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  In loving memory of Keith, my first and best friend

  A flute with no holes is not a flute.

  A donut with no hole is a Danish.

  —Basho, seventeenth-century Zen philosopher

  Prologue

  A FEW DOZEN NEWSPAPER REPORTERS, film critics, television talking heads, and studio publicity flacks were gathered outside Dangerfield’s comedy club on the Upper East Side of Manhattan. It was the morning of July 12, 1980, and just after 9:00 a.m., the doors were unlocked and the group was led inside to meet the cast and crew of the soon-to-be-released comedy Caddyshack.

  It had already been a long, hot summer. And the depressing state of the world somehow made the days feel even longer and more oppressive. The Iran hostage crisis was in its eighth month, with no end in sight. Detroit was laying off tens of thousands of line workers as Japan became the world’s largest auto-producing country. Even the feel-good respite of a Summer Olympics had been taken away after the United States decided to boycott the 1980 Moscow Games in protest of the Soviet Union’s invasion of Afghanistan. The presidency of Jimmy Carter was limping to the finish line.

  Inside, Dangerfield’s wasn’t much sunnier. With its faux wood paneling and pungent aroma of stale ashtrays and spilled beer, the club had an air of seedy, down-at-the-heels squalor. It had opened for business in 1969, and it looked as if nothing had been updated since. At night, with stand-up comics firing off jokes to out-of-town tourists, that was one thing. But at this ungodly hour of the morning, as blinding shards of morning light sliced in through the front door from First Avenue, it was another. The place looked downright funereal. A fitting site for what would end up becoming a wake of sorts.

  One by one, the movie’s stars and above-the-line talent slowly rolled in, each looking more bleary-eyed and hungover than the last. Bill Murray, in pale pink shorts and a striped polo shirt that looked pulled from the bottom of the hamper, had a week’s worth of shaggy stubble on his face. His bloodshot eyes sought relief behind a pair of oversize sunglasses. He walked into the club with a what-me-worry grin and a grease-stained pizza box in his hands. He’d been pretty much on permanent vacation since his final season on Saturday Night Live had ended, in May.

  Chevy Chase, in cream-colored linen pants and a matching silk shirt and driving cap, didn’t attempt to hide his red-rimmed eyes, which were little more than pinholes. If he looked edgy and deflated, he had reason. His latest movie, a disposably inane comedy called Oh! Heavenly Dog, had opened the previous day to reviews that were so devastating they read like kiss-off notes from a scorned ex. How had he, the same man who just a few short years earlier had been the biggest star on late-night television, allowed himself to be in a picture where he was reincarnated as the movie mutt Benji?

  Rodney Dangerfield, on his home turf as the dingy club’s celebrity proprietor, pinged around the room with nervous, caffeinated energy. He was already sweating through a khaki cabana shirt that strained to contain his bulbous potbelly as he glad-handed the media, tossing off his signature seltzer-spray one-liners. After decades spent tirelessly grinding it out on the stand-up circuit, Dangerfield was now fifty-eight, and thanks to a recent string of live-wire appearances on The Tonight Show, was more popular than he’d ever been. The self-effacing comic, who chronically complained about getting no respect, was finally getting some. Caddyshack was Dangerfield’s first big role in a studio film. The money hadn’t been great, but if he managed to win over the critics and the movie turned out to be a hit, it might just lead to a new, cushier chapter in his career.

  Only the teetotaling Ted Knight, with his Pacific Palisades tan, immaculate swept-back head of silver hair, and pressed blazer, looked like someone who actually wanted to be there on this morning. Maybe because he was one of the few who hadn’t been up all night getting bombed.

  Less than twenty-four hours earlier, the press had gotten their first look at the new snobs-versus-slobs country club comedy at the Loew’s State Theatre in Times Square. The reaction had been lukewarm at best. And lukewarm was not what everyone had been hoping for. The film’s financier, Orion Pictures, and its distributor, Warner Bros., had hoped that Caddyshack might be their sleeper hit of the summer—a counterpunch to Universal’s The Blues Brothers and Paramount’s Airplane! But the stingy smattering of laughs and halfhearted applause that greeted the end of the film let them know it wouldn’t be the box office triumph they’d signed up for when they green-lighted its $6 million budget.

  After the early-evening preview, some of the cast and crew returned to their hotel on Central Park, where they drowned their disappointment in drink and drugs. By then, it had become something of a tradition for many on the Caddyshack team. For them, alcohol, marijuana, and especially cocaine had been the diet of choice during the film’s wild eleven-week shoot in Florida, back when director Harold Ramis, producer Doug Kenney, and the pair’s writing partner, Brian Doyle-Murray, still believed they were making another National Lampoon’s Animal House. Ramis and Kenney had written that frat-house smash that had opened two years earlier. And not only did it end up buying them new houses, it wound up on the cover of Newsweek after becoming the biggest movie comedy of all time.

  But now that seemed like a long time ago.

  The past six months of postproduction back in Los Angeles had been a series of nightmarish setbacks. What had begun as a loose, laid-back, inmates-running-the-asylum revel just outside Fort Lauderdale had curdled into a toxic stew of bitter compromises, bruised feelings, and bare-knuckle power plays. The drugs certainly hadn’t helped.

  Still, the film was finally finished (or as close to finished as it was going to get), and now everyone agreed that it was what it was. Everyone except for Kenney. The toll of so many creative concessions still weighed on him heavily. As the others partied late into the night after the disastrous preview, Kenney grew more and more depressed, looking for some kind of solace (or perhaps oblivion) in the white powder he was vacuuming up his nose.

  In his short life, the thirty-three-year-old writer and producer had already accomplished an extraordinary amount, but he’d yet to really experience failure firsthand. He’d begun Caddyshack as Hollywood’s latest can’t-miss prodigy—a charmed but troubled genius who turned everything he touched into money. A decade earlier, he’d edited the legendary Harvard Lampoon and parlayed its smartass, Ivy League sensibility into the start-up publishing sensation the National Lampoon, sparking a subversive New Wave of slash-and-burn satire. Five years later, he cashed out and became an overnight millionaire. For his encore, he cowrote the screenplay for Animal House, which earned $140 million on a budget of just $2.7 million. Kenney was a comedy rock star—brilliantly witty and combustibly self-destructive.

  On that July weekend in New York, however, his run finally seemed to be coming to an end. Or so he feared. As morning light broke over the park outside his hotel-room window, he knew that it was too late to try to close h
is eyes and sleep. He was too wired anyway. So he went for a walk. But he couldn’t stop his mind from whirring with a million nagging questions. How had he let his film get away from him so completely? Had he lost his touch? Had he even deserved his success in the first place? Eventually, Kenney found himself at the corner of First Avenue and 61st Street, where he looked at the entrance to Dangerfield’s and steeled himself for what awaited.

  Inside, Chase and Murray drifted to opposite corners of the room. The relationship between the two men had always been … complicated. They had gotten along well enough while making Caddyshack in Florida, but there was still a leftover chilliness—a frosty distance that lingered from a bitter backstage tussle between the two at Saturday Night Live, when Chase returned to guest-host in 1978 with what many considered a lack of humility and a swollen head. Insults were exchanged. Punches were thrown. Both had made up and moved on—to a point.

  As the morning’s round-robin of quickie interviews was about to begin, Kenney slumped into a chair in the back of the room, still buzzed from the night before. He ordered a drink. Then another. His simmering anger was about to boil over.

  Ramis, Doyle-Murray, and the film’s four stars—Chase, Murray, Dangerfield, and Knight—grimly death-marched up to the Dangerfield’s stage and took their seats. A young Warner Bros. publicist welcomed the reporters and thanked them for having come so early in the day. Attempting to stoke the media’s enthusiasm, the flack asked if they had enjoyed the previous night’s screening.

  “Wasn’t it great?”

  Then, he jokingly added, “And who thought it sucked?”

  Kenney’s voice rose from the back of the room to break the uncomfortable silence: “Yeah, it sucked!! Didn’t everyone think it was terrible?!”

  The nervous publicist, awkwardly trying to recover from Kenney’s burst of friendly fire, assured the crowd that the man in the back was just kidding around. Then, just to prove that he wasn’t, Kenney stood up and told everyone in the club to go fuck themselves. He slumped back down into his chair and passed out with his head on the table. Kenney’s parents, who’d traveled into Manhattan from Connecticut that morning, walked over to their son and hugged him before quietly leading him out of the room.

  Chase, the man who’d grown closest to Kenney during the making of Caddyshack, couldn’t believe what he was witnessing. Not that he didn’t understand Kenney’s frustration. And certainly not because he’d never seen him loaded before. He just thought it was bizarre that Kenney would lash out here of all places—at the very people who held the fate of the movie in their hands. He was sabotaging his own film at the precise moment that he should be putting on a phony smile and hyping it.

  When the Dangerfield’s press conference was mercifully over, a friend pulled Chase aside and suggested that he take Kenney away on a vacation after the film’s upcoming premiere to help him clean up. Preferably somewhere where they could avoid the film’s sure-to-be-negative reviews. And more important, someplace where it wouldn’t be so easy to score cocaine.

  Chase thought that he should be the last person to ask. He’d been running just as hard and using just as much coke as Kenney. The idea of him being anybody’s—least of all his drug buddy’s—voice of reason and sober coach seemed absurd.

  Later, when Harold Ramis heard the plan, he thought it sounded like a terrible idea. It was like putting a box of matches next to a pile of oily rags. When Kenney asked Ramis if he wanted to join him and Chevy in Maui for a few weeks, he recalled having thought, “Oh, man, that’s the last thing I need.”

  * * *

  Looking back now, it would be understandable to think that Caddyshack was both a huge box office hit and an instantly acknowledged comedy classic from the moment it opened on 656 screens on July 25, 1980. But it would also be wrong. The film was a modest success. By the end of 1980, it stood as the seventeenth-highest-grossing film of the year, light-years behind The Empire Strikes Back and sandwiched between Cheech and Chong’s Next Movie (at No. 16) and Friday the 13th (at No. 18).

  The reviews for the film ran the gamut from slightly mixed to scathingly negative. While The New York Times’s cranky fifty-five-year-old critic, Vincent Canby, seemed to like it more than most, his peers dismissed Caddyshack as uneven, lowbrow, and sophomoric. Some seemed to enjoy Rodney Dangerfield’s outsize performance as the crass, nouveau riche boor, Al Czervik. But, almost across the board, they regarded Bill Murray’s deranged, camouflage-clad assistant greenskeeper, Carl Spackler, as unsubtle, sub-mental, and perverted. David Ansen in Newsweek wrote, “The writers have saddled themselves with a bland hero and a perfunctory drama that will be of interest only to the actors’ agents.” And in New York magazine, David Denby wrote that first-time director Harold Ramis had cobbled together “a perfectly amiable mess.” Backhanded, sure. But it was also one of the most complimentary things anyone said at the time.

  The critics weren’t right, of course. But they weren’t exactly wrong, either. Caddyshack was an amiable mess. Ramis was the first to admit that his debut behind the camera was less than assured. In fact, he’d later refer to it as his learn-on-the-job “six million-dollar scholarship to film school.” But what those critics failed to recognize at the time was that it was Caddyshack’s imperfections that ended up making it so perfect.

  Part coming-of-age comedy, part class-warfare commentary, Caddyshack was rooted in the teenage experiences of the blue-collar Murray clan. Growing up, Brian and his younger brother Bill had spent their summers thanklessly working their way up the minimum-wage ladder from lowly driving-range shag boys to concession-stand slaves to those tip-hungry beasts of burden—caddies, hauling the bags of the well-to-do on some of the snootiest golf courses along Chicago’s suburban North Shore. For both them and Kenney (whose father had supported the family for years as a club tennis pro), Caddyshack was deeply autobiographical—an affectionate look back at the most outrageous and formative summers of their lives.

  It was a personal story but also a universal one. After all, every private club in the ritzier pockets of America had a starched-shirt WASP dictator like Ted Knight’s Judge Elihu Smails (“How ’bout a Fresca?”), a wealthy playboy wastrel like Chevy Chase’s Ty Webb (“Be the ball…”), an uncouth loudmouth like Rodney Dangerfield’s Al Czervik (“Did someone step on a duck?”), and, as they knew firsthand, working-class kids like Michael O’Keefe’s Danny Noonan (“Do you take drugs, Danny?” “Every day.”).

  The Caddyshack script would go through a number of drafts and overhauls, but when it was finally shot, in the fall of 1979, it was something quite different from the usual Hollywood comedy of the time. Like Animal House, it reflected a brash anti-authoritarian worldview, targeting the lily-white Republican citadels of the Greatest Generation. It looked at the conservative, calcified, and complacent adult world and put it in its ruthlessly ironic crosshairs.

  As the 1970s rounded the bend into the ’80s, the country was changing. Watergate and Vietnam were receding into the rearview. Nixon was long gone, licking his wounds back in Yorba Linda. But he had been replaced by the spiritual retrenchment of the cardigan-clad Carter years and a malaise of tapioca mildness. The country had made a slow and steady march to the boring center.

  The movie industry had already been turned upside down in the late ’60s and early ’70s by a New Hollywood generation led by maverick directors such as Dennis Hopper (Easy Rider), Francis Ford Coppola (The Godfather), and Martin Scorsese (Mean Streets). But those filmmakers had trafficked mostly in existential dramas, not comedies. They offered brutal truths and bleak endings. What they didn’t seem to possess was a sense of humor about the world or themselves—or just a sense of humor, period. By the tail end of the ’70s, many of them had also run out of gas.

  The critics had been so busy celebrating the New Hollywood that they were slow to spot the revolution after the revolution—the rise of the baby boomers. Suddenly there was an entirely new generation of postwar teenagers and college students who’d grown ti
red of the ’60s and all of its dialectical art-house earnestness. While no one had been looking, they’d mainlined the first season of Saturday Night Live, dialed into the Second City improv scene in Chicago, and subscribed to the nothing-sacred philosophy of the National Lampoon, which had famously put an adorable mutt with a gun pointed to its head on the cover of its January 1973 issue along with the sick-joke ultimatum: “If You Don’t Buy This Magazine, We’ll Kill This Dog.” Hollywood had been caught napping.

  This new generation no longer wanted to see George Burns geriatrically yukking it up in Oh, God!, or Burt Reynolds cracking redneck jokes in Smokey and the Bandit, or Clint Eastwood palling around with an orangutan in Every Which Way but Loose. They wanted big-screen comedies that were newer and edgier—the kind that could sting and leave a welt. They wanted the scalpel-sharp satire that Kenney, Ramis, Chase, and Murray had practiced at the Lampoon, Second City, and SNL. They wanted another Animal House.

  Caddyshack would not be another Animal House. At least, not at first. It would take years for the film to build its audience—and take its rightful place in the canon of timeless movie comedies. But in a way, its delayed success and continued popularity make it much more interesting than if it had been an immediate hit. In the nearly four decades since its release, Caddyshack has become one of those rare contradictions: a mainstream piece of pop culture that, to its fans, still somehow manages to feel like a cult movie.

  This is the story of how that film got made. But it’s also the story of who made it, why they made it, and when it got made. It’s the story of a very specific and very special ten-year period in American comedy when a brilliant group of authority-defying merry pranksters somehow found one another, pushed one another to new heights, and ended up bluffing their way onto the studio lots. It’s the story of a group of outsiders grappling with the idea of becoming insiders. And it’s the story of a film that was distinctly of its time but would end up speaking the loudest after that time had passed.