The central premise of Innerspace, the miniaturization of someone in order to inject them into someone else, is preposterous- the film makers knew this, so rather than maintain the po-faced seriousness of Fantastic Voyage, they decided to have fun with it, and made a better movie because of it. Innerspace is a comedy, an unlikely buddy movie in which the buddies actually never really meet until the end, shot through with a storyline concerning technological espionage and rather inept and unlikely arms dealers. That said, Innerspace is really surprisingly sophisticated, treading a fine line between comedy and action, a really tricky thing to pull off, but here it really works. I’ve always championed Innerspace, ever since I first saw it back at the cinema when it landed with a box-office thud in spite of generally favourable reviews.
Recently released on a region-free Blu-ray disc Stateside, watching it today it has not lost any of its charm- indeed it seems better now than it did back then, a reminder of, frankly, simpler times. Pre-9/11 times, certainly (its sobering to consider how the the events of 9/11 have culturally changed things, but there’s an innocence to Innerspace that places it in a certain time, a certain mindset. The bad guys would be foreign terrorists in a modern-day Innerspace, no doubt, and it also lacks the cultural cynicism that it would likely be saddled with today).
Innerspace is definitely of its time. Back when summer blockbusters came armed with witty scripts with endearing characters, sparse but effective miniature visual effects that served a story rather than dominated it, and maybe even a great score. I’ll labour that last point further- Innerspace had a really good melodical score by a genius film composer with his own identifiable ‘sound’ rather than the generic noise we hear in so many films today (well I’m glad I got that of my chest). When a film could be just cute and funny and entertaining without worrying about selling toys. That last bit may not be entirely true, I don’t recall toys being marketed around Innespace but they may have been, it’s just that it is more ‘in your face’ these days.Certainly there is little of the product placement that riddles films so much now- I can well imagine a ‘new’ Innerspace and all the product placement it would be saddled with in the lab scenes. It’s nice just to watch a film that doesn’t shove brands in front of your eyes all the time.
But the pleasures of Innerspace are many, and I wonder where to begin. Maybe I should go on further about Jerry Goldsmiths wonderful score. A mix of orchestral and electronic textures that epitomized his work at the time, it’s a brilliant score that carries me back to those days in an instant, and prefigures his work on Dante’s later The Burbs. Thrilling and funny it supports the narrative in ways that film music simply isn’t allowed to these days. I recall being horrified when the CD soundtrack release turned out to be the then-typical mix of songs with a too-brief selection from the score. Thankfully a full score release eventually came out a few years ago, so there you go- a complete soundtrack release and a reasonable HD edition on Blu-ray: all is right in the world for Innerspace fans.
Maybe I should go on about the cast – the main trio are great; Dennis Quaid, Meg Ryan and Martin Short make a great team. Quaid’s hero has a cynical edge at odds with Short’s innocent hypochondriac, and Meg Ryan has a sort of dizzy charm that surprisingly convinces. But perhaps more importantly, the supporting cast are a geeks utter dream; Kevin McCarthy as the delightfully slimy baddie, somehow both threatening and hilarious, Robert Picardo a treat as The Cowboy, with Henry Gibson, Kenneth Tobey and Dick Miller in delightful cameos. Its got great old-school visual effects that are pretty much as effective as any CGI and haven’t dated at all (which can’t be said of the early CGI-dominated films that followed).
But the deft direction by Joe Dante is the real star of the show. He handles the subtle comedy (throwaway one-liners) with the wacky slapstick stuff so well, manages to shoot great action sequences and stunts with aplomb, and ensures that the pretty much seamless effects work doesn’t distract viewers from the story but rather supports it. The whole thing is a masterclass in direction, really, whatever one thinks of the film itself. The realisation that Dante is pretty much relegated to working in television these days is a sad indication of what movies are now. I thought Innerspace was great back in 1987 and I still do today.