It’s impossible to discuss Night Shift without highlighting Michael Keaton’s unforgettable performance.

Although Keaton wasn’t widely recognized as the wild and eccentric comedic talent he’d later become, Night Shift captured him perfectly in the 1980s: quirky, hilarious, and irresistibly charming. Before this breakthrough, Keaton had only starred in a lesser-known comedy and the CBS sitcom Report to Murphy. At the time, he was relatively unknown, making this film his first major leading role and a defining moment in his career.

Reflecting on that time, Keaton admitted, “I don’t know how many times I had to go back in and audition. It was callback after callback.”

Eventually, his persistence paid off, convincing the producers and writers of his potential. Keaton shone as Bill “Blaze” Blazejowski, a character brought to life by his sharp wit, quick delivery, and distinctive charm. His expressive Irish features, thinning brown hair, and lively green eyes perfectly complemented his high-energy comedic style. Keaton’s comedic timing and intensity were spot on, but his rise also reflected a broader shift in Hollywood.

“I came along just as the transition from television to film actors was becoming possible,” Keaton later remarked about his rise to stardom.

To fully embody the lively and unpredictable spirit of Bill, Keaton often blasted Bruce Springsteen’s “10th Avenue Freeze-Out” from the Born to Run album. It was his way of getting into the character’s headspace. He recalled, “I deliberately went to see the movie alone on opening day. It was fantastic. I wanted to sit in the middle of the theater in the afternoon. Honestly, I don’t have the words to describe how it felt.”

A Key Supporter Behind the Scenes

When director Ron Howard cast Keaton in Night Shift, he struck gold. Scene after scene, Keaton stole the spotlight, even outshining the seasoned Henry Winkler, who was already famous for his role as “The Fonz” on television’s Happy Days. Critics heaped praise on Keaton’s performance, opening the doors of Hollywood for him. However, his success in the film—and arguably his entire career—might not have been possible without the quiet yet pivotal support of Henry Winkler.

Ron Howard later revealed to the Boston Globe that Winkler had the choice between two roles and purposely picked the more understated one. Winkler then helped Keaton excel by giving him invaluable advice. Howard shared, “Henry would say things like, ‘I know you’ll get laughs if you take this routine one step further.’ He really supported Michael in finding those comedic moments.”

In Night Shift, Winkler chose to play against type, portraying a timid morgue director to deliberately contrast with his tough-guy Fonzie persona. “I thought I’d play Richie Cunningham for once,” Winkler joked on Twitter.

A Rocky Start

Despite their remarkable on-screen chemistry, Keaton and Winkler never collaborated again after Night Shift. Their early interactions during the filming process might explain why. Winkler initially expressed hesitance about working with Keaton, reportedly telling Howard, “The guy’s talented, but I don’t know if I’m comfortable working with him.”

Howard assured Winkler that this discomfort actually mirrored the dynamic between their characters, with Chuck being uneasy around Bill. This initial tension translated into an authentic and layered on-screen relationship, though their off-screen rapport eventually improved.

The Role That Almost Went to Someone Else

Several notable actors were considered for the role of Bill Blazejowski. According to Ron Howard, the studio initially reached out to John Belushi, Dan Aykroyd, and Bill Murray, but none were interested. Actors like John Candy, Mickey Rourke, and Kurt Russell also reportedly auditioned.

Ultimately, it was Lowell Ganz, one of the film’s writers, who championed Keaton. After watching Keaton perform, Ganz remarked, “Keaton is going to be a star for somebody, and he might as well be a star for us.”

Improvised Brilliance

Keaton’s natural comedic instincts brought an improvised spark to many scenes. One particularly memorable moment involves a blind man asking Winkler and Keaton for spare change. Keaton’s quick-witted response? He pretends to write the man a check—classic Keaton humor.

Hidden Cameos

Ron Howard’s directorial debut was a commercial success, grossing over $21 million. The film also features subtle cameos, including Howard himself and his wife, Cheryl, seen kissing in front of Chuck’s apartment. Additionally, Howard appears playing the saxophone during a subway scene, and his brother, Clint Howard, portrays the quirky character Jeffrey.

Kevin Costner makes a brief appearance as a frat boy at the morgue party, silently blending into the chaos. Meanwhile, Shannen Doherty delivers her first-ever film line as a “Blue Bell” (similar to a Girl Scout) in an elevator scene.

Musical Highlights

The film’s soundtrack includes iconic songs, such as Quarterflash’s “Night Shift,” Van Halen’s “You Really Got Me,” and the Rolling Stones’ live rendition of “Jumpin’ Jack Flash.” Notably, “That’s What Friends Are For” debuted in Night Shift. Rod Stewart originally recorded the song for the movie, but it later became a global hit when Dionne Warwick, Elton John, Gladys Knight, and Stevie Wonder re-recorded it in 1986 to raise over $3 million for AIDS research.

Shelley Long’s Reluctance

Shelley Long, known for her role as Belinda, a kind-hearted sex worker, initially hesitated to take on the part. After researching the role and delivering a standout audition with Winkler, she was cast. Long’s portrayal was so convincing that critics described her character as “the happiest, most wholesome hooker you’ll ever see on screen.”

A Comedy Classic

Night Shift remains a quirky comedy gem, blending humor, heart, and unforgettable performances. Keaton, Winkler, and Long’s dynamic brought to life a story of unlikely friendships, personal growth, and finding connections in the unlikeliest places. Without its iconic cast, the film would have been an entirely different experience.