Alright, fellow tape travellers, let's rewind to 1989. Picture this: you're scanning the comedy section at Blockbuster, maybe Video Ezy if you were down under, and your eyes land on a cover featuring the granite-jawed Nick Nolte looking bewildered next to the rubber-faced tornado of energy that is Martin Short. What strange alchemy was this? That unexpected pairing alone was enough to make you grab the tape for Three Fugitives, and boy, did it deliver a certain kind of late-80s charm.
### An Odd Couple on the Lam
The premise hits the ground running, almost literally. Lucas (Nick Nolte, fresh off intense roles and bringing that same simmering intensity here, hilariously misapplied) is just stepping out of prison after a five-year stretch for armed robbery, determined to go straight. His freedom lasts about five minutes before he walks into a bank being ineptly robbed by Ned Perry (Martin Short, operating at peak neurotic Short-ness). In a moment of sheer panic, Ned takes Lucas hostage, blissfully unaware he's grabbed the most seasoned criminal in the building. What follows is a classic mistaken-identity caper, as the police, led by the dogged Detective Dugan (James Earl Jones adding his inimitable gravitas to the pursuit), assume Lucas is the mastermind.
This setup is pure gold for contrasting comedic styles. Nolte plays the stoic, world-weary straight man, his exasperation mounting with every frantic blunder Short commits. Short, on the other hand, is a whirlwind of incompetence and desperation, driven by a surprisingly touching motive: getting money for his young daughter, Meg (Sarah Rowland Doroff), who has been selectively mute since her mother's death. It’s this core relationship that gives the film an unexpected layer of heart beneath the slapstick.
### From France, With Laughs
It's a fun slice of retro trivia that Three Fugitives is actually an American remake of a French film, Les Fugitifs (1986), which starred Gérard Depardieu and Pierre Richard. What makes this particularly interesting is that both versions were directed by the same man: Francis Veber. Veber, a master of French farce who also gave us the original The Tall Blond Man with One Black Shoe (later remade as The Man with One Red Shoe) and La Chèvre (remade as Pure Luck, also with Short!), clearly knew this formula worked. He brings a certain European sensibility to the pacing, allowing moments of quiet connection to breathe amidst the chaos. While some prefer the original, Veber successfully translated the core appeal for American audiences, largely thanks to his perfectly cast leads. Getting Nolte, known for gritty dramas like 48 Hrs. (1982), to play opposite the hyperactive Short, famous for his SNL characters and roles like in Innerspace (1987), was an inspired choice that fuels much of the film’s humour.
### Grounded Goofiness and Practical Panics
While not an explosive action flick, Three Fugitives has its share of physical comedy and chase sequences that feel very much of their time. Remember that scene where Ned, trying to treat a gunshot wound on Lucas (don't ask!), ends up at a veterinarian's office? The sheer absurdity, combined with Nolte's pained reactions and Short's escalating panic, is pure 80s comedy gold. It’s not CGI-driven mayhem; it’s character-based situational humour amplified by believable (if frantic) physical performances. The initial bank robbery, too, feels chaotic and messy in a way that feels authentic to the low-rent desperation of Ned's character. There's a tactile quality to the stumbling, the fumbling, the near-misses that feels refreshingly real compared to overly slick modern slapstick.
The film hinges entirely on the chemistry between Nolte and Short, and they sell it beautifully. Nolte’s simmering frustration constantly bubbles just below the surface, while Short’s well-meaning ineptitude is endlessly endearing. But the secret weapon is young Sarah Rowland Doroff as Meg. Her silent performance is remarkably expressive, grounding the film's more outrageous moments and providing the emotional anchor that makes you genuinely root for this makeshift family. It’s a shame she didn’t pursue acting further; her performance here is truly memorable.
### Finding the Heart in the Heist
Three Fugitives wasn't a critical darling upon release, often dismissed as a lightweight remake. However, it found its audience, performing decently at the box office (pulling in around $40 million domestically against a reported $15 million budget – a solid return back then) and becoming a staple on VHS rental shelves and weekend afternoon TV slots. People connected with the blend of laughs and heart. I distinctly remember renting this one weekend, expecting pure silliness, and being genuinely touched by the relationship between the three leads.
It captures that specific late-80s vibe – slightly gritty cinematography, synthesiser notes on the score, but ultimately an optimistic and warm-hearted core. It doesn't reinvent the wheel, but it executes its odd-couple-on-the-run premise with charm and two fantastic central performances.
VHS Heaven Rating: 7/10
Justification: The film earns a solid 7 for the brilliant comedic pairing of Nolte and Short, the genuinely touching performance from Sarah Rowland Doroff, and its successful blend of slapstick and heart. While it's a remake and follows familiar beats, the execution by director Francis Veber and the sheer charm of the leads make it highly rewatchable. It loses points for some predictable plot turns and perhaps not quite reaching the comedic heights of its stars' best work, but it's a thoroughly enjoyable ride.
Final Take: A comforting blast of late-80s comedy, Three Fugitives is proof that sometimes the most unlikely pairings create the most memorable sparks. It’s the kind of film that feels like a warm, slightly fuzzy memory from the video store era – and it still holds up surprisingly well when you just need a good-natured laugh with a touch of heart.