Maddie gets a call from a police man telling her that a man has killed himself after completing a painting of her. Maddie does not know the man, but is upset and buys the portrait. Turns out the portrait is really hiding a stolen piece of art which is worth a lot of money. Maddie and David get kidnapped by one of the people who stole the portrait originally, there's a bit of a chase scene that ends up in a car repair shop and the two end up covered in paint.
Some really funny and cute moments in this one...The beginning in Maddie's office and the end. Oh, and when they're tied up...love it! But, it's not one of my favorites overall. So, I'll give this one a 7 too.
Last Edit: Mar 29, 2006 6:51:04 GMT -5 by bluemooner
Just watched this one again last night and I really like so I'm giving it an 8. Love the scenes in the office ("get your hand off my behind! Is that your behind, is that my hand?"), I love the way Maddie has thie romantic notion of someone killing themselves over her, followed by David's stunning "the poor slobs who live for you". It is one of those lines that initially you don't think too much of, but on thinking it over it is a BIG statement! The only thing I don't understand is when Maddie sits in front of the dresser mirror looking at herself, she all of a sudden sees the reflection of the arrow outside. However, as she is looking in the mirror we see a reflection of aforementioned arrow but no Maddie, in addition to the fact the mirror isn't even facing a window! Spooky stuff. Makes me laugh though, good job we don't watch for the plots. But anyway the final scene in the car with Maddie's blown kiss to David is GORGEOUS! And makes me sick she can look that great after having paint tipped on her head. Some girls get all the luck....
Has anyone else noticed, and I'm 99% sure on this, that the music used in the art gallery scene (and the next scene where the camera moves slowly through Maddie's darkened house) is from the classic Hitchcock film, Vertigo? Am pretty certain about this.
Also, doesn't David seem unusually giddy in this episode? Not a bad thing, by any means. It's fun to see him so... euphoric. *G*
I do like this episode, it's funny, the case is kinda interesting and it beefs their sexual tension a lot. It's nice to see Maddie so flattered by just imagining that a man committed suicide for her and David reacting jealously, simply because she doesn't care that much for all those "poor slobs that live for her"
A major statement indeed that leaves Maddie stunned.
Great use of the "breaking the 4th wall" technique and the ending is simply a great great classic Moonlighting scene, plus a kiss
I give it a 9, just seeing them covered with paint - and the trouble to get it off afterwards - is memorable!
I just rewatched this episode. This is one of those in which Maddie ever so slightly reverts back to her old life--by purchasing "lo and behold, another picture of herself" with the "only money she's made doing anything other than saying cheese"--and ever so slightly upsets Dave in the process. Just when he thinks they're on the same page and are going to celebrate their success as a team, she forwards that success to her old livelihood. But as we learn, it's not that simple. Maddie feels some strange connection to this artist who seems to have died from a self-inflicted bullet wound after finishing his portrait of her. Apparently thus far she has not had a man feel for her with such intensity (aside from the "took away my 'no'" in college) and does not consciously acknowledge that there are "poor slobs that live for her," one business associate in particular. Until the end, that is, when she asks him to remind her. Dave had made a general comment, but they both knew he was mainly speaking for himself, thus Maddie's "air smooch."
In the end, no matter how hard Maddie tries to fight it, David is most often right and she further benefits from having him in her life.
I give it a 9.
"Lady gets in trouble, it's nice to know she has somebody to call"
There are better eps, but this one certainly has some kinda depth. witness put it very well. The ending is very sweet and meaningful (though the blown kiss a little out of character for Maddie IMO, but I won't complain ), and the scene in the loft has that brilliant "a clue, a clue, a clue" - "gesundheit!" exchange.
Love it also when, having forgotten to untie her feet, Maddie stumbles and falls, and David catches her.
And I love the scene at the police station too ("why is my colleague being held, and why isn't it by me?"); when Maddie tells the inspector "You told me I had one phone call, and this is who I called!" as it was the most natural thing in the world for her to call David in the middle of the night when something's wrong... well, it seems she already knows what she's about to say one ep later: "Lady gets in trouble, it's nice to know she has somebody to call." ;D
Correct me if I'm wrong but this episode marks the beginning of the trademark breaking the fourth wall with the immortal exchange:
"Will you get serious." "Maddie I just had my hand on your behind if we get any more serious they're going to move us to cable!"
One of my favourite things about this show is when it becomes something akin to a Warner Bros cartoon or a Marx Bros. movie and this technique (when done correctly) is perhaps its most effective method of letting the audience know that "these shows about detectives are stupid, we know YOU know it and guess what we know it too!" The great thing is that GGC is a superbly gifted comedy writer as are the gifted, close knit staff he presided over so this lampooning of the genre was always in the most capable of hands.
The first half of this outing is intriguingly Hitchcockian. I love the juxtaposition of Maddie's obsessive behavior with David's incredulity. "What about us poor slobs who live for you" is one of the most telling pieces of dialogue we've heard from David. There's a LOT of terrific dialogue here and the overall mystery is quite fun to watch unfold. I even love the story the painter's brother shares about being in Paris ("Home" .
So much of this episode's mystery is engaging that one can't help but feel disappointed when it all but collapses under its own weight in the final act. A mirror being positioned in such a way that you see a neon arrow pointing at a drain pipe? Really? REALLY?! Falling into the "meandering in the final third then a quick silly wrap-up" syndrome that tended to crop up occasionally this one is a particular shame.
P.S. What was up with the way that thief was holding that gun? A cross between "gangsta" pose and "this gun is too heavy" pose.
This was a so-so episode. I really didn't care for the mystery.
I did like the break-the-4th-wall moment in the interrogation room. And David's whole spiel pretending to be her lawyer was great.
But the mystery was "meh" and the show felt too conventional in this particular episode. I always viewed Moonlighting as the story of Maddie and David, with solving cases on the side. This felt like mystery-of-the-week, with guy and gal flirting on the side. It's funny, because, in Season 3 they both let on that they have feelings for each other in the episodes, and they ultimately get together at the end of the season. But there are times when Maddie is so business-like, serious, and icy at times, that you think they might NOT get together. At the end of this episode when Maddie blows David a kiss, it was like it was tacked on to the end of the episode. Season 3 felt more continuous at times, and these earlier ones feel like they can be seen out of order and it wouldn't matter. They're still good, but they still don't quite have their own formula quite perfected yet.