The Naked Gun: From the Files of Police Squad! (1988)

Few comedies of the 1980s have retained their impact and sheer hilarity quite like The Naked Gun: From the Files of Police Squad! — a film that not only revitalised the spoof genre but also cemented Leslie Nielsen’s status as one of cinema’s most beloved comic actors. Directed by David Zucker and co-written by Jerry Zucker, Jim Abrahams, and Pat Proft, The Naked Gun is a masterclass in absurdist humour — a film that gleefully dismantles the conventions of the police procedural while delivering laugh after laugh with precision timing.

The film follows bumbling but well-meaning Detective Lieutenant Frank Drebin (Leslie Nielsen), an officer of the LAPD’s fictional Police Squad division, who stumbles upon a plot to assassinate Queen Elizabeth II during her visit to Los Angeles. What unfolds is a chaotic string of misunderstandings, disasters, and ridiculous set-pieces as Drebin attempts to uncover the conspiracy. Along the way, he meets the elegant and mysterious Jane Spencer (Priscilla Presley), secretary to wealthy industrialist Vincent Ludwig (Ricardo Montalbán), who may not be as innocent as she appears.

While the plot could easily belong to a conventional police thriller, the ZAZ team (Zucker, Abrahams, Zucker) gleefully twists every trope inside out. Every line of dialogue, every shot, and every serious moment is undermined by visual gags, puns, and physical comedy. The tone is gloriously anarchic, yet remarkably controlled — a balancing act that keeps the humour sharp rather than chaotic.

Central to the film’s success is Leslie Nielsen’s performance. Having transitioned from straight dramatic roles in the 1950s and 60s to comedy stardom following Airplane! (1980), Nielsen perfected the art of deadpan delivery. His Frank Drebin is utterly sincere in every ludicrous situation — whether he’s declaring, “Nice beaver!” to Priscilla Presley or giving an impassioned speech about police honour while his microphone remains live in the toilet.

What makes Nielsen so funny is his absolute commitment to seriousness. He never winks at the audience; his Drebin believes wholeheartedly in his own competence. This contrast between tone and situation fuels the film’s humour. Nielsen turns Drebin into an instantly recognisable archetype: the well-intentioned idiot who wreaks havoc through his confidence.

Priscilla Presley, in her film debut, provides the perfect foil for Nielsen’s antics. As Jane Spencer, she’s charming, intelligent, and every bit as game for the film’s slapstick and wordplay. Her chemistry with Nielsen is surprisingly genuine, grounding the absurdity with moments of sweetness.

Ricardo Montalbán brings suave menace to the role of Vincent Ludwig, a villain straight from the Bond school of evil masterminds. His performance plays things straight, which only amplifies the comedy when Drebin blunders through his schemes. George Kennedy and O.J. Simpson (as Detective Ed Hocken and Officer Nordberg, respectively) round out the cast, each contributing memorable slapstick moments — Simpson’s early hospital scene remains one of the film’s most elaborately choreographed sequences of disaster.

David Zucker directs with the same flair that defined Airplane! and Top Secret!. The pace is relentless, with jokes coming from every direction — verbal, visual, and situational. There are sight gags buried in the background, exaggerated stunts, and wonderfully timed absurdities: Drebin driving his car into a wall during the opening credits; a baseball umpire’s routine escalating into interpretive dance; a rooftop chase ending in ridiculous fashion.

What’s particularly impressive is how the film’s humour remains intelligent beneath its silliness. It parodies not just crime dramas, but also the pomposity of authority figures, the clichés of Hollywood storytelling, and the seriousness of American policing culture. There’s a knowing sophistication in the way it spoofs everything from Dragnet to Dirty Harry.

The film’s script is lean, packed with wordplay and comic reversals. Lines like “I’m sure we can handle this diplomatically, like sensible, mature adults — now hand over the weapon!” showcase the writers’ mastery of comedic rhythm. No scene overstays its welcome, and there’s a strong through-line from one joke to the next, ensuring that laughter never dips.

The Police Squad! television series, from which The Naked Gun draws its DNA, was short-lived but influential. The film takes that show’s rapid-fire visual comedy and expands it with a cinematic sheen. The cinematography by Robert M. Stevens parodies the moody lighting of film noir and television cop shows, while the music by Ira Newborn perfectly mimics the brassy grandeur of 1970s detective series.

Even the opening credits — with Drebin’s flashing police light weaving through absurd locations — set the tone brilliantly. It’s a simple idea executed to perfection and instantly iconic.

Released in 1988, The Naked Gun was both a critical and commercial success, grossing over $140 million worldwide and earning rave reviews for its sharp humour. It spawned two sequels — The Naked Gun 2½: The Smell of Fear (1991) and The Naked Gun 33⅓: The Final Insult (1994) — each maintaining a similar blend of slapstick and satire, though the original remains the gold standard.

Its influence can be seen in later spoof films, though few managed to replicate its precision. The genre would eventually be diluted by less disciplined imitators in the 2000s, but The Naked Gun stands as a reminder of how clever, crafted comedy can elevate even the silliest material.

The Naked Gun: From the Files of Police Squad! is an enduring masterpiece of slapstick and parody. It succeeds not only because of its endless jokes but because it is made with such affection for the genres it mocks. Leslie Nielsen’s performance is timeless, the script sparkling with wit, and the direction perfectly attuned to the rhythm of comedy.

Nearly four decades on, The Naked Gun remains a benchmark for cinematic humour — a film that invites repeated viewing, with new jokes to spot every time. In an age when comedy often leans on irony or vulgarity, it’s refreshing to revisit a film that finds laughter in sheer absurdity, expertly played straight.

A flawless exercise in comic timing, brilliantly performed and endlessly quotable — a true classic of its kind.