The Night Before

"The Night Before" spent about a nano-second in a handful of theaters in April, 1988, and is probably one of the least known Keanu movies to his fans. It's sandwiched between a series of movies Keanu did in the second half of the 1980's classified as "offbeat teen," many of which had a secondary theme of an overbearing father figure. Keanu filmed it in the autumn of 1986 right after "Permanent Record" and before "Prince of Pennsylvania." It was co-written and directed by Thom Eberhardt, who went on to do very few other films, including "Captain Ron" and "Honey, I Blew Up the Kids."

The movie also starred Lori Loughlin, whom Keanu worked with in "Brotherhood of Justice," and later became famous in the sit-com "Full House," and Theresa Seldana, who later faced a tragic circumstance in real life when she survived a near fatal knife attack on her front lawn by a crazed fan after her appearance in "Raging Bull."

The movie was compared to the more popular "Ferris Bueller's Day Off" and the better received Martin Scorsese's "After Hours" for its plot line of teens facing a series of escalating obstacles. "The Night Before" paled in comparison. My favorite line in a review called the movie "inoffensive but unmemorable popcorn fodder." Variety called the premise "ridiculous," the premise in their eyes being a "series of unfunny misadventures" of what Keanu called a "hungover dweeb" on a disasterous prom date. Told in flashbacks, Keanu was in every scene (and how bad can that be?) trying to piece together the events of the night before.

Required to film extra scenes after he finished "Bill and Ted," Keanu told USA Today in May, 1987 that the film had "Hollywood tecnical difficulties...which means it might be really bad." The director and producer were not getting along. Keanu later had a change of heart, according to biographer Sheila Johnston, "defending it to all comers."

I like this movie. Keanu's portrayal of Winston Connelly's evolution from a nerd who thinks a refrigerator magnet is an appropriate gift to give a prom date to a cool guy who peels out in a convertible in front of her cop dad, is filled with genuine comedic moments.

Keanu is most charming as an actor when he's responding in total frustration to out-of-control situations. With his white tuxedo and pink carnation and reeling from a slipped mickey, he's a joy to watch as he unravels his dealings with "Tito" and learns to fend for himself on the uncompromising urban streets.

There are many memorable scenes: Keanu's comic turn as he discovers he accidentally ventured into the ladies bathroom, Keanu's mean boogie on the dance floor, moving to the strong beat of "Take your time, oh baby boy," Keanu's "flickering, shy glance with a mix of desire and embarassment" (Johnston) as he tries to free Tara Mitchell, who's chained to a bed wearing only her bra and panties, his thwarted kiss, broken off when Tara tells "Winston" as he covers his crotch, embarassed, only to realize her scream had nothing to do with his display of desire, AND his confusion after two sets of robbers run for their lives after he casually mentions the word "Tito."

I loved the scenes between Keanu and Theresa Seldana, who played Rhonda, a sympathetic hooker who tries to help Winston survive in the "Hood." The bar scene is particularly funny when Winston learns he sold Tara to a pimp. He falls on the floor after exclaiming "she's not a hooker...she's a young Republican!" Rhonda has my favorite line in the movie: "You bust your ass all night trying to make a living and somebody drops a fat guy on you."

"The Night Before" is not a great movie, but it's a cute one. Its writing had weaknesses (Tara: "Your ass is grass buster, and daddy is the lawnmower,") and it's too much like a teen "coming of age" movie for my taste, and well, age. But I liked the flashbacks' dramatic effect as Winston gradually pieces together his dilemma. It sustained my interest and its charm makes me yearn for Keanu to do more comedies. Elements of Winston Connelly can be seen in later Keanu roles, especially the more developed characterization of Martin Loader in "Tune in Tomorrow," as he tried to figure out Pedro's motives and manipulations.

The balcony is now open.