My Cousin Vinny came out 30 years ago today. rockmarooned looks back on the impeccable comedy and the miraculous performance by Marisa Tomei that led to one of the best Oscar wins ever:
, it’s fueled by similar cross-pond cooperation: British-born Jonathan Lynn directs a fish-out-of-water comedy about a New York personal-injury attorney attempting to defend his cousin falsely accused of murder. Like, the movie establishes a crime story in an opening that avoids big gags in favor of clearly, cleanly laid-out set-up, leaving the rest of the movie plenty of room for character comedy.
As written, the role of Mona Lisa Vito shoulders a lot of supportive-girlfriend material, as she alternately encourages and wheedles the exasperated Vinny. Tomei never feels like a caricatured pushover or nag, staying lovably tart throughout; so many of the movie’s laughs come from her delivery. Look at the scene where she tells Vinny that he can win this case, then continues: “If,” she adds crisply as she puts herself to bed, “ya don’t fuck up.
Her most famous scene is when she confronts Vinny about their long-delayed wedding plans—“My niece, the, is getting married”—and announces that her “biological clock is ticking like this,” as she stomps her high-heeled foot on a wooden porch to drive home her point.
How heartwarming, then, to recall that the Academy membership actually saw fit to reward Tomei’s work. It even adds an afterglow to her later nominations for more conventionally dramatic stuff; her three nominations feel more complete because they acknowledge the full range of her career. If only this happened more often! While wedging more comic performances into the lead-acting categories would be great, those are at least understandably competitive races.
Jesse Hassenger writes about movies and other pop-culture stuff for a bunch of outlets including The A.V. Club, Polygon, The Week, NME, and SportsAlcohol.com, where he also has a podcast. Following
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