History Film / Arthur1981

** When Arthur remains by Hobson's bedside in the hospital, he offers to read some scenes from ''Theatre/{{Hamlet}}'' to keep Hobson entertained. Creator/JohnGielgud (Hobson) was one of the most highly regarded [[Creator/WilliamShakespeare Shakesperean]] stage actors of the 1930s through the 1950s; Gielgud's interpretation of Hamlet was especially acclaimed.

-->'''Hobson''': I'll alert the media

-->'''Hobson''': It's what I live for

* DirtyOldWoman: Martha, Arthur's grandmother, asking him "Is it wonderful, being promiscuous?" when he visits her[[note]]as in "dammit, I was born too early and missed the Sexual Revolution"[[/note]] and explains his romantic travails to her, and she goes on to suggest he marry Susan and carry on an affair with Linda. In the sequel, in response to being told by her doctor that she needed exercise, she hires a terribly fit twenty-something male instructor...whom she watches go through a workout routine. She tells Arthur that she started with just twenty minutes a day of this but now can go a full hour, and she hasn't felt so good in years.

* DeadpanSnarker: Hobson, so very much.

* {{Flanderization}}: Arthur's childish pursuits are given more screen time than in the original, with a bathroom full of remote control toys, a toy basketball hoop, ''and'' a model train set an excellent example of this compared to the corresponding scenes in the first film. Before, while he certainly had toys lying about and a small PersonalArcade, he preferred to spend his days playing tennis and racing cars and his nights having one-night stands. To be fair he's now a married man who adores his wife, and she keeps him from driving when he's intoxicated, which is still most of the time. But no justification is given as to why he has seemingly become '''obsessed''' with getting everyone in his sight to laugh -- during the opening credits he leans out of his car backseat's window to pester a rich older gentleman in the car alongside his. ''While the cars are moving.'' He also keeps playing pranks on his new, terminally humorless butler Fairchild, such as giving him trick soap. In the denouement, he even [[spoiler:temporarily convinces him he's fired]]! Critic Drew [=McWeeny=], in a bonus episode of the ''80s All Over'' podcast, argues that ''Arthur 2'' Arthur is one of the most punchable movie characters of the decade (and compares him to Axel Foley in ''Film/BeverlyHillsCop 2'' in this regard -- both characters were likeable initially but succumbed to poor sequel characterization).

* ActorAllusion: When Arthur remains by Hobson's bedside in the hospital, he offers to read some scenes from ''Theatre/{{Hamlet}}'' to keep Hobson entertained. Creator/JohnGielgud (Hobson) was one of the most highly regarded [[Creator/WilliamShakespeare Shakesperean]] stage actors of the 1930s through the 1950s; Gielgud's interpretation of Hamlet was especially acclaimed.

* SequelGap: Seven years (but only four in-universe).

** The ''Arthur -- The Album''-only song "It's Only Love", a Stephen Bishop number that's a WithLyrics version of the underscore cue of the same title, fits this trope even more than "Arthur's Theme" does -- it has a soothing and mellow start, a touching tone, isn't especially plot-specific, and has an electric guitar solo for the bridge, though it has a subdued finish.
** The sequel has "Love Is My Decision", performed and co-written by Chris de Burgh (who was coming off of "The Lady in Red" at the time). This one is a straight-up SillyLoveSong, there's sparkly synth, and the wrap-up is BIG -- but at the same time it's even more film-specific because the first-person lyrics are clearly from the perspective of Arthur himself. The first verse even includes multiple call backs to the original "Arthur's Theme" in its lyrics.

* BathtubScene: One of the most famous non-{{Fanservice}} examples comes early on as Arthur takes a lavish bubble bath, playing up his IdleRich {{Manchild}} nature and further establishing his relationship with Hobson. Photos from this scene turned up quite a bit in the print advertising campaign for the film, including several posters. Not only does a similar scene appear in the sequel, but its [[https://www.youtube.com/watch?v=2nu9G0oGXZI specially shot teaser trailer]] was a completely unique clip in which Arthur addresses the audience from the tub!

** Burt's clearly established as a KnightTemplarParent who's actually killed a man well before the climax, but even so, [[spoiler:his actually attempting to murder both Arthur and Linda, who are ''terrified'', with a cheese knife]] is a pretty startling moment for a RomanticComedy.

* BathtubScene: One of the more famous non-{{Fanservice}} examples comes early on as Arthur takes a lavish bubble bath, playing up his IdleRich {{Manchild}} nature and further establishing his relationship with Hobson. Photos from this scene turned up quite a bit in the print advertising campaign for the film, including several posters.

* SeamlessSpontaneousLie: In the wake of witnessing her RefugeInAudacity (see above), Arthur helps Linda "explain" why she took the tie without paying for it with one of these. Later on, Linda comes up with another one of these, a HealthcareMotivation, to explain her presence at the engagement party to Susan, who buys it hook line and sinker. Justified in that Linda ''is'' an aspiring actress.

* SeamlessSpontaneousLie: In the wake of witnessing her RefugeInAudacity (see above), Arthur helps Linda "explain" why she took the tie without paying for it with one of these. Later on, Linda comes up with another one of these, a HealthcareMotivation, to explain her presence at the engagement party to Susan, who buys it hook line and sinker.
Justified in that Linda ''is'' an aspiring actress.

** "[[https://www.youtube.com/watch?v=qqGWOxu_H4I Arthur's Theme (Best That You Can Do)]]" plays several aspects of this trope straight (feel-good with soothing and mellow start, builds and builds starting with the second chorus, has a showboating saxophone -- rather than guitar -- solo for the bridge), but not others. It's '''very''' specific to the events of the movie, bookends it by being played under both sets of credits, and is co-written/performed by Christopher Cross, who had just won five Grammy Awards a few months prior. The song and movie to this day are joined at the hip, and more than most post-1960s movie theme songs it's become a standard. Music/AndyGibb, Music/BarryManilow, Music/DionneWarwick, Music/ShirleyBassey, Ronan Keating, Music/AlvinAndTheChipmunks, and the cast of ''Series/{{Glee}}'' all covered it. The song's also popular in Japan, where it's usually covered by female artists. Fitz and the Tantrums covered it for the 2011 remake. And by way of the JukeboxMusical ''The Boy from Oz'' (about cowriter Peter Allen), even Creator/HughJackman has belted it out!

** "[[https://www.youtube.com/watch?v=qqGWOxu_H4I Arthur's Theme (Best That You Can Do)]]" plays several aspects of this trope straight (feel-good with soothing and mellow start, builds and builds starting with the second chorus, has a showboating saxophone -- rather than guitar -- solo for the bridge), but not others. It's '''very''' specific to the events of the movie, bookends it by being played under both sets of credits, and is co-written/performed by Christopher Cross, who had just won five Grammy Awards a few months prior. The song and movie to this day are joined at the hip, and more than most post-1960s movie theme songs it's become a standard. Music/AndyGibb, Music/BarryManilow, Music/DionneWarwick, Music/ShirleyBassey, Ronan Keating, Music/AlvinAndTheChipmunks, and the cast of ''Series/{{Glee}}'' all covered it. The song's also popular in Japan, where it's usually covered by female artists. Music/FitzAndTheTantrums covered it for the 2011 remake. And by way of the JukeboxMusical ''The Boy from Oz'' (about cowriter Peter Allen), even Creator/HughJackman has belted it out!

** "[[https://www.youtube.com/watch?v=qqGWOxu_H4I Arthur's Theme (Best That You Can Do)]]" plays several aspects of this trope straight (feel-good with soothing and mellow start, builds and builds starting with the second chorus, has a showboating saxophone -- rather than guitar -- solo for the bridge), but not others. It's '''very''' specific to the events of the movie, bookends it by being played under both sets of credits, and is co-written/performed by Christopher Cross, who had just won five Grammy Awards a few months prior. The song and movie were both such big hits that to this day they're joined at the hip, and more than most post-1960s movie theme songs it's become a standard; Barry Manilow, Dionne Warwick, Shirley Bassey, Ronan Keating, Music/AlvinAndTheChipmunks, and the cast of ''Series/{{Glee}}'' have all covered it. The song's also popular in Japan (and usually covered by female artists). By way of the JukeboxMusical ''The Boy from Oz'', even Creator/HughJackman has belted it out!

* OffstageCrash:

* {{Motifs}}: Arthur is portrayed as the little boy for whom every day is Christmas, and there are many Christmas references as possible for a movie not set at that time of year. The sequel is set ''during'' the Christmas season.

* FloweryInsults: Many of Hobson's sarcastic remarks are this, going over their target's heads because of his eloquence and rich vocabulary:
--->'''Gloria''': Hi

'''Linda:''' Daddy... he's a millionaire.\\

'''Hubson:''' It's what I live for, sir.

* LawOfInverseFertility: Arthur and Linda are HappilyMarried and were trying to have children during the SequelGap, but at the top of the film Linda has just been to a doctor's appointment and told she cannot bear them. They decide to adopt and make faster process than they're told to expect. Even with Burt's treachery imperiling their situation, [[spoiler:Spirit Advisor Hobson]] tells Arthur that his impending son is WorthLivingFor. [[spoiler:Just after Arthur comes back to Linda with his fortune restored, Mrs. Canby arrives with their adopted ''girl''. Arthur is happy but admits that someone predicted he'd have a son...and then Linda reveals she's pregnant]].

* StalkerWithACrush: Susan's ''really'' intent on finally marrying Arthur, even though they haven't seen each other since the day they were to be wed and he never loved her to begin with. She still has the engagement ring...which she wears on a chain around her neck...and when she and her father learn where Arthur and Linda are now staying, goes down to the apartment to taunt Linda with the news that Daddy got him fired from the hardware store job and a TheReasonYouSuck speech. She'd probably be even worse about this if not for the fact that she's been in therapy during the SequelGap (telling Arthur that she's down to three visits a week).

* WorthLivingFor: After being delivered a TheReasonYouSuckSpeech, Arthur asks [[spoiler:Spirit Advisor Hobson]] what he has to live for now that he's in his DarkestHour. The answer? "Your son", which reminds Arthur that he and Linda were striving to adopt a child when all the trouble began, and still had a chance even then. The denouement adds a twist to this: [[spoiler:Arthur is cooing over said child at last -- only to be informed it's a girl. And then Linda reveals she's pregnant...]]

* BreakfastInBed: When his butler, Hobson, falls terminally ill, Arthur makes a point of staying by his bedside and having extravagant breakfasts smuggled into his hospital room every morning. The food isn't what Hobson should be eating, but Arthur says he doesn't want his butler's last meal to be Jell-o.

* CentralTheme: Arthur is portrayed as the little boy for whom every day is Christmas, and there are many Christmas references as possible. The sequel has its climax during the Christmas season.

* ParentalSubstitute: Arthur's mother is never seen (a sole offhand mention in the sequel can be interpreted as suggesting she passed away some time ago), and he has a bad relationship with his father. Enter Hobson, who effectively raised Arthur. Even though he's frequently annoyed and frustrated by Arthur's antics, Hobson is the only person in his inner circle who genuinely loves him for who he is, and ultimately has a hand in Arthur and Linda getting together despite everything. Arthur even straight up refers to him as his father after [[spoiler:he passes away]].

* BadassBoast: "Don't SCREW with me, Burt!" Preceded by an ArmorPiercingSlap.

-->"It's been a distinct pleasure meeting you;...it's been a most memorable afternoon. Usually one must go to a bowling alley to meet a woman of your stature."

* BathtubScene: One of the more famous non-{{Fanservice}} examples comes early on as Arthur takes a lavish bubble bath, playing up his IdleRich {{Manchild}} nature and further establishing his relationship with Hobson. Photos from this scene turned up quite a bit in the print advertising campaign for the film, including several posters; one staged publicity still even has Dudley Moore doing a BathKick! The sequel has similar scenes (the sequel's scene provides the above page image).

[[FollowYourHeart The best that you can do is fall in love]]."''

* RefrainFromAssuming: The theme is not called "When You Get Caught Between the Moon and New York City", or even just "The Moon and New York City". It's called "Arthur's Theme (Best That You Can Do)".