INTRODUCTION: ONE JOKE, MANY LAUGHS
Rodney Dangerfield’s comedic persona was always rooted in the underdog—the guy who gets no respect, the schlub with a belly full of pastrami and a head full of complaints. In Easy Money (1983), Dangerfield takes that persona and builds a whole movie around it, delivering a raucous, occasionally clumsy, but undeniably funny film. Co-written by Dangerfield, Michael Endler, and the great P.J. O’Rourke, and directed by James Signorelli (a longtime Saturday Night Live director), the film’s setup is as old as vaudeville: a hard-living slob must change his ways to inherit a fortune.
It’s not high art, but it isn’t trying to be. Easy Money is a beer-gut comedy for beer-gut audiences, stuffed with observational humor, blue-collar charm, and just enough heart to keep it afloat. While the film doesn’t always hold together narratively, and some jokes fall flat, Dangerfield’s energy and a surprisingly sweet performance from Joe Pesci help make this a mostly positive experience.
PLOT: FROM PASTRAMI TO PROBATE
Dangerfield plays Monty Capuletti, a baby photographer in New Jersey who likes to gamble, smoke, drink, eat too much, and dress like a slob. He lives in a modest house with his wife Rose (Candy Azzara), their daughter Allison (Dana Barron), and a revolving door of bad habits. His best friend is Nicky (Joe Pesci), an equally boorish and loyal companion.
Monty’s mother-in-law, the wealthy and ultra-refined Mrs. Monahan (Geraldine Fitzgerald), hates everything about him and makes that very clear. When she dies unexpectedly, her will states that Monty will inherit $10 million—but only if he can stay clean, sober, well-dressed, and well-mannered for a full year. If he slips up, the money goes to a shady charity.
That’s the setup, and the rest of the film follows Monty as he tries to resist every vice in his arsenal. Cue the montage of temptation, the gags about Weight Watchers and nicotine patches, and the inevitable personal growth arc. But let’s be honest: nobody came to this movie for a morality play. We’re here to watch Dangerfield riff, and on that front, Easy Money delivers.
DANGERFIELD DELIVERS: A STAND-UP MOVIE STAR
Rodney Dangerfield was never an actor in the traditional sense. He didn’t disappear into roles—he brought his nightclub act to the screen. And in Easy Money, that works just fine. The film is built to showcase his strengths: rapid-fire insults, self-deprecating one-liners, and a physicality that’s equal parts Chaplin and a guy trying to put on pants two sizes too small.
There’s an authenticity to Dangerfield’s performance that makes Monty more than a cartoon. Sure, he’s crude, but he’s also a loving father and husband who’s been stuck in a rut for years. He doesn’t want to change because he enjoys his life, but he’s willing to try for the people he loves. That gives the film a thin but genuine emotional core, even if the plot never dives too deep.
JOE PESCI: THE UNEXPECTED SIDEKICK
Before he became synonymous with Goodfellas and Casino, Joe Pesci was a comedic actor with sharp timing. As Nicky, he’s the perfect foil for Dangerfield—smaller, angrier, and just as mouthy. The chemistry between the two is undeniable, and their banter feels like it was ripped from a Queens bar at 2 a.m.
Pesci brings a street-level energy that keeps the movie grounded. He’s not playing second fiddle so much as providing a different rhythm, allowing Dangerfield to riff while he reacts with incredulous shrugs or exaggerated exclamations. It’s a buddy-comedy dynamic that works better than expected.
SUPPORTING CAST: HIT AND MISS
Geraldine Fitzgerald, as the snooty Mrs. Monahan, gives the film a solid antagonist to bounce against, though her screen time is limited. Taylor Negron shows up as Julio, Monty’s hairstylist, in a performance that is both funny and a bit stereotyped by today’s standards.
Candy Azzara, as Monty’s long-suffering wife, has a thankless role but brings warmth and subtlety where she can. Dana Barron, as daughter Allison, has a subplot involving a terrible engagement that gives Monty a chance to show some fatherly backbone. These side plots don’t add much, but they help flesh out the world and show us different sides of Monty.
HUMOR: SOME BULLSEYES, SOME MISFIRES
The jokes in Easy Money come fast and loose. Some are brilliant. Some are groan-worthy. But the batting average is solid. Highlights include Monty’s disastrous attempts to lose weight and clean up his act, a gambling relapse set to ridiculous odds, and a wedding scene that turns into a chaos-fest worthy of a Three Stooges homage.
Some of the humor is dated, especially the stuff involving gay stereotypes and a few fat jokes that would never fly today. But much of the comedy still holds up because it’s rooted in character. Monty isn’t just a slob—he’s a working-class guy fighting against a world that demands he be something else. That tension gives even the corniest gags a little weight.
DIRECTION AND CINEMATOGRAPHY: BASIC BUT EFFECTIVE
James Signorelli’s direction is workmanlike. He doesn’t bring a distinctive visual style to the film, but he knows how to shoot comedians and when to get out of the way. The pacing is brisk, and the editing keeps things moving without feeling rushed. It feels a bit like a long SNL sketch at times, but that’s not necessarily a knock for a movie like this.
The cinematography by Kevin Pike isn’t flashy, but it gets the job done. The film is set in New Jersey, and it looks like it: bowling alleys, greasy spoons, lived-in houses, and low-end department stores. The setting helps reinforce the movie’s blue-collar authenticity.
SOUNDTRACK: ROCKIN’ THROUGH THE REFORM
The soundtrack leans heavily on early ’80s rock and pop, including a title song performed by Billy Joel (though not written by him). It’s catchy, energetic, and helps set the tone for a film that never takes itself too seriously. The music choices feel of-the-moment but not overly dated, giving the film a jolt of youthful energy to balance Monty’s old-school grumpiness.
MESSAGE: CHANGE FOR LOVE, NOT FOR MONEY
What separates Easy Money from pure gimmick comedies is its message. While the premise revolves around Monty changing for an inheritance, the film ultimately argues that change is only worthwhile if it comes from love. Monty’s real reward isn’t the money—it’s the respect and affection of his family, who see that he’s trying (even if he often fails).
That gives the film a heart that many comedies of its era lack. It’s not just about getting rich or getting laughs; it’s about finding a reason to get up in the morning that doesn’t involve a pastrami sandwich or a racetrack bet.
CRITICISMS: SLIGHT STORY, SHAGGY DOG STRUCTURE
The biggest knock against Easy Money is its plot. The stakes are established early, but the film doesn’t build momentum so much as coast from one gag to the next. There’s no real villain, no major turning point, and the climax arrives with a shrug rather than a bang.
Also, the film leans heavily on montage sequences to show Monty’s progression. While these are often funny, they can feel like shortcuts. It’s hard to say if Monty has truly changed by the end or just stumbled his way into a few better habits. The emotional growth is more suggested than shown.
LEGACY: A DANGERFIELD DEEP CUT WORTH REDISCOVERING
Easy Money isn’t as widely loved as Caddyshack or Back to School, but it deserves a spot in the Dangerfield canon. It captures the comedian at a transitional moment—still wild and ribald, but dipping his toe into something more human. It’s a film that says even slobs deserve a shot at redemption.
For fans of old-school comedy, it’s a nostalgic treat. For newcomers, it’s a window into an era when you didn’t need explosions or CGI to get a laugh—just a guy with a wrinkled suit, a mile-a-minute mouth, and a heart buried somewhere under the sarcasm.
CONCLUSION: IMPERFECT, BUT ENDLESSLY WATCHABLE
Easy Money is not a perfect movie. It’s rough around the edges, sometimes offensive by modern standards, and narratively thin. But it’s also charming, funny, and filled with enough heart to earn your respect—even if Rodney never quite gets his.
This is classic Dangerfield: loud, inappropriate, and relatable. It’s about a man trying to be better, failing hilariously, but getting points for the effort. That makes it more than a comedy. It makes it a story about hope, stubbornness, and the beautiful disaster of self-improvement.
FINAL SCORE: 7.5/10 — A flawed but lovable comedy anchored by Rodney Dangerfield’s charm, Joe Pesci’s support, and enough laughs to make you overlook the messier bits.
