The genius of Beverly Hills Cop lies not in its story but in its execution
Beverly Hills Cop is more than just a movie; it’s a time capsule, an irreverent combination of action and comedy that redefined the genre for a new generation. When Eddie Murphy steps onto the screen as Axel Foley, the charismatic Detroit detective with a penchant for chaos, it feels as if a dynamo has been unleashed upon the unsuspecting denizens of Beverly Hills – and on cinema audiences. Foley’s journey to the sun-soaked, manicured lawns of the West Coast is precipitated by a tragedy – the murder of his best friend but that merely lights the fuse for the fireworks that follow.
The genius of Beverly Hills Cop lies not in its storyline but in its execution. Murphy’s performance is a masterclass in charm and wit, his comedic timing as sharp as a scalpel. He dances through scenes with the grace of a boxer, delivering punches and punchlines in equal measure. The interplay between Foley and the buttoned-up Beverly Hills detectives, Rosewood and Taggart (played with endearing bumbling earnestness by Judge Reinhold and John Ashton), is a pitch-perfect harmony of cultural clashes and comedic friction. It’s like watching a streetwise fox outwit a pair of bloodhounds who are charmingly out of their depth.
The soundtrack, more than just the pulsating heartbeat provided by Harold Faltermeyer’s iconic “Axel F” theme, envelops and infuses the film with the quintessential energy of the 80s. The synthesizer riffs are as integral to the film’s identity as Foley’s leather jacket and mischievous grin and the soundtrack is almost another character in its own right. The expertly curated musical backdrop propels the action, lending an electric energy to chase scenes that might otherwise have felt pedestrian with gems like Glenn Frey’s “The Heat Is On” and The Pointer Sisters’ “Neutron Dance,” seamlessly woven into the narrative to amplify the emotional and visual impact. Beverly Hills Cop’s strategic use of what we now call “needle drops” was innovative at the time and has since become a staple in film scoring, becoming the go-to trop to boost the vibrancy of a film’s atmosphere.
It’s testament to the energy of Beverly Hills Cop that it endures as a cinematic icon, given it came out in a year which saw an unfeasibly strong array of movies. In many ways, 1984 is the movie year that defined the eighties with titles like Ghostbusters, Indiana Jones and the Temple of Doom, Gremlins, The Karate Kid, Footloose, Romancing the Stone and The Terminator and Beverly Hills Cop can stand proud as a member of that pantheon. Its influence is undeniable, casting a long shadow over subsequent action-comedies that look to emulate its seamless blend of action and a sharply comic, charismatic lead. Arguably, Lethal Weapon, Die Hard and even Bad Boys owe something to Martin Brest’s 1984 smash.
As the credits roll, Murphy’s Axel Foley lingers long in the memory, a character so vibrant and dynamic that he breathes life into the film long after it ends. Revisiting Beverly Hills Cop is akin to flipping through a cherished photo album; each frame is a snapshot of nostalgia, a reminder of why this film remains a beloved classic. If you haven’t revisited this gem recently, in the immortal words of Axel Foley, “Get the f*** out of here!” and go watch it. And don’t forget your espresso with a lemon twist.
