But in addition to the acting, the photography of the film is brilliant. It captures the times and places in a rather bleak yet very haunting way. The guys drinking beer in the parking garage in D.C. The three of them pressed into the small hotel room in D.C., along with all those empty beer bottles. Walking a quiet and snowy residential block in Camden, NJ. Walking the streets of nighttime NYC. Playing darts in a bar in NYC. Going to a late night party in an NYC apartment. Going to a Boston brothel. Trying to grill and have a picnic in the middle of a snowy park in Boston! I don't know if it's just my fascination with the time that causes me to find it so darn striking, but it just is. I find these scenes so haunting, and so REAL.

To me, those two things are what make this film so exceptional. The dialogue is also brilliant, as is the complexity of the emotions that are raised by the story. I guess it works on a lot of levels. Just don't miss it, whether you're a Nicholson fan or not. But if you are a Nicholson fan, don't miss out on what is probably his greatest performance!!

Two Navy-lifers (Jack Nicholson and Otis Young) are ordered to escort a young sailor (Randy Quaid) to a military prison, where he will do eight years followed by dishonorable discharge for attempting to steal a charity jar containing forty dollars. Once the trip gets underway, they realize the young sailor is essentially an innocent--and they set out to show him a good time before he is locked away. And their idea of a good time ranges from a bout of hard drinking in a hotel room to a brawl in a men's restroom to an evening with New York hookers. Along the way, Nicholson and Young gradually realize that they are just as much in prison as Quaid will soon be--victims of their own ennui, serving out their sentences in a military that fosts coarseness, frustration, and mindless machisimo as a matter of course.

The performances are excellent throughout. This was the film that launched Nicholson to stardom--but it is also a film that allows us to see what Nicholson could do before he became immured in the trappings of his own fame and collapsed into self-characture: he is every bit as good here as he would be in ONE FLEW OVER THE CUCKOO'S NEST and CHINATOWN. Otis Young, an actor whose career never quite took off, is Nicholson's equal here, balancing Nicholson's excesses with his no less firey but considerably more commonsense role. And Randy Quaid scores an equally memorable performance as the young sailor, while Carol Kane gives a memorable turn as one of the hookers they encounter in their travels. Watch closely and you'll also discover a very young Gilda Radner as a member of a religious cult.

In spite of the noteriety it received upon release, like many of the best films of the 1970s THE LAST DETAIL has fallen through the cracks to become a largely unsung classic. Fashion changed, and with the advent of Ronald Regan, the stock market boom, and two decades of heavy-handed materialism Americans abandoned their cinematic realism and social statement in favor of big budget, special effects heavy, and largely escapist film. But the pendulum inevitably swings back, and now that we face serious issues both at home and abroad such films as THE LAST DETAIL are at last, perhaps, beginning to come into their own. Strongly recommended.