Carl Reiner's 1982 pastiche on 1940's film noir has never received its due as a genuinely clever, often hilarious salute to a genre that is ripe for satirical treatment. Filmed in a rich black-and-white by Michael Chapman, the film unique intercuts footage from actual films of the period to make it seem like the then-current actors are interacting with the stars of those movies. Consequently, Steve Martin looks convincingly like he's talking to the likes of Humphrey Bogart in "The Big Sleep", James Cagney in "White Heat", Ingrid Bergman in "Notorious", Alan Ladd in "This Gun for Hire", Burt Lancaster in "The Killers", Kirk Douglas in "I Walk Alone", Fred MacMurray in "Double Indemnity", and several others. The result means there are some contrived plot turns and certainly variations in the graininess of the film stock (since 1982 was still well before the enhanced computer graphics we see today), but the film is still quite a kick after a quarter-century.<br /><br />The basic plot is straightforward. Rigby Reardon is a classic, world-weary gumshoe in the Philip Marlowe mold, who is hired by the beautiful and mysterious Juliet Forrest to find out who killed her father, a renowned cheese scientist. The story gets complicated because a number of random characters are introduced through the creative editing of the classic film clips. Reardon meets up with some familiar faces, and just to watch their non-reaction to Reardon's antics is worthwhile in itself. Credit needs to go to the smart screenplay co-written by Reiner, Martin and George Gipe. Most of the scenes, originally intended as straight melodrama in their original context, have been turned into uproarious slapstick comedy routines (including Martin in drag as Barbara Stanwyck's blonde femme fatale from "Double Indemnity"), wicked double-entendres and shrewdly off-kilter dialogue scenes.<br /><br />The film's climax lifts a long dramatic sequence from 1949's "The Bribe" in which Ava Gardner, Charles Laughton and Vincent Price actually appear to be playing more substantial roles in this movie. In what is probably my favorite of his early screen performances, Martin has a good time as Bogie wannabe Reardon, gratefully harnessing the manic energy he displayed in his previous collaboration with Reiner, "The Jerk". Just before she broke out big in "The Thorn Birds", the stunning Rachel Ward lends a hint of welcome sarcasm to the sexy, Bacall-like languor she provides as Juliet, tapping into a genuine comedy talent rarely used since. Reni Santoni has the only other role of significance as the grinning Captain Rodriguez, who gets entirely too preoccupied with Reardon's pajamas. Legendary costume designer Edith Head did her final work on this film, which is fitting since she did many of the costumes on the earlier films. The 1999 DVD unfortunately has no extras.