I realized I watched this not too long ago. For some reason--perhaps the rather racist remarks often doled at Murphy that I failed to remember from earlier viewings--I wasn't so fond of Walter Hill's 1982 "cop/convict joining forces to catch cop killers and secure hidden drug money" San Francisco action thriller, 48 Hours. Murphy is so damned good as the quipping, charismatic, jive-talking thief taken out of the slammer for 48 hours by rugged, chain-smoking, foul-mouthed, reckless-driving, irritable cop, Nolte. Nolte does later apologize for throwing that n-word around as well as "watermelon"--I think at one point he even calls him "charcoal-colored skin"!--to get a rise out of Murphy, but it is really fucking jarring in 2020 watching "48 Hours" all things considering. I never try to bring politics into a review, I don't because we get enough of that shit in the news and such, but it can be quite abrasive, the way Nolte throttles David Patrick Kelly, banging his head everywhere while Murphy lays back and keeps away from the physicality until he also must defend himself against the rough cop and his attitude towards violence. I did like how Murphy is the one who actually favors well against Nolte, often ducking and landing his punches while Nolte swings for the fences and often whiffs. And Nolte looks a lot worse than Murphy after that fight is over, as uniformed cops arrive with guns pulled on them for their fisticuffs on the street. That fight reminded me of "They Live" (1988), but a lot of street fights between protagonists of an action film do.
Murphy cracking-wise is the film's absolute spotlight...there's no getting around that. This film, despite how Walter Hill shoots on the streets of San Francisco and in the police department, is a big star vehicle for Murphy, given a clear platform to strut his stuff. While "Roxanne" from The Police sung in high voice by Murphy introduces us to him, I think his entering a honky tonk bar with lots of cowboys (and cowgirls) and getting information from the bartender (Peter Jason, of John Carpenter films) on a killer named Billy Bear (Sonny Landham, of "Predator" (1987)), posing as a cop (on a dare with Nolte) is for my money a classic scene for the Eddie Murphy highlight reel. Of course, I love when Murphy is often stealing this or that and Nolte knows...the way these two work off each other is just so much fun.
I don't like the racist shit, but Nolte does apologize for it sincerely, so I guess depending on who you are, it might or might not work. Look, this the 80s and if you know your action films, "48 Hours" is just one of MANY featuring cops and cons, drug dealers and killers, urban crime and urban violence, and, above all, profanity. Lots and lots of profanity. I'm not allergic to profanity. Far from it. But "48 Hours", among its action crime movie family, sets quite a high bar for others to follow in the profanity department. The way McRae (Nolte's superior) and Nolte swap shouting profanity exchanges across the desks of the police department comes before those dandies you would eventually see in "Beverly Hills Cop" (1984) and "Lethal Weapon" (1987).
The incredible sweeping sequence in the San Francisco Police Department where Nolte gets back after Remar's psychotic cop killer (and Landham) murders two of his fellow officers (one played by the great Jonathan Banks, two years later Murphy's rival in "Beverly Hills Cop") in a hotel, as cops, ballistics experts, forensic experts, and office personnel move about while conducting business as McRae demands answers for how two his men died (Nolte's own gun used to kill Banks) is Walter Hill at his fantastic best. Hill also shoots San Franscisco, capitalizing on its urban atmosphere and location grit, especially well. I like how Hill loves following Nolte as he barrels around streets and speeds about without a care in the world in his beatup Convertible with its blue fading color from weathered deterioration. Murphy loves poking fun at the car but if ever there was a vehicle that fits the personality of its owner it is the Caddy.
If I had a disappointment it was the lack of Annette O'Toole. She gets two scenes and they are just way too insignificant for such a fetching, feisty fox. Nolte essentially can't quite commit to her, as cops often dedicate more attention to catching crooks than maintaining relationships. O'Toole is a bartender and her relationship with Nolte is complicated by their lack of communication and just time together. At the beginning when Nolte awakens and starts to leave, he tells O'Toole, "You make me feel good and I make you feel good. Isn't that enough?" That sort of defines where they are, although Nolte does try to smooth things over by stopping for a moment and taking a breath before rushing away to shadow Banks and Banks' partner during the hotel disaster where Remar and Landham shoot them and flee. I am guessing that O'Toole, after Nolte puts her on hold when fellow cop, Brion James (a rare good guy role), tells him Murphy called from a bar, is departing his life after that firm hang up with, "Fuck you."
The ending definitely set up for the sequel later to come in 1990. But Murphy was on to bigger, better things. I think, though, you can see Murphy polish and finesse this role into his Axel Foley for "Beverly Hills Cop", his iconic Detroit cop. 4/5
***seeing Remar and Kelly returning after "The Warriors" for Hill in criminal parts was neat, considering how much I dig that film***
***San Francisco at night in early 80s shot by Hill on location is a fun companion to the Dirty Harry films also set there.***
***Margot Rose and Denise Crosby as lovers/roommates that Nolte and Murphy bombard while looking for Landham and Remar leave a definite impression with how they handle themselves but even they are seemingly not match enough for two forceful, menacing cop killers hiding from police***
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