The latest fare from Judd Apatow follows a, by now, recognisable formula: hilarity, plus heart-wrenching moments, in addition to a cast comprised of Apatow’s inner circle. It follows the (questionable) development of a group of comedians, and attempts to show the humanity behind the outrageous personalities. The main problem with this film is that it is too long, and all the moments of genuine insight or laugh-out-loud comedy are adrift in a sea of over-extended scenes. Then again, this film doesn’t want to hook the viewer with one-liners; it’s supposed to be a slower exploration of the comedian condition.
Funny People explores notions of fame, funniness, and death – pretty much in that order. George Simmons (Adam Sandler) is Adam Sandler – or at least, an equivalent of. A hugely successful comedian, he has it all: big house, big budget movies, big breasted women when he wants them. I assume Adam Sandler has these things. But there the similarities end, for George Simmons has just been diagnosed with a rare form of cancer, and given less than a year to live. Realising he has lost touch with all his friends – and his roots – George decides to get back into stand-up comedy, and hires the humour-challenged and struggling stand-up Ira Wright (Seth Rogen) to be his personal assistant and friend. George wants to win back his former flame Laura (Leslie Mann, Apatow’s wife), and Ira wants to woo Daisy (Aubrey Plaza) before his housemates get her into bed. The film’s ensemble cast features a swathe of other famous faces, including Jonah Hill, Jason Schwartzman, Raymond (of ‘Everybody Loves Raymond’ fame/infamy), and a rather arbitrary cameo from Eminem. Yes, you read that correctly: Eminem.
The film features solid performances from all involved, and manages to tackle some weighty subject matter with surprising sensitivity. Despite the overabundance of penis jokes, the importance of George’s illness isn’t compromised – well, at least not too much. Apatow has proved in the past that no subject is sacred, but in Funny People he also proves that not all subjects need to be treated slightly; he can be serious. Funny People is also refreshing in that it doesn’t necessarily abide by comedic conventions. While I doubt that Apatow will be announcing his intention to start making arthouse films any time soon, Funny People does manage to present an interesting blend of almost-documentary style stand-up footage, with more serious dramatic scenes. In addition to this, the film doesn’t give a typical Hollywood ending. It is ambiguous; just like the characters themselves, and the question of whether or not they have matured at all.
The casting in this film is – unfortunately – perfect. Unfortunately, because at times the actors appear to be playing themselves. Adam Sandler plays a big-name comedian. Seth Rogen plays an up-and-coming, who jokes about the fact that he’s lost a lot of weight recently. Jonah Hill plays a comedian who jokes about being overweight. The film also features real footage from Sandler and Apatow’s early careers, further blurring the line between character and actor. With bias so clearly displayed, it’s difficult to trust what the film says, or wholeheartedly give yourself over to the sympathetic response it is clearly trying to engage.
Also disappointing is Apatow’s continued underuse of his female characters. Knocked Up‘s Katherine Heigl was fun, but she was still somewhat the stereotypical up-tight career woman, who falls into a relationship with the funny deadbeat dude because … well, because that’s a happy ending. In Funny People, the female characters are still lacking. Laura has a significant portion of screen time, but we still don’t understand her emotions or motivations. Daisy is included, one feels, solely so that Ira can find his soul-mate – not so that she can be developed as a character in her own right.
For all these criticisms, however, Funny People should be commended for what it tries to accomplish. This is not the most serious film out at the moment, but it has a lot of heart. Nor is it the funniest, feel-good film; but a realistic portrayal of the messy moments in life – in a comedy, no less, where life is often over-the-top and improbable – can be more uplifting than a dozen generic Ben Stiller/Will Farrell/(usually) Adam Sandler films. Funny People is a film about people that are funny-amusing and funny-peculiar that blends equal amounts of sex jokes with satire; a film that, above all, wants to give the viewers a human comedian, not just a funny person.
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Director: Judd Apatow
Cast: Adam Sandler, Leslie Mann, Seth Rogen
Australian release date: out now
Poster image from impawards.com
Credit for movie stills
I saw this film a month ago at a press screening in London. I don’t think I’ve come out of a film more confused and disappointed (and with a numb arse due to inactivity over 3 hours) in ages. In short, I thought the film was rubbish. It tried too hard to have a moral and then failed to execute it properly. Stereotypes and penis jokes? I thought we had grown out of that! I also think the title of the film is misleading: the way the film is advertised is as a comedy – the fact that there are dark moments isn’t shared. Ergo the aforementioned confusion about what Apatow & Co were trying to achieve with it.
There were too many “funny” actors trying to steal the limelight. I didn’t buy any of the relationships they manufactured throughout the film. Why would Sandler’s character just pick up Rogan’s?
Also, may I pass a brief comment on Aubrey Plaza? I wanted to reach inside the screen and slap her face. What an irritating actor. A dishmop would have had more charisma and comic ability.
I don’t think the script was thought through enough. Self-glorification and a “check me out, I get such awesome actors in my film” attitude seems to be the main drive behind the film. This was clearly done by people who had run out of cash and knew they’d make money because of the names in the film.
The only worthy actor was Eric Bana. But at the same time, how embarrassing for you Eric that you have undercut all your previous good work by playing a hideously stereotyped Australian bogan. I’m sad for you.