“No good deed goes unpunished” is a proverb that can best describe the premise for the plot of Madhouse, 1990 comedy written and directed by Tom Ropelewski. Protagonists are Mark Bannister (played by John Larroquette), successful Los Angeles stock broker and his wife Jessie (played by Kirstie Alley), anchorwoman at local TV station. Their respective careers are on the upward trajectory and they enjoy living in nice suburban home in Santa Monica. Their happy life changes when Mark’s cousin and old friend Fred (played by John Diehl) arrives in Los Angeles with his wife Bernice (played by Jessica Lundy). When they learn that Fred lost his job and that he is broke, they offer to provide accommodation during their stay in Los Angeles. At first only slightly annoyed with the loss of privacy and comfort, Bannisters think that their ordeal will last only for few days. Bernice, however, gets injured and, partly because she also happens to be pregnant, must recuperate in their home, while Fred vanishes in order “to seek himself”. Soon afterwards Bannisters’ home is visited by Jessie’s sister Claudia (played by Alison La Placa) who also seeks place to stay after leaving her rich husband. Claudia soon gets joined by her son Jonathan (played by Bradley Gregg) and when Bannisters accidentally torch neighbouring house, they also offer to shelter its former occupants – carpenter Dale (played by Robert Ginty) and two of his annoying children. After being forced to share roof with so many people and additional pets, Bannisters gradually begin to lose their sanity.
Film was produced by Leslie Dixon, screenwriter specialised for comedies with couple of interesting titles, like Overboard and Mrs. Doubtfire, in her filmography. Tom Repelewski, the film’s author and her husband, didn’t stray much from “high concept” approach of those works, but unlike those films, Madhouse is characterised by humour of black variety, general meanness and almost complete lack of likeable characters. Repelewski not only bases his jokes around bodily functions, but also dares to go where most Hollywood comedy authors wouldn’t go, like in scenes that feature violence towards animals, teenager flirting with older man and some “politically incorrect” vocabulary Claudia uses while talking with her Middle Eastern husband. But the most annoying thing about Madhouse is its predictability and plot having to rely on protagonists’ masochistic unwillingness to say “no” in order to get going. As such, Mark and Jessie turn into pathetic self-pitying losers and lose much of the sympathy they could have expected from the audience. However, in the end, Madhouse must stick to conventions and have Bannisters reach breaking point after they transform into determined fighters in war for restoration of their home and dignity. In the last act the script even allows Bannisters to share of some of their happy ending with some of their tormentors, at least those who had something of what goes as epiphany in this kind of film. What makes this film watchable is quick pace, which allows film fit into easily digestible hour and half, as well as talented cast. John Larroquette serves as closest to the anchor of normalcy among characters, unlike formidable Kirstie Alley who easily glides between her character displaying seductiveness, despair and madness. Madhouse could have worked better without some repetitive jokes (like resurrecting Bernice’s cat) or with initial social commentary on pros and cons of yuppie lifestyle being better developed. Music could have been better, with brilliant song and dance number featuring “Bernadette” by Four Tops, not being matched by the rest of the film. However, even in this flawed form Madhouse is entertaining enough to be recommended to viewers with low expectations.
RATING: 5/10 (++)
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