If you spent any time browsing the aisles of a Blockbuster Video in the early nineties, you definitely remember the cover. It was simple. Two guys. One was Jim Belushi looking like a disorganized mess, and the other was Charles Grodin looking like he was about to have a massive nervous breakdown. Taking care of business the movie didn't reinvent the wheel, but it did something that many modern comedies fail to do: it captured a specific kind of American anxiety about status and identity.
I watched it again recently. Honestly, it holds up better than most of the high-concept comedies from that era. Released in 1990, it arrived right at the tail end of the "buddy cop" and "identity swap" craze. You had Trading Places in '83 and Big in '88. This film, directed by Arthur Hiller—the same guy who did Love Story and See No Evil, Hear No Evil—took the trope of the "filthy rich guy meets the street-smart guy" and grounded it in the high-stakes world of corporate advertising and the World Series.
The Plot That Shouldn't Work (But Does)
The premise is basically a sitcom setup on steroids. Jimmy Dworski (Belushi) is a convict who wins tickets to the World Series. He’s a die-hard Cubs fan. Since he’s got a few days left on his sentence, he decides to "break out" (more like sneak out) to see the game. Meanwhile, Spencer Barnes (Grodin) is a high-strung advertising executive who loses his Filofax.
For those of you born after 1995, a Filofax was basically an iPhone made of leather and paper. If you lost it, your life was over. You didn't just lose your contacts; you lost your schedule, your credit cards, and your entire identity.
Jimmy finds the Filofax. He starts living Spencer’s life. He moves into a billionaire’s mansion, takes over Spencer's high-stakes business meetings, and somehow manages to charm everyone despite knowing absolutely nothing about advertising. It’s absurd. It’s predictable. And yet, the chemistry between Belushi’s chaotic energy and Grodin’s legendary "slow burn" frustration makes it work.
Why Charles Grodin was a Comedic Genius
We lost Charles Grodin a few years ago, and I don't think people realize how much of a void he left. He was the king of the "annoyed man." In taking care of business the movie, he plays a guy who has followed every single rule his entire life, only to watch a convict steal his identity and do a better job at his life than he was doing.
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There’s a specific scene where Spencer is trying to explain who he is while wearing nothing but a towel and looking like a maniac. Grodin plays it with this deadpan desperation. He doesn't go for the big, loud joke. He goes for the internal collapse. That’s why the movie feels real even when the plot is insane.
The 1990s Corporate Aesthetic
Looking back at this film is like looking into a time capsule of 1990. The shoulder pads are enormous. The car phones are the size of bricks. Everything is beige or grey. It captures that pre-internet corporate culture where "making it" meant having a corner office and a personal assistant who managed your paper calendar.
The film also serves as a weirdly nostalgic trip for baseball fans. The 1990 World Series backdrop is a major part of the plot. Jimmy is obsessed with the Chicago Cubs. Ironically, in real life, the 1990 World Series was actually between the Cincinnati Reds and the Oakland Athletics. The movie creates its own reality where the Cubs are actually competitive, which, for any Cubs fan watching in 1990, was the most fictional part of the entire script.
Why Critics Hated It (And Why They Were Wrong)
When the film came out, critics like Roger Ebert weren't exactly thrilled. They called it formulaic. They weren't necessarily wrong—it is formulaic. It follows the "stranger in a strange land" blueprint to a T.
But movies like taking care of business the movie aren't trying to be Citizen Kane. They are comfort food. They are about the satisfaction of seeing a stiff, miserable rich guy loosen up and a "loser" find some self-worth. It’s a classic class-clash comedy. If you look at the screenplay credits, you’ll see a name that might surprise you: J.J. Abrams. Yes, that J.J. Abrams. He co-wrote this under the name Jeffrey Abrams along with Jill Mazursky. It was one of his first major gigs. You can see the early seeds of his ability to pace a story and keep the stakes moving, even in a goofy comedy.
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The Supporting Cast You Forgot About
- Loryn Locklin: Plays the love interest and the daughter of the big boss. She’s fine, but mostly there to give Jimmy a reason to keep the charade going.
- Anne De Salvo: She plays Spencer's wife, Debbie. Her subplot about their crumbling marriage adds a layer of actual human stakes to the movie.
- Hector Elizondo: He’s the prison warden. Elizondo is one of those actors who makes everything better just by standing in the frame.
The Filofax as a Symbol of Control
The movie is secretly a critique of the "hustle culture" of the late 80s. Spencer Barnes is a slave to his schedule. He’s miserable. He’s rich, successful, and completely empty. Jimmy Dworski has nothing—literally, he’s a prisoner—but he has joy.
When Jimmy takes over Spencer’s life, he doesn't succeed because he’s a genius. He succeeds because he’s honest. He tells the advertising clients that their ideas are boring. He talks to them like human beings instead of corporate drones. It’s a trope we see all the time now, but in 1990, the idea that "being yourself" could win over a boardroom was a powerful fantasy.
Is It Worth a Rewatch?
Honestly? Yes.
If you’re tired of the hyper-polished, joke-a-minute comedies of today that feel like they were written by an algorithm, this film is a breath of fresh air. It has a soul. It has Charles Grodin having a nervous breakdown in a Japanese restaurant. It has Jim Belushi at the peak of his "lovable rogue" era.
It’s not a masterpiece, but it’s a perfectly executed "B-movie" comedy. It’s the kind of movie you catch on a Sunday afternoon and end up watching the whole thing even though you’ve seen it five times.
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How to Watch It Today
Finding taking care of business the movie on streaming can be a bit of a hunt. It’s often tucked away on platforms like Hoopla or available for a cheap digital rental on Amazon and Vudu. It hasn't received a massive 4K restoration—and it probably never will—but that grainy, 35mm film look is part of the charm. It feels like 1990. It feels like home.
Actionable Takeaways for Movie Buffs
If you want to dive deeper into this era of comedy or appreciate this specific film more, here are a few things to do:
- Watch "The Heartbreak Kid" (1972): To truly appreciate Charles Grodin’s performance in Taking Care of Business, you need to see him in his prime. It shows you where that "annoyed man" persona started.
- Compare the Script: Look up J.J. Abrams' early work. Comparing this movie to Regarding Henry (another early Abrams script) shows a weirdly consistent theme of identity loss and rediscovery.
- Check the Soundtrack: The movie features the song "Taking Care of Business" by Bachman-Turner Overdrive. It’s on the nose, sure, but the 90s weren't known for their subtlety.
- Host a "90s Identity Swap" Marathon: Pair this with Trading Places and Pure Luck. You'll see a pattern of how Hollywood viewed class and wealth during the Reagan/Bush era transition.
Ultimately, this movie reminds us that no matter how organized your life is, or how many leather-bound planners you own, things can—and will—go sideways. And sometimes, losing everything is the only way to figure out who you actually are.
Next Steps for Your Movie Collection
If you're hunting for a physical copy, look for the "Double Feature" DVDs that often pair this with other Disney/Touchstone comedies from the era. They are usually found in bargain bins or at used media stores for under five dollars. It’s a low-investment way to own a piece of 90s comedy history. Don't expect a lot of "Special Features" or behind-the-scenes documentaries; this was a workhorse movie made to entertain, and it still does exactly that.