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Sometimes an actor becomes a star only in one place. Jack Nicholson did it in “Easy Rider,” wearing a football helmet on the back of the motorcycle. This happened to Faye Dunaway, as she looks sleepily from the screen window on Warren Beatty in “Bonnie and Clyde”. And in “48 HRS.” It happens to Eddie Murphy.

His unforgettable scenes happening around mid-48 HRS. He plays the convict, who has done thirty months for the theft, and six more months to go - but he gets forty-eight hours to leave the prison through the efforts of Nick Nolte, a hungover hot dog in detective who trail some cop killers and figures can help Murphy . Murphy believes there is a barman who might some information. In fact, the bar is a joint redneck country, the kind where urban cowboys drink from longneck bottles and welcome the Confederate flag on the wall. Murphy was jiving Nolte how he can handle any situation. Nolte gives him a chance. And Murphy, posing as a police officer walks in that bar, takes command, it intimidates everyone, and gets the information. This is a big stage - mirrored that scene in the “French Connection” where Jin Hackman as Popeye Doyle, intimidating black regular in Harlem bar.

Murphy, there are other good moments in this movie, and it makes Nolte, who gives a wonderful performance, as a cynical, irresponsible and immature cop, which is always said to his girlfriend and sneaking a boost from his personal whisky flask. Two men at the beginning suspicious of each other in this movie, and work to the soul do not like. But eventually, reluctantly, a kind of respect is beginning to grow.

The film story did not write home about. This is a fairly common occurrence. What makes the film special is how it was made. Nolte and Murphy good, and their dialogue is good, too - quirky and fun.

Character actor James Remar is doing really slimy killer, really evil. Annette O’Toole received third billing as Nolte in lover, but this is one of those thankless role of women. Not only can be called the O’Toole - but it does, the cost of most of its scenes for telephone Nolte no-good bum. Direction is Walter Hill, which has never been any good in the scenes involving women, and did not improve this time. To it is a good action-as men and friendly atmosphere. His films almost always feature at least one beautiful choreography, incredibly violent fight scenes (remember Charles Bronson at the knuckle fight in “Hard Times”?), the fight scene that I being tedious.

Where grief is growing in this movie is its ability to create characters. In many of his earlier films ( “The Warriors”, “On The driver,” “The Long Riders,” “Southern Comfort”), he preferred men who were characters that represented things, and therefore should not be human. In “48 HRS.” Nolte and Murphy are human, vulnerable and touching. It also means, violence, and chauvinistic. It is in this kind of films.

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