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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.
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.
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.
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.
Mickey Rourke and Kurt Russell are rumored to have tried out for the part of Bill Blazejowski. Furthermore, Michael Keaton wasn’t the first pick, according to Ron Howard. Additionally, they had reached out to John Candy in an attempt to cast Bill Murray, Dan Aykroyd, and John Belushi. But none of them were interested, either because they didn’t want to pursue it or because they thought the part was too minor.
One of the writers, Lowell Ganz, told me after seeing Michael’s work that “Keaton is going to be a star for somebody, and he might as well be a star for us,” Ron Howard revealed.
ou can’t help but think that Michael Keaton was making stuff up as he went along in Night Shift since he has that innate comic brilliance that makes impromptu, funny situations come to life. When a blind man asks Winkler and Keaton for spare change, it’s one of the greatest improvised scenes. What does Keaton say? He sends a cheque to the man. The original Keaton!
Ron Howard’s first film as director was a huge success, earning a healthy $21,095,638 at the box office. However, the former child actor was compelled to make his own appearance. You can see Ron and his wife, Cheryl, kissing in front of Chuck’s (Henry Winkler) apartment complex if you look attentively.
Ron Howard himself plays the obnoxious saxophone in the subway scene. Naturally, a Ron Howard movie wouldn’t be complete without an appearance from his brother Clint Howard, who portrays the film’s eccentric character Jeffrey.
There are many well-known characters in some very early roles on Night Shift!
In a fleeting appearance, Kevin Costner plays a frat boy at the morgue party. Although he doesn’t speak, you can see him hanging out while Michael Keaton performs, holding a bottle on his head, wearing a checkered shirt, and a college cardigan tied around his waist.
Then there is Shannen Doherty, who makes her debut in a feature picture with a single line as a “Blue Bell” (similar to a Girl Scout) in an elevator sequence. Unexpectedly, these brief appearances by future celebrities give this oddball classic a bit more joy.
Did you know that the iconic song “That’s What Friends Are For” was first heard on Night Shift? Rod Stewart originally recorded it for the 1982 soundtrack, but when Dionne Warwick, Elton John, Gladys Knight, and Stevie Wonder joined forces in 1986, it became a worldwide smash. Additionally, their rendition collected more than $3 million for AIDS research in addition to skyrocketing to the top of the Billboard charts.
The movie opens with the catchy Night Shift theme by Quarterflash and includes timeless songs like Van Halen’s “You Really Got Me” and the Rolling Stones’ live rendition of “Jumpin’ Jack Flash.”
For those who haven’t seen or remembered Night Shift, Shelley Long portrays Belinda, a kind but tough sex worker who lives next door to Henry Winkler’s character, Chuck. Belinda links up with Chuck and Bill (Michael Keaton) after her pimp is slain, and they agree to assist her by running her company in an absolutely crazy manner.
Following her role in Caveman (1981), Shelley Long had gained the admiration of Ron Howard. But she was in California doing another film when he wanted her for Night Shift (1982). Howard persuaded her to come to Hollywood for a brief two-day vacation in spite of this.
The charming actress was requested to come back the next day to see Henry Winkler after she tried out for the part of Belinda, the female lead, during that period. Despite her initial reluctance to play a prostitute, Long eventually agreed to the part after spending some time researching it.
She arrived at our house looking like a hooker, read to Henry, and immediately impressed us. Even on the videotape, their moments were already being prepared, Ron remarked.
Comedies about prostitutes were surprisingly popular in the early 1980s. The Best Little Whorehouse in Texas, a film based on the Broadway musical and starring Burt Reynolds and Dolly Parton, also came out around the same time Night Shift. Tom Cruise made a name for himself the next summer in the film Risky Business, in which he converted his parents’ home into a brothel.
“The happiest, most wholesome hooker you’ll ever see on screen” is how critics described Shelley Long’s portrayal of Belinda, a prostitute who wins Chuck over. Some even joked that she could be the leader of a Girl Scout troop.
One of the many amusing moments in Night Shift is when Shelley Long’s character, Belinda, prepares breakfast for Chuck. Henry Winkler’s response is anything but Fonz-like in the scene where Chuck first witnesses Belinda cooking in her panties. It’s a great moment!
Chuck then responds that he wants scrambled eggs when Belinda asks what sort he wants. She is obviously preparing fried eggs when she begins to cook.
However, she somehow dumps scrambled eggs onto their plates after the eggs are done! She clearly changes things up when Chuck speaks to her, but really, who is paying attention to the eggs when Shelley Long is delivering so much charm?
Another error from the movie that might have gone unnoticed by anybody who appreciates details is this one: Chuck calls Shannen Doherty’s role a “Bluebell” when, in fact, she is billed as a “Bluebird.”
He must have confused flowers for birds.
Shelley Long wasn’t exactly excited to be seen in her underwear, but her character Belinda was okay with it. “It was difficult for me when the cameras weren’t rolling,” she said.
She also asked her husband, in jest, what he thought of her roaming around in her underpants during Night Shift. She laughed and remarked, “He didn’t mind me running around in my skivvies—that’s a part of my anatomy he likes.”
The morgue in Night Shift was really built on a specially constructed set in Hollywood, California, although many of the scenes were shot in New York.
Many scenes, such as the one in which Bill locates potential customers outside cinemas and the one in which Chuck, Bill, and Belinda flee at the conclusion, were filmed in Manhattan’s Times Square.
In one scene, Chuck remains on the subway as Bill declares, “This is my stop,” and exits. If you look closely, however, you can see that the train next to Bill is the Times Square – Grand Central shuttle, which doesn’t stop in between.
With a different cast, this film would not be possible. Michael Keaton, Shelley Long, and Henry Winkler have a relationship that is magical, bringing heart, humor, and memorable moments to life. In addition to being a comedy, Night Shift tells the tale of improbable friendships, personal development, and discovering connections in the most unusual places.