Here's a picture with no space wars, no music videos, no cute beasties, no bikinis. It is a period film in the wrong period. Kids want to go back to the '50s, not to Chicago during Prohibition. They weren't even born when this movie was a TV series. The producer, Art Linson, makes little pictures, and Brian De Palma directs naughty ones that rarely go gold. David Mamet writes Pulitzer-prizewinning plays, not boffo movies. O.K., so who's in the cast? Robert De Niro: his last hit was 1978's The Deer Hunter. Sean Connery: splendid actor, but the only time he's struck it rich lately was when he played 007 one more time. As for the leading man, Kevin Costner, his most memorable movie turn was as the corpse in The Big Chill. So there's no way this film is going to make back its $25 million tab. It will be Ishtar without the camel.
Such were the odds The Untouchables stacked against itself before its June 3 opening. Now, after drawing enthusiastic reviews and a robust $15.9 million in its first week, Paramount's gangster epic is starting to look like Beverly Hills Cop II, Too. The Eddie Murphy action comedy has earned a phenomenal $89 million in its first three weeks. But The Untouchables may challenge Murphy with durability, what the industry calls "legs." A.D. Murphy, Variety's guru of grosses, credits The Untouchables with a "most auspicious beginning. It could run all summer." Privately, industry honchos now believe by year's end it may top Cop II.
Like the TV show that spawned it, The Untouchables dramatizes the holy war that Federal Agent Eliot Ness (Costner) proclaimed against Chicago's racketeers in the waning years of the Volstead Act. Al Capone (De Niro), with the police and politicians in his silk pocket, runs the city, abetted by gun- crazy Frank Nitti (Billy Drago). Ness's "untouchable" aides are an Italian- American sharpshooter (Andy Garcia), a bespectacled accountant (Charles Martin Smith) and an aging cop, Jimmy Malone (Connery). Malone is a father figure, an Obi-Wan Kenobi to Ness's Luke Skywalker, alerting him to the ways of the wicked world. Perhaps Ness becomes too alert. He defeats Capone, but, he notes, "I became what I beheld."
Two years ago David Mamet beheld Art Linson (Fast Times at Ridgemont High) across a Manhattan dinner table. "David," Linson recalls saying, "now that you have just won the Pulitzer for Glengarry Glen Ross, don't you think the right career move would be to do a remake of a TV series?" Mamet was faced with correcting a familiar flaw of biographical drama: "That something is true does not make it interesting. There wasn't any real story. Ness and Capone never met. Capone went to jail for income tax evasion, which is not a very dramatic climax. So I made up a story about two of the good guys: Ness and Jimmy Malone, the idealist and the pragmatist."