In 1983, Trading Places marked Eddie Murphy’s second step toward cinematic domination. He made his first big move with 1982’s 48 Hrs, a solid hit that influenced buddy movies for years to come.

1984 brought Murphy’s greatest success, the smash Beverly Hills Cop. The year’s second highest grossing effort, Cop took in $234 million – an amazing sum for 1984, especially for an “R”-rated film - and established Murphy as one of the biggest box office draws.

Unfortunately, Murphy started to believe his own hype, and most of the films he made for the following decade seemed passable at best, so he wouldn’t recover until 1996’s popular Nutty Professor. Since then, Murphy worked in more than a few clunkers, as he maintains an erratic career.

But back in 1983, Murphy still had many worlds to conquer, and the consistently entertaining Places offers a fine look at his talents. The movie focuses on two characters: Louis Winthorpe (Dan Aykroyd) and Billy Ray Valentine (Murphy), men at totally different stations in life.

Winthorpe enjoys a position at brokerage firm Duke and Duke, where he earns a six figure salary and gets many perks. He plans to marry lovely Penelope (Kristin Holby) and all seems well in his insulated little world.

On the other hand, we find Valentine on the streets, as the unemployed con man initially pretends to be blind and legless as a scam. After a mild rousting by the cops, Valentine accidentally bumps into Winthorpe and knocks him to the ground.

Valentine helpfully tries to hand over Winthorpe’s dropped briefcase, but Winthorpe freaks and thinks Valentine wants to steal it. The authorities quickly descend on Billy Ray and he ends up in the pokey.

His case attracts the attention of Winthorpe’s employers, the Duke brothers. Randolph (Ralph Bellamy) thinks people’s behavior emanates from their environment, whereas Mortimer (Dom Ameche) believes that genetics determine success or failure.

The contrast between Valentine and Winthorpe intrigues them, so they place a bet with each other. They plan to snatch Valentine from the streets and put him in Winthorpe’s privileged place. They set him up in Winthorpe’s house and give him his job. In the meantime, they degrade Winthorpe in such ways that he loses his job, his money, his house and his girl.

Luckily for him, Winthorpe meets the proverbial hooker with the heart of gold. Used as part of the set-up, Ophelia (Jamie Lee Curtis) takes pity on Winthorpe and gives him a hand. While Valentine prospers in his new setting, Winthorpe schemes to return to his prior prominence.

The rest of the story follows from there. Some of the film’s humor comes from the “fish out of water” elements, as we see both Winthorpe and Valentine in new situations. However, the flick doesn’t depend on those circumstances as much as one assumes.

Places seems much more plot-based than I’d expect. Valentine uncovers the Dukes’ bet about midway through the movie, and the rest of the picture mainly concentrates on efforts to turn the tables.

I’ve always liked Places, but it never seemed like anything terribly special, and when it works, it does so due to its talent. I believe Places offered the first cinematic meeting between dual generations of Saturday Night Live performers.

I suppose you could consider the Bill Murray/Chevy Chase pairing in because they didn’t work on the show at the same time, but since Murray replaced Chase, that seems like a stretch. Murphy enjoyed no connection whatsoever with the show’s original cast, so I think this film provided the first time that actors from the different eras hit the screen together.

While both Murphy and Aykroyd do well in their roles, they don’t show much chemistry in the scenes they share. This causes few problems since they spend most of the movie separated, but I can’t say that they create sparks or much compatibility when they appear together.

I don’t know why this occurs. Even though they never worked on the show at the same time, Chase and Murray demonstrated a nice casual tone during their brief shared scene in Caddyshack.

Perhaps that stemmed from the fact that neither actor really served as a lead in that flick. It presented an ensemble cast with no particular star, even though many folks primarily remember Murray from the film.

On the other hand, both Aykroyd and Murphy could claim starring status for Places, and some competition between the two may have occurred. That could explain some of the absence of chemistry between the pair, for when they share the screen, I get the feeling each one strives to be the top dog. I can’t say this tendency negatively affects the movie, but I would like to see a bit more of a connection between the pair.

When seen alone - which occurs during the majority of the film - both Murphy and Aykroyd seem fine. As they initiate their roles, both actors portray the characters in fairly cartoony ways, but they humanize the men as the film progresses.

Aykroyd probably enjoys fewer solid comedic opportunities, but his relationship with Ophelia allows him greater character depth. Murphy’s Valentine tends more toward the funny stuff, and the actor aptly delivers the goods.

Murphy doesn’t provide the same level of breakout work seen in his other two early hits - Valentine doesn’t get any show-stopping scenes like the bar segment in 48 Hours - but he offers a nice general level of humor that keeps the film light.

Places also benefits from a solid supporting cast. The film helped revive the careers of Ameche and Bellamy, and while both characters seem one-sided, the actors manage to make them lively and entertaining.

Curtis generally does well, though she tries a little too hard to break out of her prior restraints. Before Places, she became known as the “Scream Queen” star of horror flicks like Halloween and The Fog. Places exists as a clear attempt on her part to break from that mold.

Curtis also wants to come across as a sex symbol, so she presents copious amounts of skin, and this comes across as somewhat forced and self-conscious. Still, Curtis offers a light and charming presence for the most part, so I won’t complain.

Really, I find little about which I can gripe when I watch Trading Places, though the movie doesn’t seem quite as hilarious as I thought in 1983. It offers a generally amusing and entertaining experience, and it works fairly well across the board. It just doesn’t excel at much, as it remains a pleasant flick but not much more than that.

Trading Places appears in an aspect ratio of approximately 1.85:1 on this 4K UHD Disc. This turned into an appealing presentation.

Sharpness seemed mostly strong. A few slightly soft shots appeared, but most of the flick looked pretty tight.

Jagged edges and moiré effects created no concerns, and I saw no edge haloes. With a good layer of grain, noise reduction didn’t become an issue, and print flaws remained absent.

As I alluded, most Eighties comedies showed flat colors, but that didn’t occur during Places. The movie featured a naturalistic palette, and the disc replicated those hues with surprising fidelity. The tones came across as nicely bright and vivid, and they always looked tight and rich.

Black levels also seemed deep and dense, while shadow detail usually appeared appropriately opaque. However, as with many movies that mix white and black actors, the dark-skinned performers often get the short shrift, so some low-light situations that involve them appeared a bit too thick. Nonetheless, this looked like a solid transfer overall.

I also found a pleasant surprise when I listened to the Dolby TrueHD 5.1 soundtrack of Trading Places. While the soundfield didn’t provide a slam-bang experience, it opened up the spectrum pretty nicely.

The forward domain showed very good stereo imaging for the music, and it also spread ambient effects well. The material created a decent sense of atmosphere, and elements moved cleanly across the domain.

The rear speakers added a fine general sense of setting, and I even heard some split-surround information. Some of those moments worked well - such as when vehicles traveled from rear to front - but a few came across as artificial.

For example, during the scene in which the cops uncovered Valentine’s fraud, I heard some odd blips from the rear speakers; it sounded like those were meant to provide a sense of atmosphere, but they didn’t make much sense. Nonetheless, the soundfield usually worked well.

Audio quality also seemed pretty impressive for the most part. Dialogue generally sounded natural and warm. I noticed a few examples of a little edginess, but those occasions occurred infrequently, and I discerned no issues related to intelligibility.

Effects appeared clean and accurate. They played a fairly small role in this comedy, but they came across as well defined and showed no issues related to distortion.

I felt most impressed with the reproduction of the score. The music seemed wonderfully bright and vivid, and it also demonstrated excellent dynamics considering the age of the material.

Even the dance tunes heard during Valentine’s party appeared vibrant and lively, and the bass seemed deep and tight. Overall, the audio of Trading Places lacked the ambition to merit “A”-level consideration, but I still felt impressed with the film’s surprisingly involving soundtrack.

How did this 2020 “Paramount Presents” Blu-ray compare to the 2018 “35th Anniversary” BD? The lossless audio seemed livelier and richer than the old lossy mix.

Visuals demonstrated a nice upgrade, as the 2020 disc lost the noise reduction, print flaws and edge haloes of its predecessor. The 2020 presentation felt more natural and film-like, so it became a nice step up in quality.

Note that the 2018 Blu-ray literally duplicated the original BD from 2008. This makes the 2020 “Paramount Presents” edition the first remaster of the film in years.

Most of the old extras repeat here, and Insider Trading: The Making of Trading Places lasts 18 minutes, 28 seconds as we hear from director John Landis, screenwriters Herschel Weingrod and Tim Harris, executive producer George Folsey, Jr., and actors Dan Aykroyd, Jamie Lee Curtis, and Eddie Murphy.

The show looks at the project’s origins, story and script, casting and performances, some favorite scenes and memories of the shoot. Don’t expect a very detailed look at the film’s creation from “Insider”, as it stays pretty superficial and anecdotes.

Nonetheless, it throws out some good notes and entertains along the way. We get a reasonable amount of new material in this enjoyable show.

For the seven-minute, 58-second Trading Stories, we get comments from Landis, Curtis, Murphy, and Aykroyd. Taken from 1983 sessions to publicize the movie, they discuss aspects of their careers and a little about the flick. These prove surprisingly interesting, as they offer a nice contrast to the more modern interviews.

One Deleted Scene fills three minutes, eight seconds. It shows us how Beeks steals the crop report. While that makes it a decent piece of plot exposition, the sequence itself is way too long and slow to make sense in the film.

We can view it with or without commentary from Folsey. He explains where it would’ve gone in the movie and why it got cut. Folsey’s remarks are useful, though he seems to think it’s a good scene, and I don’t agree with that.

Dressing the Part goes for six minutes, 30 seconds, and features Landis, Aykroyd, Curtis and costume designer Deborah Nadoolman. We get notes about the clothes used in the movie and the purposes the served in the flick. This offers a quick but informative glimpse into the thoughts behind the costumes.

During the five-minute, 25-second The Trade in Trading Places, we locate remarks from Weingrod, Landis, New York Board of Trade vice chairman Roger Corrado, proprietary trader Bret Williams, and New York Mercantile Exchange chairman Richard Schaeffer.

They discuss the business elements of the movie and tell us how these factors work in real life. “Trade” offers a nice primer on the business aspects in the story.

In addition to the film’s trailer, we find an Industry Promotional Piece. It lasts four minutes, 18 seconds as it shows a promo created to tout the film at an exhibitor’s convention. We see Murphy and Aykroyd improvise a bit to sell the flick. It’s amusing and this is a cool extra.

New to the 2020 Blu-ray, Filmmaker Focus runs eight minutes, 46 seconds and provides more notes from Landis. He talks about what brought him to the film, cast and performances, a few scene specifics and the movie’s completion.

After the other programs, “Focus” can feel a little redundant at times. Still, it brings a decent overview of some production areas.

Also new to the 2020 disc, we find an Isolated Score Track. This presents the movie’s music via a Dolby Stereo presentation. It’s too bad the audio isn’t lossless, but this still becomes a nice bonus.

Unfortunately, the 2020 release drops a subtitle trivia track from the prior Blu-ray. That text commentary offered nice insights and it should’ve appeared here as well.

Many decades after its initial release, Trading Places remains a reasonably charming and amusing piece of work. While the flick doesn’t excel at much, it maintains a nice sense of lightness and humor that allows it to succeed. The Blu-ray brings us very good picture and audio as well as some largely interesting supplements. The 2020 version offers the best rendition of the film to date and it upgrades its predecessors.

To rate this film visit the original review of TRADING PLACES