The King of Comedy
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Movie Reviews of The King of Comedy
Movie Review: One of De Niro's most human -- and hilarious -- roles!
Summary: 5 Stars
"Better to be king for a night than a schmuck for a lifetime."As Travis Bickle's universally known line of dialogue from "Taxi Driver" has a deep meaning ("Are you talkin' to me? Well I'm the only one here"), Rupert Pupkin's closing speech of his first-ever standup comedy routine in "The King of Comedy" finalizes the entire meaning of the film, wrapping it up in one short sentence. Is it better to have one great day versus nothing? Do the ends justify the means? Two questions all of us ask ourselves at one point of time in our life.
The comparisons to Travis Bickle seem stronger on paper than they do in the film. The most striking resemblance between the two stories is that both contain the central theme of a man snapping and doing something apparently crazy. Both films star Robert De Niro, and both are directed by Martin Scorsese, which makes for an interesting discussion of relation. Some may even say that it's a sequel in sorts.
Rupert Pupkin (De Niro) is a lonely man whose daily life and routines consist around one man: Jerry Langston, a talk show host and comedian who is followed by a horde of rabid fans, including Masha (Sandra Bernhard), a fan to rival Pupkin, who admits that he has waited nine hours at a time outside Jerry's recording studio to catch a glimpse of him as he is shoved into limos by fancy bodyguards.
Rupert is given a rare opportunity to speak to Jerry one day as he saves him from Masha, who assaulted Jerry with kisses and hugs. It is as they drive away together and Rupert talks to Jerry that he proposes his long-time dream, which is to appear on Jerry's show as an aspiring standup comic. Of course, he's had no experience. But Rupert swears he would be great on stage -- he's studied Jerry for years and knows timing.
Langston gets these psychos all the time, but he doesn't realize just how strong a fan Rupert is until he shows up at his private home with suitcases and a girl claiming to have been invited. "I made a mistake," Rupert says. "So did Hitler," Jerry barks.
Jerry Lewis plays Jerry Langston in a self-referential (and very unflattering) role. It's his finest to date. The guy is a scumbag who barely tolerates fans and is cruel. Lewis has lost his manic, energetic, annoying comedy rituals seen in films such as "The Nutty Professor" and has moved on to real acting that demands true skill. Gone are the squeaky voice and the crossed eyes. Here is perhaps the wretched soul who really exists behind Jerry Lewis, as we know him.
All of us exaggerate, but Rupert does so to an extreme. After being shoved out of Jerry's limo the night of their confrontation with an invitation to call Jerry's secretary to schedule a meeting, Rupert shows up at Jerry's office claiming to have an appointment. "Is Jerry expecting you?" he is asked by a clerk. "Yes, I don't think so," Rupert says.
Jerry and his workers, who deny his taped comedy routine that we never hear until the end, shun Rupert. "Oh, I see, this is what happens to people like you from all of this!" Rupert yells at Jerry. "No," he replies. "I've always been like this."
So Rupert breaks down and kidnaps Jerry with the help of Masha, demanding a spot on his TV show as a ransom payment. He commands that he will be referenced to as "The King of Comedy" (hence the title), and to further demonstrate the innocence of Rupert's character, when he shows up, he fails to see the gravity of the offence he has just committed.
Rupert is twisted, as you may have guessed by now, but not in a Travis Bickle kind of way. He doesn't see the bad in the world -- he's oblivious to it. "You're so naive!" Masha tells him. I wouldn't be surprised if he took it as a compliment.
Rupert lives in complete isolation, kept locked up with his mother and living his life by what he says on TV. His dialogue and mannerisms are all clichéd -- he says the kind of stuff one would expect a poorly written film to feature. When he tries to impress a female bartender, and when he tries to make small talk with Jerry, he frightens both individuals (similar to Travis Bickle frightening Senator Palantine and the Secret Service Agent).
Rupert daydreams a lot, pretending to be a guest on Jerry's show and fighting off requests to host the show for six weeks. It's when the film cuts back and forth between a fancy restaurant and Rupert's mother's basement, with her yelling at him to shut up, that we realize how strange -- and yet how similar to all of us -- he really is.
The film essentially flopped upon its release in 1983, bringing in only $2,500,000 on a $20,000,000 budget. It has yet to find a strong cult following such as films like "Austin Powers" that brought in little in theaters and lots on video. But any fan of Scorsese and De Niro's work will adore "The King of Comedy." And it's the only De Niro/Scorsese flick that can be recommended to families.
As Rupert takes the stage at the end of the film, his entire dreams have been laid forth in front of him and he takes them by the throat. It is in that truly startling moment we've all been waiting for when we learn that Rupert is not only funny, but pretty darn talented. If the movie had used Rupert's life-long dreams as the butt end of a joke, if he had turned out to be an absolutely horrid comedian (which is what I honestly thought would happen), the film would have little effect. But as a filmgoer and critic, it ranks as one of the most surprising scenes I have ever laid eyes on.
Movie Review: An honest look at our own obsessions with fame and fortune...
Summary: 5 Stars
Be forewarned, this is not a laugh out loud comedy that will have you rolling in the isles. It is a more subtle yet utterly hysterical satire that pokes fun at the road to fame and the dim-witted hacks that clutter that said road. It exposes the disease that it fame and how easy it is for one to deceive themselves into thinking they have what it takes; and then again how easy it is for someone who lacks talent to make it on pure ambition alone.
`The King of Comedy' revolves around Robert Pupkin, a delusional wannabe comedian who sees local late night talk show host Jerry Langford as his ticket to the big leagues. Every night on the `Jerry Show' they have a `King of Comedy' and Pupkin desires to be that said king. He tries to corner Jerry, prodding him with material and asking him to consider letting him on the show, but when Jerry tries to let him down easy he only retaliates with a more forceful approach. After several failed attempts to become a part of Jerry's life Rupert finally decides that he has to take a more extreme approach to the matter, and that's when he enlists the help of another obsessive fan, Masha, in a kidnapping scheme that finally gets Rupert the attention he feels he deserves.
The script is deliciously subtle, a script that relies on the audiences perception of events rather than obvious gags. Case-in-point, one never hears Rupert's actual standup until the very end of the film, so we are only to conclude that he is a no-talent hack with no potential on the reactions of others, making up our own minds much later on in the film.
It is the strong performances that really elevate the film though, Robert De Niro once again proving why he was considered the greatest actor of his generation. As Rupert, De Niro never makes him a likable guy but always presents him in a way that endears us to him. He is annoying and obnoxious and completely delusional but there is some small quality within him that is so honestly human we can't help but relate. I mean which one of us hasn't had a fake conversation with a celebrity just to feel what it would be like to be `on their level'?
I found myself wondering if I am that delusional in my desire to be famous...
The rest of the cast is just as wonderful, from Jerry Lewis who actually plays it straight here, reigning in his own comedic energy to play the average celebrity trying his hardest to live a normal life. Sandra Bernhard steals every scene as Masha, throwing her over-the-top antics in our face and causing that ripple effect in our guts until we're bursting with laughter.
If ever there was a film to squash the claim that Martin Scorsese only directs gangster flicks, this would be that film. It is smart, witty and insanely honest and drives Scorsese (and even De Niro) in a direction they rarely venture. It is one of Scorsese's finest films and one of De Niro's finest performances, and that's saying a lot since both director and actor are usually phenomenal.
The films ending is rather appropriate, and actually elevates the film for me for it speaks such honesty, especially in a world littered with fake celebrities (I'm looking at you Kim Kardashian). In a reality based society where misfits litter the audition segments of top shows like `American Idol' it appears that `The King of Comedy' is more pertinent today than it was upon its release. Maybe that's why the film garnered no traction at the time. This is sad; for `The King of Comedy' is one of the smartest comedies I have had the pleasure of seeing and is one that is sure to get a rise out of anyone who is remotely up to date with today's pop culture.
Movie Review: A powerful, disturbing dark comedy
Summary: 5 Stars
Though comparing Rupert Pupkin with Jake La Motta and Travis Bickle is not entirely inappropriate, The King of Comedy was a decisive change of pace for both De Niro and Scorsese. At this point De Niro was already a major star, having made his bones not only in Scorsese masterpieces like 'Mean Streets' and 'Taxi Driver' but also in Cimino's classic 'The Deer Hunter' and of course as the young Vito Corleone in 'The Godfather Part 2'. He already had at this point two Oscars under his belt, one for Best Supporting Actor ('The Godfather Part 2') and one for Best Leading Actor ('Raging Bull'), plus two more nominations. And it was at this point that Scorsese cast him in a bizarre and off-beat dark comedy alongside slapstick legend Jerry Lewis.
The King of Comedy was, not entirely surprisingly, a flop, the biggest commercial fiasco Scorsese had since he first reached major recognition with 'Mean Streets'. Reviewing it today, it seems like 'The King of Comedy' was years ahead of its time, and underneath a couple of cheap laughs it has disturbing dark undertones that make it one of the most fascinating creations in Scorsese's career. Jerry Lewis plays not the goofy kind of character he's famous for, but is actually quite impressive playing straight man for Robert De Niro, who is nothing short of brilliant (as he always was when working with Scorsese). De Niro plays Rupert Pupkin, an aspiring but obnoxious stand-up comedian who is certain that talk-show superstar Jerry Langford (Lewis) is the one who will help him get to the top. When he realizes that no help is coming his way, Pupkin resorts to desperate measures and kidnaps Langford in order to force him to give him a spot on his show.
The premise doesn't sound like much, but it's the construction of Pupkin's character that makes it a truly fascinating watch. Pupkin is ambitious, enthusiastic and eager to please; yet behind his cheerful smile and perfect manners a twisted brain works, as he creates for himself a fantasy world in which he and Langford are best buddies. In a way, Rupert is similar to Travis Bickle from Taxi Driver - like him, he's an almost naïve idealist who resorts to violence to achieve his goals in face of the harsh world surrounding him. But Rupert, who seems at first like a harmless eccentric, becomes creepier and more disturbing - and at the same time, almost identifiable - as the film goes by, up to the controversial and disturbing finale. A nice addition is the character of Masha (stand-up comic Sandra Bernhard), Pupkin's eerie sidekick (though exactly how she knows him is unclear), who also has an imaginary relationship with Langford and helps Pupkin with his plans in order to get her own. Masha is in there mainly for laughs, but she also does well in shedding a different light on Pupkin's character, and the interplay between the two is wonderful; Pupkin thinks that Masha is imagining things and treats her with disregard - while Masha, of course, holds pretty much the same opinion about Pupkin. Bernhard finally grants one of the film's most poignant moments when she passionately sings Ray Charles's 'Come Rain Or Come Shine' to a tied and gagged Langford.
The King of Comedy is a disturbing film to watch and is not to be taken at face value. It's well recommended, though, a masterpiece by Scorsese that somehow got lost in his huge pile of classics. It's maybe not as universal as Taxi Driver, but it's just as timeless and just as sensitive and inventive. Essential for fans of Scorsese and of De Niro.
Movie Review: Classic
Summary: 5 Stars
Rupert Pupikin is no king and this is no comedy. The 34-year-old jobless narsacist has spent years honing his stand-up in mommy's cellar. This gives him the idea that he should go on Jerry Langford's--who is for all practical purposes Johnny Carson--late night network show and eventually get his own gig.
Pupkin barges into Langfor's limo one night and is given the ultimate show-biz blow off: send me a tape. Anyone else might, but Pupkin takes out his high school crush the same evening, convinced he has made it to the big time. When rebuffed, he and a cohort kidnap Langford, and Pupkin gets his fifteen minutes, then goes to jail.
This plot sounds interesting enough and it is. But what makes this movie so memorable is the viceral discomfort other people feel around Rupert and we feel watching. He walks around New York City, asking to use phones--no cells in 1983-barging where he is not wanted, and mugging for camaras that are not there. He is pushy, arrogent, and, at first, more of a local nucance than a sociopath.
Rupert is either totally oblivous to his impact on other people or simply does not care. Watch the way his date looks away from him and asks for another drink while rolling her eyes. Watch how Lengford's assistant first uses corperate manners with him, then gives a professional, stuffy rebuff when Pupkin questions her judgement. Look at the disconfort when he crashes Lengford's house. Even when Langford is undisputably livid, Pupkin does not get it. Most people would be ashamed at invoking these reactions in people.
We all know or have encountered someone like Rupert, and the only thing worse than being embarressed for yourself is being embarressed for someone else. That involuntary tensing you feel in your body you get that just makes you want to evaporate.
That is what we experiance watching this. You want to look away but look further in. King Of Comedy in a sense is not about empathizing with Rupert--ill as he is and he is quite ill--but empathizing with all those unfortunate enough to have to deal with him. The film is such a classic due to its ability to convey this in a viceral way and not an intellectual one.
The movie is also interesting in the way it shows how the misfit can become quite dangerous quite quickly.
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Please do not misunderstand: I am not talking about the local eccentric you meet and like for his uniqueness, his ability to say what no one else will, his different outlook. These people are a gift from the Gods. I am dealing with the adult baby with no social IQ and no sense or regard for anyone's needs but his or her own. You never know what anyone is capable of, and the village idiot can become the village menece very fast.
The ending. When Rupert gets out of jail he becomes a star on TV. For years, the debate on this film is if this really happened or if it's an extention of this screw-up's narsicistic fantasy. When he walks on stage, the announcer says "wonderful, wonderful, wondeful."
TV does not sound this way. Rupert the star? Highly unlikely
Movie Review: A GREAT GREAT Scorsese/DeNiro collaboration! Must see!
Summary: 5 Stars
I love both Robert DeNiro(in my eye's he's "never" made a poor film!)and the brilliant Scorsese, so you know were this 'review' is headed. However, before I continue, I must again, PLEAD for Martin & Robert to hurry & do as many more projects together, as possible, because we(me)just haven't seen enough! Guy's; neither of you is getting any younger, & the chances of the both of you doing more projects together, is getting slimmer & slimmer! Especially w/Mr.Scorsese having to take nearly 3 years to get the brilliant "Gangs of New York" from the film cans to the screen! Please more!I personally can't think of another Actor/Director combo, who's bonds are so tight, & backgrounds so similar! These two are the only pair that have ever made so manyfilms that are of the higest quality conceivable.
Ok i'll keep this short.(Maybe) This film has always been 1 of my fave films w/the 2 "geniuses" working together! I always loved it, because out of the body of work both did together, this HAS to rank as the quirkiest. It's plain scary! Not "Max Cady" scary(which was also brilliant & another Oscar should have gone to Bobby Milk, & Scorsese was jobbed out of his 1st Best Director Oscar AGAIN! How can the Academy give every conceivable Oscar to the greatest Movie of the past 60+ years[Raging Bull]& Marty NOT win Best Director? A travesty, a joke![as is the Academy]rather, a creepy, slimey edgey type of scary, that is so
close to surface reality it is devestating! As Scorsese used the camera in "Cape Fear" to make the audient feel claustrophobic, w/o any way of escaping what's in the frame, his camera work here
is equally erie in a completely different but somehow familiar effect of placing your mind in the midst of the insanity! It's not just the insanity of Pupkin's world, but slyly shows the insnaity of the entertainment world, & how bleak & unapproachable
these "tv people" are.
Our 1st real glimpse at DeNiro playing "some" comedy.(Not when Pupkin attempts to be funny, rather when his deranged mind attempts to placate Lewis when Pupkin & Bernhard break into his house, or many other instances) DeNiro is just so bizzare here, it's beautiful. Why this film did'nt go over well w/audiences & 'critic's"(what do they know anyway?)is beyond comprehension.
This is a classic,a wonderfully, dark look at another 1 of Scorsese's character's(written much the way it plays)and DeNiro's uncanny ability to "become" the person on the page! If you've never seen this, then treat yourself by buying the DVD to give you a little something extra, & more insight into the world of DeNiro & Scorsese! buy it. Just a pleasure to watch, & feel.
Again(in the slim chance that either would read reveiws on this forum) I beg you two to get as many joint projects from the scripts to the finished projects, as it may never,ever happen again where 1 brilliant actor & an equally brilliant filmaker, are paired so perfectly! In fact I doubt that it will.