Review: The Bodyguard

Former Secret Service agent Frank Farmer (Kevin Costner) is hired by music manager Bill Devaney (Bill Cobbs) to help protect R&B-pop diva (and occasional actress) Rachel Marron (played by R&B-pop diva and occasional actress Whitney Houston), who appears to have a threatening stalker freaking her out. Rachel’s stubborn, reckless diva-like behaviour initially puts Frank off, but seeing just how much danger she’s in, he reluctantly agrees. Eventually things get personal, against Frank’s better judgement. Michele Lamar Richards plays Rachel’s sister, whose musical career never saw the same heights as her sister’s. Gary Kemp plays Rachel’s jerk publicist, Mike Starr plays her dumb but well-meaning and loyal muscle, Tomas Arana plays a colleague of Frank’s, Ralph Waite is Frank’s dad, and Robert Wuhl essentially (and amusingly) plays himself as an Oscars host.

 

Boasting one of the undeniably best pop soundtracks of all-time and a clever high-concept idea, this 1992 star vehicle directed by Mick Jackson (whose sole directorial high point has been the witty “L.A. Story”, with all credit going to writer-actor Steve Martin) ultimately did more for Whitney Houston’s music career than her acting career. I’m not entirely convinced that it was unintentional on her part, either. The film is just OK, marred by the complete lack of chemistry between the two stars and a mystery that was never all that mysterious even in 1992 when I was 12.

 

Individually Kevin Costner is ideally cast and rock-solid, and even has a few funny moments at the beginning. Apparently the two stars did get along quite well during filming (Costner delivered the eulogy at Whitney’s funeral after all), but the sparks just aren’t there. The best I can say for Whitney is that she embodies the ‘diva’ part of her character, mainly because playing a ‘difficult’ songstress/actress is a perfect fit for her. When she’s playing that aspect to the character, she’s fine. Every other facet to her character or any time emotion is called upon…she’s a little stiff.

 

The supporting cast has a couple of highlights in the seemingly ageless Bill Cobbs and surprisingly a scene-stealing Gary Kemp. The twin brother of Martin and member of Spandau Ballet actually walks off with the whole film, which is a shame given this was supposed to be Whitney’s film. Mike Starr is always good value as a dumb but well-meaning bodyguard and veteran film and TV character actor Ralph Waite is much better than his tiny role affords him (BTW, is Waite contractually obligated to play every male lead’s father?). The music score by Alan Silvestri (“The Flight of the Navigator”, “Young Guns II”, “Forrest Gump”) is also good, but let’s face it, this is all about the soundtrack, and on that front Whitney scores big. It’s such a shame that she didn’t take good care of herself or her voice, we might’ve had more hits in years to come. Her cover of Dolly Parton’s ‘I Will Always Love You’ is for me the most perfect pop vocal I’ve ever heard, and reality TV singing competition staple ‘I Have Nothing’ is also an undeniable classic. I’ve heard quite a few good versions of it over the years, but Whitney’s version gives me chills every time. I’m rather fond of the very En Vogue-sounding up tempo ‘Queen of the Night’ as well.

 

It’s such a shame that one half of the film’s central mystery is spoiled 10 minutes in either by poor direction or bad acting, but even if you don’t pick up on it, there’s a moment 20 minutes in that is a giant red flag. Sadly, the second half of the mystery is made obvious the moment a certain actor turns up. They just have that look about them, and it’s through no fault of the actor in question, they just shouldn’t have been cast in a role that was meant to keep you guessing for a bit. It really does deflate the film a bit, especially considering how damn long it is, you get way too much time to sit and work it all out long before it actually reveals itself. I don’t think that’s the fault of the Lawrence Kasdan (writer-director of “Body Heat”, co-screenwriter of “The Empire Strikes Back”) script, which had originally been written years before with Steve McQueen and Diana Ross in mind. I think it’s more on director Jackson for not keeping things well hidden. The spoilers are in the visuals/casting more than anything in the script, I feel.

 

High-concept romantic thriller starts well, but is transparent and the two leads, whilst individually well-cast (Costner plays earnest rather well), don’t generate much heat as a pair. It could also have stood to be considerably shorter. Killer soundtrack, though, and the ‘ugly’ twin from Spandau Ballet plays a good prick publicist.

 

Rating: C+