ADVENTURES IN BABYSITTING: Blu-ray (Touchstone 1987) Touchstone Home Video
The first PG-13 film
released by the Walt Disney Company under its Touchstone banner was Chris
Columbus’ Adventures in Babysitting
(1987); a delightfully adolescent romp through the seedy byways and dark alleys
of inner city Chicago. A whacky sendup to the classic Hollywood screwball,
revamped though never watered down for the teenage set, the film also launched
Elizabeth Shue’s movie career. In retrospect Adventures in Babysitting successfully straddles a very curious
artistic chasm; situated somewhere between Martin Scorsese’s thoroughly bizarre
After Hours and Richard Donner’s
pre-teen action/adventure yarn, The Goonies
(both released in 1985).
Like After Hours, Adventures in
Babysitting’s central protagonist Chris Parker (Elizabeth Shue) is the
proverbial fish out of water. She is thrust by a whim of fate into
circumstances she must conquer in order to mature her perspectives on love and
life. Like The Goonies, Adventures in Babysitting presents its prepubescent
heroes with challenges that need to be overcome. Some are genuinely harrowing
(like the group’s escape from auto body chop-shop henchmen); other’s
ridiculously improbable (surviving a rumble between two rival gangs). In all,
each new experience becomes a trial by fire for the group. They emerge in the end with a greater sense
of themselves, a strengthening of their bond in friendship and a sincere
comprehension of their abilities to face the uncompromising world beyond their
cloistered, middle-class suburb of Oak Park.
In hindsight, Adventures in Babysitting is the ideal
film for the Touchstone banner; unobtrusively fun and good natured. With the
creation of Touchstone Pictures in 1984 the Walt Disney Company discovered its
own safety zone where they could explore more adult themes in their
movie-making. It may seem ludicrous, but the Disney name is so closely
associated with ‘family films’ that any attempt to deviate from that wholesomeness
under the ‘Disney’ banner has proven all but lethal for the company brand
during the late 1970s and early 1980s. Regrettably, at the same time Disney’s
wholesome approach to storytelling was met with tepid box office. Adventures in Babysitting therefore
represents something of a compromise between these two irreconcilable worlds;
adult enough in theme and tone to bring in the teen and early twenty-something
set, but still friendly enough to be considered ‘safe’ entertainment by their
parents.
We open with an exuberant seventeen
year old Chris Parker mouthing the words to The Crystals’ ‘And Then He Kissed Me’ and why not? It’s a big night for Chris. She’s
about to celebrate her one year anniversary dating jock, Mike Todwell (Bradley
Whitford). But Mike has an unwelcome surprise for our starry eyed heroine. His
sister’s come down with the flu and is ‘contagious’ – at least so Mike tells
Chris. Since his parents are away he’s responsible for her wellbeing.
Understandably
disappointed, Chris has an even bigger disaster ahead of her. It seems that the
Andersons (Dan Ziskie and Linda Sorensen) need someone to sit for them in a
hurry. Fifteen year old Brad (Keith Coogan) and eight year old Sara (Maia
Brewton) aren’t a handful so it shouldn’t be too tragic – even if it wasn’t the
evening Chris had planned. Only Chris’ best friend Brenda (Penelope Ann Miller)
has made a bad decision by trying to run away from home. On her limited
allowance she’s made it as far as the downtown bus depot where she is currently
being terrorized by a few harmless homeless people. She needs Chris to come and
pick her up.
Swearing Brad and Sara to
secrecy for taking them into the city (something she promised their parents she
would never do), Chris’ road trip is further complicated by the arrival of Brad’s
best friend, Darryl Coopersmith (Anthony Rapp). Finagling his invite into the
city, Darryl has also brought along his father’s current issue of Playboy
magazine whose playmate of the month looks an awful lot like Chris. Somewhere
along the highway, Brad panics and ditches the Playboy. How will Darryl ever
explain that one to pops? But that’s the least of everyone’s worries. Because
just a few miles up the road Chris gets a flat. Thankfully, all is not lost.
Loveable trucker, ‘Handsome’
John Pruitt (John Ford Noonan), who wears a prosthetic hook for a hand that was
popped off by a big rig some years before, arrives on the scene. He offers to
tow Chris and her adolescent entourage to Dawson’s garage and pay for a new
rubber. Unfortunately, en route to the garage Pruitt learns from a fellow
trucker on the CB that his wife (Charlene Shipp) is having an extramarital
affair with a travelling salesman (Rick Goldman). Obsessed with catching them in
the act Pruitt barrels off the main road into a seedy neighbourhood. He finds
the couple and attempts to shoot the salesman with a gun from his glove
compartment. Instead, he mistakenly shoots a bullet through the front
windshield of Chris’ car.
Chris, Brad, Sara and
Darryl escape this exchange of gunfire by ducking into the backseat of the
salesman’s Cadillac, presently being carjacked by professional thief, Joe Gipp
(Calvin Levels). Gipp takes his captives to a chop-shop hidden somewhere in the
industrial district. But he makes Chris a promise to deliver them safely home.
Unfortunately, Joe’s bosses, Graydon (Ron Canada) and Bleak (John Davis
Chandler) have other plans.
Chris, Brad, Sara and
Darryl are locked in an upstairs office where Darryl discovers another copy of
the Playboy magazine. What he fails to notice is that this one has orders
scribbled down for stolen cars. Tucking the mag into his trousers, Darryl and
the rest escape through a hole in the roof of the warehouse. They are hunted
down by Bleak and Graydon, but take refuge in a local jazz club where B.B. King
and his band are vamping to a packed house. The all-black crowd grow sullen
until King suggests that Chris and company partake in his next impromptu song.
In one of the film’s most fondly remembered sequences, Chris adlibs ‘the
Babysitting Blues’ – an infectious ditty that ignites the crowd and puts some
distance between Chris and company, and Graydon and Bleak.
Having eluded their captors
once more, Brad confides his crush to Chris aboard a subway moments before
rival gangs intrude. In the ensuing confrontation, Brad is stabbed in the toe
and carried to hospital by Chris and Darryl. However, a riotous mix up occurs
when the resident on staff, Dr. Nuhkbane (Sam Moses) is informed by his nurse
that ‘the guy with stab wounds just died’.
Nuhkbane informs Chris who promptly faints dead away. Brad emerges from the
O.R. with a single stitch. The salesman, who is also being attended to for
wounds sustained at the Pruitt household confronts Chris, but is knocked to the
ground by Handsome John who helps everyone escape questions by the police.
Chris takes her young wards to a frat party when Sara informs everyone that she
has to go to the bathroom.
There Chris meets campus
man, Dan (George Newbern). The two are instantly attracted to each other and
Dan offers to drive everyone to Dawson’s garage so that Chris can get her car
out of tow. Unfortunately, the proprietor (Vincent D’Onofrio) refuses to give
the car back unless Chris pays for the tire first. But when Sara confides in
Dawson that he reminds her of Thor – her favourite superhero - the grease
monkey’s cold exterior melts to reveal a tender heart.
Chris and her wards flee
Bleak and Graydon yet again, this time winding up at the same fashionable
cocktail party attended by the Andersons. Sara lures Graydon onto a thin ledge
high above the city with the Playboy, and Joe knocks Bleak unconscious when he
threatens to shoot Chris. The group pick up Brenda from the bus depot and Chris,
Brad, Sara and Darryl race the freeway to beat the Andersons home. They barely
make it in time, but Chris manages to do her own inimitable brand of damage
control and the parents are none the wiser for their escapades.
Afterward, Chris goes
upstairs and tells the kids that she has decided to officially retire from
babysitting. But Dan has followed them home, thanks to Sara who left her roller
skate with an identifying tag in the back of his Jeep. As Brad looks on with
bittersweet regret, Sara shouts through an open window for Chris and Dan to
kiss and they do.
Adventures
in Babysitting
is a crazy quilt of a film. It’s the sort of mindlessly refreshing claptrap that
could only have been made during the 1980s – a decade where such light-hearted
froth frequently found its home in our collective hearts. It’s a bit of a
stretch to say this film is iconic – but it does define that teen farce
subgenre in American movies rather well. Director Columbus and screenwriter, David
Simkins unfurl their improbable and escapist caper with enjoyable aplomb, while
the entire cast sell the fluff and nonsense with genuine believability.
Personally, I’ve always
adored Adventures in Babysitting for
its undiluted clean fun. It isn’t high art but so what? It’s hilarious in
spots, silly in others and moves like gangbusters throughout. Elizabeth Shue
does a very fine job of holding everything together, while Anthony Rapp does
some clever mucking for the camera that diverts our attentions away from the
rather dull Keith Coogan. Personally, I could have done without Maia Brewton
and Penelope Ann Miller – too precocious and cloying respectively for my
tastes. And it’s pretty hard to swallow Shue’s character being involved with
Bradley Whitford. But hey, it’s the 80s; a decade where anything seemed
possible – or at least, probable.
Movies from the 1980s
generally get a bad rap from the critics for their improbable scenarios –
particularly juvenile fare like Adventures
in Babysitting. True, this ain’t no Breakfast
Club. But in its’ own strange way Adventures
in Babysitting does set a standard that holds up remarkably well after 25
years. Best of all – it’s memorable. I found myself waiting for my ‘favourite
scenes’; always a good sign that a movie has had a lasting impression on me.
And I wasn’t disappointed
in watching the film again. Though it now has a quaint nostalgia about it – at least
for me, especially for the go-go 80s when pop culture had a homogenized devil-may-care
approach to life in general. But when the lights flickered back on I had the
same warm fuzzy feeling I remember fondly after having left the theater for the
first time. In my books, that’s a fairly good barometer of how ‘good’ a movie
is. As I said, Adventures in Babysitting
is definitely not high art. But it is
very good at what it does and that is to say that it entertains. As B.B. King suggests, “Ain’t nobody leavin’ this place without singin’ the blues!”
Disney/Touchstone premieres
their Blu-ray with a fairly impressive 1080p image. Is it perfect? No. Is it an
improvement over the DVD? Definitely! So, where are the flaws? Well, for starters,
the image is a wee soft all around. Not sure why. I don’t remember softness
being a part of my theatrical experience. Then again, it’s been 25 years! There’s
also a very minor smattering of edge effects here and there. Nothing to get
your Calvins in a ball over.
The good news: colours are
robust. Flesh tones look natural and reds are dramatically vibrant. I also
found the overall detailing in the picture, particularly in hair and clothing
and faces in close ups to be a quantum improvement that really added to my
viewing. Contrast was bang on – no undue
darkness here, though overall the image is slightly darker as it should be. Grain,
consistently rendered, also gave this transfer a very film-like quality I
enjoyed.
The 5.1 DTS master delivers
that vintage 80s frontal sounding soundtrack. Dialogue is very crisp and clean.
Effects and music lack the spatiality of today’s film recordings, but this isn’t
a film from today and the audio appropriately captures that dated feel good
when we weren’t so enamoured by effects whizzing past our head or unexpectedly
coming up from just behind. The one huge disappointment: NO extras. Not even an
audio commentary. Bottom line: Adventures
in Babysitting is a pop tart of a movie. It probably won’t satisfy your
whole appetite but it will certainly leave a few pleasurable cavities in your
mind.
FILM
RATING (out of 5 – 5 being the best)
3.5
VIDEO/AUDIO
4
EXTRAS
0
Comments