching.
Callback after callback
It would be impossible to discuss Night Shift without bringing up Michael Keaton.
Even though not many people recall Michael Keaton as a wild and crazy kid, Night Shift captures him perfectly in the 1980s: silly, humorous, and unquestionably charming. Having only starred in a B-comedy and the CBS comedy series Report to Murphy, Keaton was almost unknown at the time of the comedy film, which was his breakthrough performance and first significant leading role.
He remembers, “I don’t know how many times I had to go back in and audition.” “All that happened was callback after callback.”
Ultimately, Keaton was able to persuade the producers and writers. Keaton was excellent as Bill “Blaze” Blazejowski, with his wide Irish face, thinning brown hair, darting green eyes, and quick-talking manner. His intensity and timing were perfect, but there was also this additional detail:
Keaton later remarked of his ascent to fame, “I came along just at the time when the changeover from television to film actors was becoming possible.”
Michael Keaton would turn up the music and blast Bruce Springsteen, particularly “10th Avenue Freeze-Out” from the Born to Run album, in order to truly get into the swing of his role.
He remembers, “I deliberately went to see it alone on opening day.” It was fantastic, and I wanted to sit in the center of the theater in the afternoon. To be honest with you, I am at a loss for words.
The man who assisted Keaton in stealing the film
When Ron Howard chose Keaton for Night Shift, he had struck gold.
Keaton outperformed the more seasoned Henry Winkler, who was already well-known on television for his portrayal of “The Fonz,” in scene after scene. The door to Hollywood opened wide open for Keaton as reviews praised his performance. However, without Henry Winkler’s quiet but crucial assistance, Keaton’s success—and his whole film career—might not have begun.
In an interview with the Boston Globe, Ron Howard disclosed that Henry was given the choice between the two parts and chose the more subdued one.
Then he assisted Michael in stealing the photo. He offered Michael many options. He would say things like, “I know (you’ll get laughs) if you take this routine one step further,” to Michael.
In Night Shift, Henry Winkler purposefully contrasted his iconic, tough-guy character, Fonzie, with the timid morgue director. “I thought I’d play Richie Cunningham for once,” he wrote on Twitter.
Keaton wasn’t liked by Henry Winkler.
Given their obvious chemistry, it’s surprising that Henry Winkler and Michael Keaton never worked together again after Night Shift. They had a humorous, memorable, and well-balanced on-screen dynamic.
Their early relationship during Night Shift’s filming may be the cause of their lack of subsequent collaborations. Henry wasn’t totally sure he wanted to work with Michael when they first read together. “The guy’s talented, but I don’t know if I’m comfortable working with him,” Howard said after giving it some thought.
He was reassured by Ron Howard that this unease was beneficial since it reflected the relationship between their characters in the movie, which showed that Chuck was uneasy with Bill. Their early tension gave their on-screen relationship a real, unbalanced texture, but it eventually subsided.
