“Martin and Caine are perfectly matched here, with Martin's frantic energy bouncing off Caine's cool British reserve. The result is one of the most consistently funny comedies of the 1980s.”
Roger Ebert
Chicago Sun-Times

United States"Nice guys finish last. Meet the winners."
On the sun-drenched French Riviera, Lawrence Jamieson (Michael Caine) has perfected the art of the elegant swindle. Posing as exiled royalty, he charms wealthy women out of their fortunes with theatrical flair, aided by his loyal manservant Arthur (Ian McDiarmid) and a corrupt police inspector (Anton Rodgers). His world is one of tailored suits, fine wine, and carefully scripted performances.
Enter Freddy Benson (Steve Martin), a loud, crude American grifter who cons women out of pocket change by faking a sick grandmother. When Freddy blunders into Lawrence's territory and nearly ruins one of his schemes, Lawrence sees raw potential in the sloppy hustler. Rather than run him out of town, he decides to mentor him. But the partnership sours, and the two soon make a wager: whoever can swindle a young American heiress, Janet Colgate (Glenne Headly), out of $50,000 first gets to stay in Beaumont-sur-Mer. The loser must leave forever.
What follows is a battle of wits filled with disguises, lies, and escalating absurdity. Directed by Frank Oz and written by Dale Launer (with credit to the original's writers), this 1988 comedy remakes the 1964 film Bedtime Story and turns the con-man genre on its head. With a budget of $6.5 million, it grossed $42 million domestically and became a beloved classic, later adapted into a Tony-nominated Broadway musical.
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Lawrence Jamieson has made Beaumont-sur-Mer his personal hunting ground. With a polished accent and a wardrobe that screams old money, he convinces wealthy women that he's a deposed prince raising funds to liberate his homeland. His scams are elaborate performances, staged with the help of his butler Arthur and the town's police inspector, who takes a cut for looking the other way.
Freddy Benson works a different angle. He's crude, loud, and his go-to move is claiming his grandmother is dying and needs money for an operation. When Freddy shows up in the south of France and starts poaching Lawrence's marks, the two collide. Freddy accidentally ruins one of Lawrence's cons, and Lawrence, instead of being furious, is intrigued. He sees a diamond in the rough and offers to teach Freddy the finer points of the grift.
But the student proves too eager. Freddy's attempts at sophistication fall flat, and his lowbrow instincts keep getting in the way. The partnership fractures, and they decide to settle things with a bet. The target is Janet Colgate, a young American heiress visiting the Riviera. The first to con her out of $50,000 wins the right to stay in town. The loser packs his bags.
Freddy goes all in, feigning paralysis and wheelchaired helplessness to win her sympathy. Lawrence counters with a more refined approach, spinning a tale of political exile and noble sacrifice. Janet, however, proves to be a tougher mark than either expected. She's kind, trusting, and seems to fall for both men's stories, but the money stays just out of reach.
Meanwhile, a shadow looms over the competition: the infamous Jackal, a legendary con artist rumored to be working the same coast. Both Lawrence and Freddy suspect the other of being the Jackal, adding another layer of paranoia to their rivalry. As the schemes multiply and the lies get thicker, the two scoundrels find themselves locked in a game where the stakes keep rising.
The film's plot twists and turns with each new ruse, and the audience is kept guessing who will blink first. But nothing prepares you for the final reveal, which turns the whole game upside down.
DIRTY ROTTEN SCOUNDRELS (1988) | Official Trailer | MGM
Official Trailer
Critical Consensus
Dirty Rotten Scoundrels pairs Steve Martin's manic energy with Michael Caine's deadpan elegance in a battle of wits that never loses steam. Frank Oz directs with a light touch, and the clever script, memorable set pieces, and perfect casting make this a lasting gem of the con-artist comedy genre.
“Martin and Caine are perfectly matched here, with Martin's frantic energy bouncing off Caine's cool British reserve. The result is one of the most consistently funny comedies of the 1980s.”
Roger Ebert
Chicago Sun-Times
“Mr. Oz has directed the film with a light, sure hand, and Mr. Martin and Mr. Caine are in top form. The movie is a delight, a sophisticated comedy that never takes itself too seriously.”
Vincent Canby
The New York Times
“A polished, witty entertainment that showcases two of the screen's most gifted comedians at the height of their powers. The script is sharp, the direction assured, and the chemistry between the leads is electric.”
Variety Staff
Variety
“This is the kind of smart, character-driven comedy that Hollywood rarely makes anymore. Martin and Caine are a dream team, and the film's final twist is genuinely surprising.”
Gene Siskel
Chicago Tribune
Director
Frank Oz
Writers
Dale Launer, Stanley Shapiro, Paul Henning
Composer
Miles Goodman
Cinematographer
Michael Ballhaus
Producer
Bernard Williams
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