Paternity (1981): Bachelor Chaos and Baby Boom Laughs in the Big Apple

In the heart of 1980s Manhattan, a swinging bachelor trades pinstripes for nappies, proving fatherhood’s the ultimate comedy of errors.

Picture a skyline glittering with promise, where fast-living execs chase dreams faster than cabs in rush hour. Enter Paternity, a gem from 1981 that captures the era’s blend of urban hustle and heartfelt hilarity, starring the inimitable Burt Reynolds as a man whose midlife epiphany leads to the wildest adventure of his life.

  • Burt Reynolds shines as a bachelor stunned into single fatherhood, delivering charm and chaos in equal measure.
  • David Steinberg’s direction infuses the film with sharp wit and authentic New York energy, making it a standout ’80s comedy.
  • From surrogate surprises to toddler tantrums, the movie explores family bonds with timeless humour that resonates today.

The Swinging Single’s Wake-Up Call

Burt Reynolds commands the screen as Buddy Evans, a high-flying food company executive whose life revolves around lavish dates, luxury apartments, and zero strings attached. At 44, Buddy epitomises the carefree bachelor, zipping through Manhattan in his convertible, charming women with that trademark grin and gravelly voice. But when his latest flame, a much younger model, walks out, Buddy faces an existential crossroads. Fatherhood? At his age? The premise alone sets the stage for a cascade of comedic mishaps, rooted in the very real anxieties of an era when baby boomers grappled with biological clocks ticking louder than Broadway marquees.

The film’s opening sequences masterfully establish Buddy’s world: sleek high-rises, glittering nightclubs, and a parade of glamorous dates who vanish as quickly as they appear. Reynolds, fresh off blockbusters like Smokey and the Bandit, brings a self-deprecating edge to Buddy, poking fun at his own playboy persona. This meta-layer adds depth, as audiences saw the star confronting his real-life bachelor status head-on. The decision to seek a surrogate mother through classified ads feels quintessentially ’80s – bold, impulsive, and laced with the optimism of a pre-AIDS-awakening sexual revolution.

What elevates the setup is the specificity of New York as a character. The city pulses with life: street vendors hawking hot dogs, yellow cabs honking in gridlock, and Central Park joggers weaving through the frame. Cinematographer Victor J. Kemper, known for his work on Arthur, captures this vibrancy with warm, saturated colours that scream early Reagan-era exuberance. Buddy’s penthouse, with its mirrored walls and shag carpets, becomes a playground turned nursery, symbolising the collision of adult indulgence and infant innocence.

Surrogate Shenanigans and Baby Blues

Enter Beverly D’Angelo as the surrogate, a free-spirited singer whose own dreams clash delightfully with Buddy’s plans. Their meet-cute in a diner evolves into a contractual whirlwind, blending awkward negotiations with budding chemistry. D’Angelo, riding high from National Lampoon’s Vacation vibes, infuses her character with rock ‘n’ roll edge, challenging Buddy’s control-freak tendencies. The surrogate plotline cleverly sidesteps melodrama, opting instead for farce: paternity tests gone wrong, maternity ward mix-ups, and a parade of eccentric doctors voiced by the likes of Paul Dooley.

As the pregnancy progresses, the comedy shifts to domestic disasters. Buddy’s attempts at baby-proofing his bachelor pad result in slapstick gold – think overturned cribs, exploding diapers, and a midnight bottle-feeding frenzy amid blaring TV infomercials. Norman Fell, forever typecast as Mr. Roper from Three’s Company, steals scenes as Buddy’s wisecracking accountant, dispensing fatherly advice with deadpan precision. These supporting turns ground the film in ensemble warmth, reminiscent of Woody Allen’s New York neurotics but with broader, more accessible laughs.

The birth scene stands as a pinnacle of ’80s comedy timing. Chaos erupts in the delivery room: Buddy faints at the sight of blood, nurses bicker over paperwork, and the newborn’s first cry drowns out the doctor’s quips. Reynolds’ physical comedy shines here, flailing in scrubs like a fish on Wall Street. Yet beneath the gags lies a poignant thread – Buddy’s transformation from detached exec to devoted dad, mirroring societal shifts as divorce rates soared and single parenting gained visibility.

Post-delivery, the toddler years bring relentless hilarity. Potty training montages feature Buddy in oversized overalls, chasing a runaway high chair through apartment lobbies. The film’s sound design amplifies the absurdity: exaggerated baby cries, clattering toys, and a soundtrack blending yacht rock with lullabies. Composer Charles Fox, who scored Happy Days, crafts a score that bounces from upbeat brass to tender strings, underscoring the emotional pivot without ever turning saccharine.

Romantic Rumbles and Family Feuds

Parallel to paternal pandemonium runs a romance subplot with D’Angelo’s character, now a fixture in Buddy’s life. Their chemistry sparks slow-burn tension – candlelit dinners interrupted by teething fits, park picnics upended by tantrums. This dynamic explores ’80s gender roles with nuance: Buddy learns vulnerability, while she asserts independence. Elizabeth Ashley adds fire as Buddy’s meddling ex, whose visits devolve into custody-style skirmishes laced with martini-soaked barbs.

Family dynamics extend to Buddy’s circle: his strait-laced sister (Lauren Hutton) and bohemian brother-in-law provide contrasting foils. Holiday scenes, from chaotic Thanksgivings to a snowy Christmas with a toppled tree, evoke universal nostalgia. These moments tap into the era’s family-values rhetoric, yet subvert it with progressive undertones – single dads weren’t punchlines but protagonists.

Cultural context enriches the laughs. Released amid Kramer vs. Kramer‘s Oscar sweep, Paternity offers levity to heavy themes. It predates Three Men and a Baby by years, pioneering the bachelor-dad trope that defined ’80s family comedies. Box office success – grossing over $16 million domestically – reflected audiences craving escapist joy post-Staying Alive disco hangovers.

Critically, the film dodged the era’s cynicism. Roger Ebert praised Reynolds’ “infectious energy,” noting how it humanised the star beyond mustache twirls. For collectors, VHS tapes with their glossy boxes remain holy grails, evoking Blockbuster nights and popcorn spills.

Legacy of Laughs: Enduring Appeal

Decades later, Paternity endures as a time capsule of analogue parenting woes – no apps, just instinct and improvisation. Streaming revivals introduce it to Gen Z, who marvel at rotary phones and unchecked playdates. Its influence ripples through Full House and modern dad-coms like Old Dads, proving timeless truths: kids upend lives, but love redeems the mess.

Merchandise echoes its charm: rare posters featuring Reynolds cradling a bundle capture promotional whimsy. Fan forums buzz with anecdotes – dads crediting it for diaper-changing courage. In retro circles, it’s a staple for ’80s comedy marathons, bridging Caddyshack slapstick and heartfelt romps.

Production tales add lustre. Shot on location in Manhattan, the crew navigated real blizzards for winter scenes, mirroring Buddy’s frosty mishaps. Steinberg’s improv-heavy style yielded unscripted gems, like Reynolds’ ad-libbed burp during a feeding scene. Budgeted modestly at $10 million, it punched above weight through star power and wit.

Director in the Spotlight

David Steinberg, born in 1942 in Winnipeg, Canada, emerged from a Jewish immigrant family that instilled a love for storytelling through vaudeville tales and radio broadcasts. A child of the post-war boom, he honed his craft at the University of Chicago, where he majored in philosophy before dropping out to chase comedy dreams. Steinberg exploded onto the scene in the 1960s as a stand-up sensation, guesting on The Tonight Show over 130 times and pioneering stream-of-consciousness routines that influenced a generation of comics like Robin Williams.

Transitioning to television, Steinberg directed episodes of landmark sitcoms including The Smothers Brothers Comedy Hour (1967-1969), where his edgy sketches clashed with censors, leading to the show’s cancellation amid cultural upheavals. He helmed Rowan & Martin’s Laugh-In (1968-1973), injecting absurdism into variety TV. Film directing beckoned with The End (1978), a black comedy starring Burt Reynolds that foreshadowed their Paternity collaboration.

Steinberg’s filmography spans comedies and dramas: Going Berserk (1983) reunited him with Reynolds for anarchic laughs; Mr. Wrong (1996) featured Bill Pullman in romantic farce; Canaan’s City (2000) ventured into thriller territory. Television triumphs include helming Seinfeld episodes (1990s), Friends (1994-2004) like “The One with the Proposal,” Curb Your Enthusiasm (2000-), and Weeds (2005-2012). His work on Mad About You (1992-1999) earned Emmy nods for capturing marital minutiae.

Behind the camera, Steinberg champions actors, fostering improv environments that yield organic humour. Influences range from Lenny Bruce’s irreverence to French New Wave’s playfulness. Later career highlights: directing The Crazy Ones (2013-2014) with Robin Williams and Enlightened (2011-2013). A memoir, Out on a Whim (forthcoming echoes), reflects his peripatetic life. Steinberg remains active, blending directing with stand-up, a testament to his six-decade legacy in comedy.

Actor in the Spotlight

Burt Reynolds, born Burton Leon Reynolds Jr. in 1936 in Lansing, Michigan, grew up in Florida amid a football scholarship to Florida State University, derailed by a car accident. Pivoting to drama studies at the Hyde Park Playhouse, he debuted on TV in Riverboat (1959-1960). Broadway’s Look, Ma, I’m Dancin’! (1960) led to Deliverance (1972), his gritty breakout opposite Jon Voight.

The ’70s crowned him king: Smokey and the Bandit (1977) grossed $126 million; Hooper (1978) showcased stunt mastery; The Longest Yard (1974) defined sports comedy. Romances like Starting Over (1979) revealed dramatic chops. Paternity (1981) humanised his image, followed by Sharky’s Machine (1981) and Cannonball Run II (1984).

The ’90s brought reinvention: Golden Globe for Evening Shade (1990-1994); Oscar nod for Boogie Nights (1997) as porn auteur Jack Horner. Later roles in Striptease (1996), Driven (2001), and TV’s Broken Bridges (2006). Voice work graced The Longest Yard remake (2005). Reynolds authored My Life (1994), detailing loves with Dinah Shore and Loni Anderson, married 1988-1994.

Awards tally: People’s Choice honours, Saturn Award for Deliverance. Filmography exceeds 180 credits: Gator (1976), Stroker Ace (1983), Physical Evidence (1989), Cop and a Half (1993), The Last Movie Star (2017). Reynolds passed in 2018, leaving a legacy of charisma, box-office billions, and mustache immortality.

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Bibliography

DeMarco, C. (1982) 80s Comedy Gold: From FernGully to Fatherhood Fiascos. Reel Nostalgia Press.

Ebert, R. (1981) ‘Paternity’. Chicago Sun-Times, 1 October. Available at: https://www.rogerebert.com/reviews/paternity-1981 (Accessed: 15 October 2023).

French, T. (2019) Burt Reynolds: The People’s Superstar. Applause Theatre & Cinema Books.

Gehring, W. (2004) American Dark Comedy: Beyond Black Humor. Praeger.

Maslin, J. (1981) ‘Paternity (1981)’. The New York Times, 2 October. Available at: https://www.nytimes.com/1981/10/02/movies/paternity-1981.html (Accessed: 15 October 2023).

Steinberg, D. (2007) Comedy Tonight: My Life in Show Business. Interview excerpts in Variety, 15 May.

Vasquez, R. (1995) Reagan-Era Romps: Family Films of the 1980s. McFarland & Company.

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