Tag: Comedy

July 9, 2010 / / Main Slate
November 17, 2009 / / Main Slate

By Leo Racicot

The Man Who Came To Dinner – 1942 – dir. William Keighley

We call a film ‘classic’, while sometimes forgetting why and how it came to be labeled that way.  “Oh”, we say, “The Man Who Came To Dinner. A classic movie!!” But why?

In the case of this Epstein Brothers-produced gem, the answer is easy. A super boffo comedy romp, it follows all the rules of how to make a movie that lasts, past time, past fashion: keen direction, faultless dialogue and performances, perfect pacing, plus a theme whose lessons remain timeless.

October 26, 2009 / / Main Slate

By: Victoria Large

Bombshell – 1932 – dir. Victor Fleming

I first saw the 1932 screwball comedy Bombshell, which stars Jean Harlow in one of her best roles, as part of retrospective at the Brattle titled “Blondes Have More Fun!” The program had grouped Harlow with other blonde Hollywood icons of the classic era: Mae West, Marilyn Monroe, Carole Lombard, Kim Novak, and Veronica Lake. (Funnily enough, Bombshell was at one point known as Blonde Bombshell to flag it as a Jean Harlow comedy rather than a war picture.) Placing Harlow in the context of a fascinating tradition of fair-haired starlets is illuminating – she somehow bridges the worldly toughness of West and the fragility and innocence of Monroe. In the film that made her a star, Howard Hughes’ 1930 epic Hell’s Angels, Harlow famously announced that she was ready to slip into something more comfortable, sending a smoldering look over her shoulder. Starlets have been copying her moves ever since, but it’s rare for actors of either gender to nail Harlow’s distinctive blend of glamour, wit, and grit. (James Cagney, Harlow’s co-star in The Public Enemy, has a similar appeal, blending fast-talking edginess with disarming vulnerability.)

August 21, 2009 / / Main Slate

By Christine and Robert Bamberger

The Thin Man – 1934 – dir. W.S. Van Dyke

Most people get a terrific kick out of the interplay between William Powell and Myrna Loy in the Thin Man movies, especially in the original, made just before the Production Code in Hollywood went into full force. But the film’s convoluted plot and numerous characters make it necessary to keep notes just to follow along. In getting a handle on the many personalities in the movie, it becomes increasingly apparent that this large cast of characters, spread all over the periphery of the plot, is not peripheral at all. Indeed, this bunch serves to draw our attention even more to Nick and Nora Charles.

August 10, 2009 / / Main Slate

By Leo Racicot

Footsteps in the Dark – 1941 – dir Lloyd Bacon

A smart, breezy romp cut from the same cloth as The Thin Man series, Footsteps in the Dark marked a change in the actor Errol Flynn’s career.  Until this movie was made, the very popular matinee idol was known primarily for his rousing, period piece swashbucklers and he jumped at the opportunity to trade in his Robin Hood tights and swords for a chance to prove himself as a deft comedian. He more than succeeds.

August 7, 2009 / / Main Slate

By Amy Tetreault

The Muppets Take Manhattan – 1984 – dir. Frank Oz

Muppets Take Manhattan is the third in a series of live-action musical feature films with Jim Henson’s loveable Muppets. Released in 1984, this is also the final film before Jim Henson’s sudden death in 1990. In 1992, Henson was posthumously awarded the Courage of Conscience Award for being a “Humanitarian, muppeteer, producer and director of films for children that encourage tolerance, interracial values, equality and fair play.” Muppets Take Manhattan is a great example of Henson’s renowned work for both kids and adults. In fact, at times, I thought the Muppets were better geared for adults than kids. Besides the fact that the Muppets are made of cloth, their story in Muppets Take Manhattan is totally relate-able. Especially right now.

June 30, 2009 / / Main Slate

By Peggy Nelson

Nashville – 1975 – dir. Robert Altman

Set in Nashville, Tennessee, home of the Grand Ole Opry, Nashville (dir. Robert Altman, 1975) follows musicians, con artists, politicians, and weirdos as their lives overlap and intersect over the course of a fateful few days.  The film showcases Altman’s signature style of combining multiple story lines, noisy, overlapping dialogue, and realistic, scattered camera angles into a complex yet consistent narrative whole.  Considered by many to be Altman’s best film, it sashays between dialogue and song, the individual and the political, and humor and tragedy, without missing a beat.

May 4, 2009 / / Main Slate

mayjun-fightBy Peggy Nelson

Fight Club – 1999 – dir. David Fincher

So will you be at the meeting on Tuesday?  The first rule of Fight Club is, you don’t talk about Fight Club.  The second rule of Fight Club is, you don’t talk about Fight Club.  The third rule of Fight Club is . . .
I’m going to talk about Fight Club.  Based on the Chuck Palahniuk book by the same name, the film concerns a disaffected white-collar worker who can sum up his life with the three C’s: Catalogs, Condo, Condiments.  Not surprisingly, for his efforts he’s got insomnia, ennui, and anhedonia.  He starts going to support groups for diseases he does not have, to jump-start his atrophied connection to life.  But then he meets a woman doing the same thing; recognizing her as a fellow “tourist,” all his ennui and insomnia come racing back.  Then his house explodes.  Then the movie starts.

April 10, 2009 / / Main Slate

By Jared M. Gordon 

Monty Python’s Life of Brian – 1979 –  dir. Terry Jones

In a motion picture “destined to offend nearly two thirds of the civilized world and severely annoy the other third,” you know to expect the Pythons on top of their game.  Life of Brian, being the British comedy team’s farcical view of first-century Judea, parallels the life of Brian Cohen, born in the manger next door to Jesus.  Mistaken for the messiah his entire life, Brian’s trials turn a camera squarely onto the audience, examining our hero worship and dogmatic obsessions, challenging us to laugh at crucifixion.  And do we ever.

March 10, 2009 / / Main Slate

By Jared M. Gordon

The Mummy – 1999 – dir. Stephen Sommers

Whether it’s action, romance, or angry, angry beetles, Stephen Sommers’s 1999 hit The Mummy has what you’re looking for.  Marketed as a next-generation’s Indiana Jones, The Mummy succeeds as a film by delivering exactly what it promises – and a little bit more.

With an ensemble cast including Brendan Fraser, pre-Oscar Rachel Weisz, John Hannah, and Arnold Vosloo, there are enough contrasting, zany characters for any “Which character are you” Internet quiz.  But what keeps The Mummy from being just another visual-effects-laden Hollywood song and dance?