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Leonard Part 6

Leonard Part 6 is a 1987 American spy parody film directed by Paul Weiland and starring Bill Cosby as retired CIA agent Leonard Parker, who is coerced back into service to prevent the eco-terrorist Medusa Johnson, played by Gloria Foster, from deploying an army of mind-controlled animals against humanity. The film, produced by Cosby for SAH Productions in association with Columbia Pictures, features a screenplay by Jonathan Reynolds based on a story by Cosby, with cinematography by Jan de Bont. Released on December 18, 1987, it follows Parker's absurd mission involving gadgets, disguises, and confrontations with Johnson's scheme to conquer the world through vegetarian extremism and animal control. Despite Cosby's prominence from The Cosby Show, the movie bombed at the box office, grossing under $5 million against a $24 million budget, and drew scathing reviews for its convoluted plot, poor execution, and unintended humor. It holds a 2.2/10 rating on IMDb from over 8,000 users and a 7% approval score on Rotten Tomatoes based on 15 reviews. Critically panned, Leonard Part 6 won three Golden Raspberry Awards in 1988 for Worst Picture, Worst Actor (Cosby), and Worst Screenplay (Cosby and Reynolds), with additional nominations for Worst Director (Weiland) and Worst Supporting Actress (Foster); Cosby notably accepted his Razzie in a lavish gold-and-marble replica. The film's legacy endures as a notorious example of 1980s cinematic failure, often cited in discussions of so-bad-it's-good entertainment and Cosby's rare foray into action-comedy.

Development and Pre-Production

Concept and Writing

The concept for Leonard Part 6 originated as a spoof of and spy films, drawing inspiration from James Bond-style adventures and over-the-top action comedies, with elements reminiscent of Lucille Ball's physical humor. envisioned the lead character, Leonard Parker, as a "high-tech comic-book character" who blends with absurd, gadget-filled antics, aiming to create a comedy suitable for through its rating and inclusion of relatable paternal themes akin to Cosby's persona. Cosby played a central role in the project's creation, writing the story and serving as producer while starring as the titular agent, with the screenplay later adapted by . He pitched the idea to president in 1986, securing quick approval for a $24 million budget to develop a lighthearted that incorporated family dynamics alongside high-stakes absurdity. After the 1986 pitch, Puttnam quickly approved the project with a $24 million budget. The title Leonard Part 6 was chosen as a humorous gag, implying it was the sixth installment in a fictional series whose prior entries had been confiscated for reasons, as explained in the film's opening narration. Paul Weiland was hired as director for his background in British television commercials, marking his debut and bringing a visual style suited to the film's comedic, fast-paced sequences. However, tensions arose early, with Cosby clashing with Weiland and producer Alan Marshall over creative direction, exacerbated by a perceived "Brits vs. Yanks" divide on set. After viewing a , Cosby publicly disavowed the film, blaming studio interference from Puttnam and rumors circulated that he offered Columbia $10 million to halt its release, though the offer was rejected. In a pre-release appearance on , he urged audiences not to see it, stating it did not align with his original vision for a fun, accessible spy .

Casting and Crew Assembly

Bill Cosby was cast in the lead role of Leonard Parker, drawing on his established fame as a from the hit television series , which had propelled him to widespread popularity by the mid-1980s. As both star and producer, Cosby's involvement shaped the film's direction as a , aiming to blend his comedic style with elements reminiscent of his earlier adventure series . Gloria Foster was selected for the villainous role of Medusa Johnson, bringing her dramatic background from stage and film to the part. Joe Don Baker portrayed CIA chief Nick Snyderburn, leveraging his experience in action-oriented roles from films like Walking Tall. Moses Gunn played Giorgio Francozzi, contributing his versatile character work seen in projects such as Shaft. The supporting cast included Pat Colbert as Allison Parker, Ethan Phillips in a minor role, and John Hostetter as another operative, rounding out the ensemble with seasoned television and film actors. The crew assembly featured Paul Weiland as director, marking his debut in feature films after a career directing music videos and advertisements in . served as producer, with acting as specifically for Cosby's interests; production commenced on April 15, 1987, under . Assembling the team presented challenges due to the film's shift from Cosby's family-friendly television success to a satirical spy thriller, which risked alienating his core audience while attempting to James Bond-style adventures. Tensions arose over creative credits and studio relations with president , complicating pre-production.

Production

Principal Photography

Principal photography for Leonard Part 6 commenced on April 15, 1987, and took place predominantly in the . The production utilized practical locations across the region, including four mansions in , to represent the protagonist's upscale lifestyle and key interior sequences. Urban settings in Oakland provided backdrops for street-level action, while sound stages were established in an unused factory in for controlled environments. A notable involved the film's sequence of the tuna factory infiltration, where the exterior of the fictional International Tuna company headquarters was constructed in the Alameda shipyards to facilitate the elaborate stunt work and comedic confrontations. These practical locations emphasized the film's blend of spy tropes and humor, requiring coordination for dynamic camera movements in industrial spaces. setups were integrated on-site for the costumed fight scenes, featuring actors in outfits to heighten the satirical elements. Animal actors were employed for sequences depicting weaponized creatures, adding logistical complexity to the shoots. The $24 million budget supported these ambitious elements, though executing the action-comedy hybrid presented challenges, including timing gags amid the parody framework. Director Paul Weiland, in his feature debut following a career directing British commercials, oversaw improvisations to refine comedic timing during principal scenes.

Post-Production and Music

Following principal photography, the post-production phase of Leonard Part 6 focused on refining the film's parody of spy thrillers through editing and effects integration. Editor Gerry Hambling assembled the footage under the supervision of director Paul Weiland, aiming to amplify the comedic absurdity with quick cuts and rhythmic pacing for action sequences. This process resulted in a final runtime of 85 minutes, streamlining the narrative while preserving the film's over-the-top gags. Visual effects were handled by supervisor , whose team emphasized practical effects over elaborate optical work, given the era's technological constraints and the film's modest budget of $24 million. Key sequences, such as gadget deployments and animal-based action set pieces, relied on miniatures, , and in-camera tricks to achieve their satirical tone, with minimal needed for the elements. Edlund's contributions, produced in collaboration with Jeff Gillam, ensured the effects supported the humor without overshadowing the live-action performances. The musical score was composed by , who crafted an orchestral soundtrack evoking classic spy film tropes with brass-heavy motifs and playful cues to underscore the film's comedic action and ironic twists. Bernstein's work replaced an earlier rejected score by , aligning more closely with the production's vision for a lighthearted spoof. The score's energetic arrangements heightened the absurdity of sequences involving villainous schemes and heroic escapades, providing a contrapuntal layer to the visual humor. A standout element was the end-credits love theme "," performed by and with lyrics by . Released as a in 1987, it served as the film's romantic counterpoint, playing over the closing montage to soften the parody's edge. The track achieved commercial success, peaking at No. 8 on the Adult Contemporary chart, No. 14 on the Hot R&B/Hip-Hop Songs chart, and No. 89 on the in 1988.

Content

Plot Summary

Leonard Parker, a retired CIA agent now operating a successful in , is reactivated by the agency to thwart Medusa Johnson, a vengeful vegetarian scientist who brainwashes animals to assassinate world leaders and enforce a global meat-free agenda. Parker's personal life complicates matters; he is estranged from his wife, Alison, and focused on wooing her back while disapproving of his daughter Joan's relationship with her much older boyfriend, Giorgio. He initially refuses the CIA's offer to return to service, citing how his spy career ruined his marriage, but director Snyderburn persists. Equipped with an array of absurd, gadget-filled tools reminiscent of spy thrillers, Leonard undertakes a series of missions after abducts Alison and Joan to force his compliance, beginning with the recruitment of allies like Giorgio and infiltration of Johnson's tuna factory hideout, where he encounters her minions disguised as costumed vegetarians. He uncovers her scheme involving brainwashed creatures like explosive pigeons serving as spies, venomous frogs, and rampaging sea lions, all deployed to eliminate meat-eating humans; subplots weave in Leonard's efforts to mend his marriage and , with the abducted Alison and Joan central to the escalating stakes. As the plot escalates, Leonard deploys countermeasures such as "magic meat" to disrupt the animals' conditioning and uses everyday items like in a pivotal confrontation to neutralize Johnson's forces. The climax unfolds at Johnson's underground lair beneath the factory, where she launches an assault on with her animal army, including swarms of killer bees and anteaters; Leonard battles through the chaos, rescues his family, and ultimately defeats Johnson by triggering an explosion from her own chemical vats, leading to her demise. In the resolution, Leonard reconciles with Alison and Joan, and they celebrate together in his restaurant, restoring domestic harmony amid the absurdity.

Cast and Characters

Bill Cosby stars as Leonard Parker, the charismatic but bumbling retired CIA agent and central protagonist whose return to drives the film's comedic , showcased through his physical humor and improvisational . Gloria Foster portrays Medusa Johnson, the eccentric villain orchestrating an animal uprising via mind control, infusing the role with over-the-top menace that underscores her radical ideological motivations as a vegetarian extremist seeking retribution against humanity's carnivorous ways. Joe Don Baker plays Nick Snyderburn, Leonard's CIA handler who summons him from retirement, offering a straight-man contrast with his gruff, authoritative presence amid the surrounding absurdity. Moses Gunn appears as Giorgio Francozzi, a loyal yet unconventional sidekick figure who supports Leonard in key moments while embodying the personal conflicts arising from his role as the much-older boyfriend of Leonard's daughter. Supporting roles flesh out the ensemble, including Pat Colbert as Allison Parker, Leonard's estranged wife whose silence toward him heightens the familial discord central to his . Victoria Rowell as Joan Parker, the aspiring actress daughter whose choices exacerbate her father's protective instincts and contribute to tense family dynamics. Additional performers such as as the wry butler Frayn, who aids Leonard's missions and provides narrative framing, along with as Nurse Carvalho, enhance the interpersonal and comedic layers. The portrayals emphasize character dynamics like Parker's strained relationships—his standoff with Allison and disapproval of Joan's romance with Giorgio—which his chaotic spy exploits, while Foster's delivers a heightened menace rooted in her portrayed zeal for animal liberation.

Release

Theatrical Premiere

Leonard Part 6 was released theatrically by in the United States on December 18, 1987. The film's world premiere occurred in and , marking its initial public showing before a wider rollout. The movie opened in 1,142 theaters across the country, representing a limited wide release strategy aimed at capitalizing on Bill Cosby's popularity during the height of . With a of 85 minutes, it earned a rating from the of America due to mild action sequences and comedic elements. Internationally, distribution was handled in select markets, beginning with on December 17, 1987, followed by European countries including on March 25, 1988, on April 1, 1988, and on April 29, 1988; however, the campaign emphasized North American audiences. Pre-release buzz was notably undermined by lead actor and producer Bill Cosby, who publicly disavowed the film in the weeks prior to its debut, denouncing its quality and urging viewers not to purchase tickets, an unusual move that amplified negative expectations.

Marketing and Distribution

The marketing campaign for Leonard Part 6 positioned the film as a star vehicle for Bill Cosby, leveraging his popularity from The Cosby Show to appeal to family audiences with a blend of spy parody and comedy. Trailers highlighted Cosby's character wielding outlandish gadgets, such as exploding frogs and animal-control devices, in a lighthearted spoof of James Bond-style action, emphasizing humorous set pieces over plot depth. However, Cosby's public disavowal complicated efforts; he refused to promote the film, publicly urging audiences not to see it on talk shows due to dissatisfaction with the final cut. Tie-in promotions targeted 's viewership through cross-media partnerships, including a advertising campaign featuring Cosby alongside film clips to promote the beverage during the movie's release period. Posters depicted Cosby in dynamic action poses, often surrounded by espionage props like briefcases and high-tech gear, to evoke comedic adventure. faced challenges from early critical leaks, including advance reviews panning the film's execution, which fueled negative buzz before its December 1987 premiere, compounded by Cosby's rejection that distanced potential audiences. Home media distribution included a DVD release by Sony Pictures Home Entertainment on April 26, 2005, presenting the film in its original 1.85:1 aspect ratio with basic audio options but no special features. A Blu-ray edition was released by Mill Creek Entertainment on September 12, 2017, in the original 1.85:1 aspect ratio with basic audio options but no special features. The film appears sporadically on streaming platforms for rent or purchase, such as Amazon Video and Apple TV, and occasionally free on ad-supported services like Tubi. The soundtrack's lead single, "" performed by and as the film's love theme, was marketed independently from the movie, achieving success on radio formats separate from the film's poor reception. The track peaked at number 8 on the Adult Contemporary chart and number 14 on the chart in 1988.

Reception and Impact

Box Office Performance

Leonard Part 6 premiered in 1,142 theaters on December 18, 1987, earning $1,316,337 during its opening weekend and ranking tenth at the North American box office. The film's performance was hampered by strong competition from holiday releases, notably Three Men and a Baby, which grossed $10.3 million over the three-day Christmas weekend and became the year's top-grossing film with $167.8 million domestically. The movie's earnings declined sharply in subsequent weeks due to negative word-of-mouth, with its domestic total reaching only $4,615,255 against a $24 million , resulting in a significant financial loss for distributor . This underwhelming showing, where the gross represented less than 20% of the budget, marked Leonard Part 6 as a major commercial failure and contributed to setbacks in Bill Cosby's post- film career, as he publicly disavowed the project. Adjusted for inflation to 2023 dollars, the film's domestic gross equates to approximately $11.57 million, further underscoring its underperformance in analyses of 1980s box office disappointments. The flop's long-term repercussions included strained relations for amid a series of underperforming releases that year.

Critical Response

Upon its release, Leonard Part 6 received near-universal panning from critics, who lambasted its lack of humor and coherent storytelling. described it as "one of the most dismal comedies" he had ever seen, criticizing the film's reliance on and its failure to deliver any genuine laughs. echoed this sentiment, calling it "an embarrassment" to star and a profound disappointment to his fans. Other reviewers highlighted the script's laziness, with unfunny gags and a wasted ensemble cast, including talents like and , who were underutilized in the chaotic narrative. As of July 2025, holds a 7% approval rating on , based on 15 reviews with an average score of 3.5/10, underscoring its status as a critical . The consensus there emphasizes the movie's status as Cosby's most appallingly bad work, with detractors pointing to its disjointed of spy thrillers and absence of wit. While overwhelmingly negative, a few reviews noted rare positives, such as the 's visual style in certain action sequences or brief cameos that provided fleeting amusement, though these were insufficient to redeem the overall execution. The project is widely regarded as a low point in Cosby's career, tarnishing his reputation following the success of . Director Paul Weiland later reflected on the production in a 1994 interview, describing it as a "terrible mistake" stemming from creative clashes, particularly Cosby's resistance to direction and insistence on his vision. He noted the challenges of working with a star who held producer and story credits, leading to a film that deviated from effective comedic principles. In modern reevaluations, Leonard Part 6 has occasionally been discussed in "so bad it's good" contexts for its absurdities and over-the-top elements, such as the villainous vegetarians and bizarre gadgets, attracting a niche among bad-film enthusiasts. However, it remains consistently ranked among the worst films of the , with little rehabilitation in critical circles.

Accolades and Legacy

Leonard Part 6 received significant recognition at the in 1988, winning three awards: Worst Picture, Worst Actor for , and Worst Screenplay (shared by Cosby and ). The film also earned nominations for Worst Director (Paul Weiland) and Worst Supporting Actress (). In a notable moment for the awards, Cosby became the first recipient to publicly accept his Razzies, appearing on Starring to display them. He demanded that the standard inexpensive plastic trophies be replaced with custom versions made of 24-carat gold and Italian marble, which the studio provided at a higher cost. The film's legacy endures as a notorious box-office and critical flop from 1987, frequently appearing on lists of the worst movies ever made, often alongside contemporaries like Ishtar. This failure contributed to Cosby's pivot away from major film projects, reinforcing his focus on television success with . In media and cultural discourse, Leonard Part 6 is often referenced as an exemplar of cinematic excess, with its over-the-top spy elements and Cosby's then-untarnished wholesome image serving as fodder for satirical commentary. No sequels or reboots have been produced, despite the titular implication of prior installments. Its availability on formats, including DVD releases, has sustained a niche curiosity among fans of "so-bad-it's-good" cinema.

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