|Director: John Hughes|
|Screenplay: John Hughes|
|Stars: Steve Martin (Neal Page), John Candy (Del Griffith), Laila Robins (Susan Page), Michael McKean (State Trooper), Kevin Bacon (Taxi Racer), Dylan Baker (Owen), Edie McClurg (Car Rental Agent)|
|MPAA Rating: R|
|Year of Release: 1987|
John Hughes’s Planes, Trains & Automobiles is a road comedy about two men trying desperately to get home for Thanksgiving and having every obstacle imaginable thrown in their way. The men are played, in a feat of pitch-perfect casting, by Steve Martin and John Candy as complete opposites who, at the beginning of the film, don’t know each other, but by the end have found that they have more in common than they thought.
Martin plays Neal Page, a fastidious, neatly dressed, anal-retentive advertising executive. Candy is Del Griffith, a large, overstuffed, overbearing shower-curtain ring salesman (“Director of Sales, Shower Curtain Ring Division,” as he puts it) whose cheap blue parka and large travel trunk provide a stark contrast to Neal’s stylish gray trench coat and leather hanging bag. But, their obvious class differences are just the surface. Neal and Del’s approaches to life are miles apart, and the clash between those approaches reveals how each is flawed in its own way: Neal is too reserved and intolerant, while Del is too boisterous and eager-to-please. When they admit at the end of the movie that they are “a little wiser” from their experiences together, it is a genuine moment of truth telling.
Planes, Trains & Automobiles is primarily a comedy, a travel farce about how anything that can go wrong will go wrong, regardless of the mode of transportation (hence, the title). Yet, the reason it worked so well when first released in 1987 and the reason it continues to work well is that Hughes invested his ill-matched protagonists with real human emotions and foibles. Neal and Del are character types to be sure, but the way they are written and played within the broad parameters of those types makes them endearing and unique. Martin and Candy both play to their strengths, and each delivers one of the best comedic performances of his career (Candy’s is especially good, and its lack of attention during awards season is prime evidence of how comedic acting is rarely recognized by the Oscars).
Hughes, who was, at the time, known primarily for writing and directing effective and smart teen dramedies like Sixteen Candles (1984), The Breakfast Club (1985), and Ferris Bueller’s Day Off (1986), is astute at mixing comedy and drama. There are moments of absolute hilarity scattered throughout, including the infamous sequence in which Neal and Del end up having to share a double bed in a cheap motel in Wichita, Kansas, and they wake up in the morning curled together (their bickering throughout the movie is consistently reminiscent of an old married couple) and discover that Del’s hand is not, as he thinks at first, “between two pillows.” The best scene, however (which is also the one most responsible for the film’s R-rating), involves Neal, fed up beyond control, unleashing an F-bomb-laced diatribe to a chirpy rental car agent (Edie McClurg) after the company deserts him in their vast parking lot without a rental car. It is a powerful and hilarious moment of catharsis.
Yet, it has bittersweet and honestly dramatic moments, as well. In another movie, these scenes might feel forced, but because Martin and Candy ensure that Neal and Del are three-dimensional human characters of flesh and blood, they work. Take, for example, the moment in the Wichita hotel room when Martin becomes so fed up with Del’s irritating traits and habits (using up all the towels in the bathroom, spilling beer on the bed, smoking in the room, clearing his sinuses in the middle of night) that he snaps and lets Del know exactly what he thinks of him and his boring anecdotes. “Didn’t you get a clue when I started reading the vomit bag?” he exclaims.
The scene works in a number of ways that set up our understanding of the characters for the rest of the movie. Del is visibly hurt by Neal’s rant, and Candy perfectly delivers a short, concise reply that shows how he understands his own shortcomings, but is still a proud man with respect for himself. At the same time, the scene forces Neal to realize his own snobbery, and the fact that he doesn’t leave tells us a great deal about his capacity, though not often realized, for empathy and understanding. Interestingly, in another movie this might be the dramatic climax, but Hughes chooses to stage the meltdown/confrontation early on, which allows it to hang in the back of our minds and frame the ensuing comedy and drama.
Thus, even when the story begins to reach moments of high absurdity, it still keeps a toe on the ground because of the characters. Hughes manages to heap every imaginable indignity on his intrepid travelers over two days: They are stuck in the back of a pickup truck in sub-zero temperatures; their train breaks down and they have to hike a mile and a half to the highway; they’re stuck on a bus in which a couple is all but having sex in the seat next to them; they go the wrong way down the highway, narrowly avoiding death in the form of two oncoming 18-wheelers, only to have their car then catch on fire. The humor comes not only from the outrageous nature of these situations, but in the unexpected ways in which Neal and Deal react to them and each other.
So, despite a relatively brief running time of 92 minutes, by the final moments we feel like we really know these characters. The final scenes are somewhat melodramatic, but it’s hard not to be affected by them because Hughes and his actors have earned the tears. To have ended the movie on a comic note would have undermined all the work they had done to make Neal and Del memorable people, rather than just character types. Planes, Trains & Automobiles is certainly funny, but it is also a moving story that anyone who has ever recognized his or her own shortcomings will understand.
|Planes, Trains & Automobiles 4K UHD + Digital Code|
|Audio||English DTS-HD Master Audio 5.1 surroundSpanish Dolby Digital 2.0 monauralPortuguese Dolby Digital 2.0 monaural |
|Subtitles||English, French, Spanish, Portuguese |
|Supplements||Deleted and extended scenesDylan Baker’s audition“Getting There is Half the Fun: The Story of Planes, Trains And Automobiles” featurette“John Hughes: The Voice of a Generation” featurette“Heartbreak and Triumph: The Legacy of John Hughes” featurette“John Hughes For Adults” featurette“A Tribute to John Candy” featuretteDeleted scene|
|Distributor||Paramount Home Entertainment|
|Release Date||November 22, 2022|
|After numerous Blu-ray releases starting in 2012, Planes, Trains & Automobiles finally makes the leap to 4K UHD, and while that is cause for celebration for John Hughes fans, the image is a bit of a mixed bag. Similar to the Blu-ray releases, there are some significant and noticeable issues with DNR that makes some shots look unnaturally smooth and clearly processed, whereas others maintain a more natural celluloid grain structure. Some of this could be inherent in the original source elements, as these problems have cropped up on all of the previous high-definition discs, but much of it is clearly the result of digital tampering. It is too bad, as some scenes look really great, with good black levels and excellent detail (note, for example, how clearly we can see the subtle pattern on Neal’s gray suit). The soundtrack appears to be the same lossless DTS-HD Master Audio mix from the Blu-ray releases, which sounds quite good, with the dialogue isolated in the front soundstage and the surrounds reserved for the busy traffic of downtown New York, the roar of jet engines, and that oh-so-late-’80s musical score. |
While fans may feel a bit let down by the image quality on the disc, they will be elated by the inclusion of 75 minutes of extended and deleted scenes that were recently discovered in John Hughes’s archives. These include eight extended scenes—“Waiting to Board,” “Seatmates,” “Dooby’s Taxiola,” “Edelen’s Braidwood Inn Part 1,” “Edelen’s Braidwood Inn Part 2,” “Broke at Breakfast,” “The El Rancho Motel,” and “The Oshkonoggin Cheese Truck”—as well as two deleted scenes—“Airplane Food” and “99 Bottles of Beer on the Bus.” With the exception of the airplane food scene, which was clearly scanned film a film element because it was included in the television broadcast version and has been available on the previous Blu-ray releases, all of these scenes were taken from a VHS copy and look very, very bad. All of this footage was cut before the final sound mix was done, so the sound is rough throughout, with no additional effects or music. I have read for years about the original, over-three-hour cut of Planes, Trains & Automobiles, which I always found hard to imagine because the film is so nearly perfect in its 92-minute form. Watching through all these deleted and extended scenes is instructive in seeing how Hughes and editor Paul Hirsch pared the material down to its present form, and in virtually every instance they were right to take out the material. Most of it is unnecessary, redundant, and in some cases just not very good (I admit that I could be biased just because I have seen the film so many times that I know its rhythms and timing, so the idea of including additional material feels somehow wrong). Nevertheless, it was a great treat to see this additional material, and it made me appreciate the film even more and how it is funnier to hear Neal grumble about sleeping in a puddle of beer than watching the cans actually explode after sitting on a vibrating bed.
Also included are all of the same supplements from the previous Blu-rays, many of which date back to the 2009 “Those Aren’t Pillows!” DVD edition. Among these are “Getting There is Half the Fun: The Story of Planes, Trains, and Automobiles,” a 25-minute featurette that is comprised primarily of footage from an airport-themed press conference with John Hughes, Steve Martin, and John Candy promoting the film; “John Hughes for Adults,” a brief 4-minute featurette about Hughes’ turn to more adult-oriented comedies in the late ’80s after his string of teen movie hits; and “A Tribute to John Candy,” another short 4-minute featurette paying homage to the late great comedic actor. Also included are two featurettes about John Hughes that originally appeared on the 2012 Blu-ray: “John Hughes: The Voice of a Generation,” which focuses primarily on his teen-oriented films, and “Heartbreak and Triumph: The Legacy of John Hughes,” which focuses more broadly on his career and influence. Both run about 25 minutes in length and feature interviews with a number of Hughes’s collaborators, including actors Matthew Broderick, Alan Ruck, Jon Cryer, Lea Thompson, and Michael McKean, producer Lauren Shuler-Donner, and director Howard Deutch. Finally, the disc includes one additional new supplement, which is video of Dylan Baker’s audition to play Owen. You can see immediately why he was hired.
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