Tag: comedy

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Nicolas Cage getting his mugshot taken in the Coen Brothers' "Raising Arizona".

Great Farce & Laughable Losers: The Coen Brothers’ “Raising Arizona” (1987)

Have you ever watched a film you held in your memory, only to see how differently you interpret it upon re-watch? I was in seventh grade upon the release of Raising Arizona, and while I never saw the film in theatres, I later stumbled across it that same year on the movie cable station. We’d just moved from Florida to Memphis, and I was not partial to the southern accents, mind you. So amid my depressed tween angst, I watched this redneck-laden film, which made me feel even more despair, as I thought I might become like this someday given my current southern location. Silly, I realize now, but stereotypes exist for a reason, and this film is overwhelmed with them—but not without purpose.

Nicolas Cage plays an ex-con named H.I., who just can’t seem to stay out of jail. He falls in love with police officer Ed (Holly Hunter) and eventually asks her to marry him. They move to a trailer park in Tempe, Arizona with the plans of starting a family, but Ed comes to learn that she’s infertile. Meantime, local businessman and furniture storeowner Nathan Arizona (Trey Wilson) has a wife who just birthed quintuplets. Figuring that the Arizona couple has more babies than they can handle, H.I. and Ed plan to kidnap the child and raise him as their own. Already, one can see the absurdism. One of the funniest moments is when H.I. breaks into the Arizona household in his attempt to steal a baby. (Supposedly 15 toddlers were used to film the five babies, and one was fired once he learned to walk. However, the one they abduct—Nathan Jr., is played by 1985-born T.J. Kuhn who as of 2014 was working as a real estate agent in Phoenix.) […]

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A shot of Rupert Pupkin's closing monologue speech, as seen on a stack of televisions, in Martin Scorsese's "The King of Comedy"

Delusional Yet Determined: On Martin Scorsese’s “The King of Comedy” (1983)

What if success was not measured in quality but in popularity? Where achievement resided not within the honing of one’s craft but within fame itself? Where spending years in obscurity gets tossed aside in favor of shallow recognition and immediacy? Oh wait, if this isn’t the culture we live in, then what is it? Perhaps it is also the mindset of wannabe standup comic Rupert Pupkin (Robert DeNiro) in Martin Scorsese’s The King of Comedy. Granted, Rupert really does believe he is great and ready for the big stage (we witness this via his many fantasies) but fame seems to be the thing he longs for more than anything else. He wants to be known and to ultimately prove his worth to those who believe he’d not amount to anything more than a ‘hill of beans.’ Add to this his brazen, belligerent manner and it’s no wonder he ultimately gets what he gets—and no, I don’t mean jail.

The King of Comedy has remained an overlooked work despite its 40-year run, yet this is not only one of his best films but one that has proved to be prophetic in terms of how this business we call show business operates. Fame, ratings, who you know—this is what matters, and Rupert realizes this. The film opens with late-night talk show host Jerry Langford (Jerry Lewis) escaping into a limo from a crowd of aggressive fans. Thinking he has privacy at last, Rupert pushes his way in. Already, they are on a forced first-name basis, as Rupert speaks to Jerry as though he’s always known him. ‘What is your name again?’ Jerry asks. […]