#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Indifferent to the notion of inheriting his father’s estate, a restless, aging New Yorker passes time with his friends in games of mock sincerity and irreverence.
Plot: Indifferent to the notion of inheriting his father’s estate, a restless, aging New Yorker passes time with his friends in games of mock sincerity, irreverence, and recreational cruelty towards those around them.
Smart Tags: #father
|6.4/10 Votes: 5,052|
|6 Votes: 46 Popularity: 5.298|
The Future of Comedy?
Suffice to say, “The Comedy” is not a comedy (even though it does contain laughs) nor is it necessarily about comedians. Spearheaded by a shockingly inspired performance from Tim Heidecker, what Rick Alverson’s quietly brilliant film is, is in fact about pointlessness, indifference and mocking sincerity. Sounds riveting right? Well, it is in a very experimental way. “The Comedy” is deep and poignant and fascinatingly layered with subtle jabs at society, as well as those who have so much in life, that they have become bored with everyday existence.
Opening with a sequence involving male nudity that is so awkward it may cause some viewers to say to themselves “what did I get myself into?”, “The Comedy” follows a man named Swanson (Heidecker) who is seemingly unfazed by his father’s impending death. Instead of a real job, he spends his days hanging out with his buddies, engrossed in inane verbal and physical (and sometimes sociopathic) games of one-upmanship. From impersonating store clerks and gardeners, to making the most inappropriate jokes during the most depressing and even life threatening moments, to degrading others in public in order to fulfill some kind of personal enjoyment, as this film progresses the activities of each of these men (including Swanson) become progressively offensive in order to maintain a sort of continuous high. And while this could be the plot to any crude Danny McBride piece of trash, it is Alverson’s ultra serious tone, along with the fact that he throws these would be offensive but clownish comedic characters into a real world where people die, have disorders and are struggling to feed their families, which allows “The Comedy” to rise above the “crudeness for the sake of being crude” films of today.
As much as I enjoyed “The Comedy”, this is one movie that will assuredly come under heavy scrutiny from a majority (that’s right, I said majority) of movie going audiences, because, for one, while there is a subtle story arc here, this film is not pushed along by heavy conflict. And secondly, many unfamiliar with Heidecker’s form of comedy will undoubtedly be turned off by the amount of absurdist drama which is played out by a group, whom on the surface seem too spoiled and flippant to care about. In short, even those who loved the terribly long “Tim and Eric’s Billion Dollar Movie” or are fans of their show and have been eagerly awaiting more of the same skit driven comedy, may find “The Comedy” a bit too tonally heavy or obscure to take (and that is truly saying something).
Side Note: Some have said that the Tim Hiedecker’s style of comedy is a form of avant-garde comedy or apart of the anti-comedy movement. Meaning, that much of his shtick consists of making his audiences (television or otherwise) highly uncomfortable, to the point where they either laugh at his awkwardness or dismiss his actions as strange. And while Hiedecker’s awkward style of comedy is featured prominently here, his performance is anything but comedic. In fact, he gives a quite emotionally dramatic performance in a movie that, if it were a straight forward comedy, would have seen Zach Galifianakis in the starring role. Thankfully, this is not the case because Hiedecker’s performance is absolutely magnificent (and dare I say award worthy?) in this role that was obviously tailored specifically for him.
Final Thought: I will reiterate, and I can’t say this enough, how “The Comedy” is not for everybody; especially if you are expecting a comedy. To some audiences this is all going to seem as an exercise in pathetic nature and nonsensical mannerisms, but rest assured that there is something happening here on a very highly conceptual level that is not only meant to make viewers uncomfortable, and cringe and laugh at the most inappropriate things, as well as think these characters are pathetic while at the same time feel sorry for them, but is also a subtly laced work of a very skilled writer, whose entire point seems to be an analysis/criticism of the reaction of “normal people” to those who wish to push the limits of comedy. Not since Lars von Trier’s “The Idiots” have I witnessed a movie that was this skillfully successful in demonstrating the complex struggles of a generation built on a doctrine of nihilistic irreverence. In short, if you chose to see “The Comedy”, you will either absolutely love it or absolutely hate it.
Written by Markus Robinson, Edited by Nicole I. Ashland
Out of touch
How do you recommend a movie that features a lead character who is an a–hole? Not only that, but he stays an a–hole. No redemption. No heartfelt realization that he has to change his ways and then goes about doing so – hello Scrooge! No scene where he explodes in tears and promises everyone that he loves that he’s changed for good. I’m being half serious, but, really, most people go to movies to watch characters they like and root for or people they start off disliking and then, as those characters learn and grow and change, in the end, come to like and come to root for.
Swanson, a rich kid layabout who uses sarcasm as both armour and sword, is thoroughly unlikeable. He’s selfish, cruel, condescending, lazy and not funny. Yet, you stay with him. At least I did. You follow him and his equally annoying friends as they hang out and drink beer and talk nonsense and bother people who are clearly just trying to ignore them. You do so because you realize that underneath all of this casual ugliness is a subtext that slowly asserts itself.
Filmmaker Richard Alverson, along with co-writers Robert Donne and Colm O’Leary, have created a profound movie about emotional avoidance that carefully ups the stakes until you truly do feel for Swanson. Strangely enough, the more cruel and vulgar Swanson gets – to a succession of people absolutely undeserving of that cruelty and vulgarity – the more it leads you closer to the heart of the character rather than further away. It is not that you grow to like him, but, you grow to understand him and, in doing so, begin to understand the true tragedy of this broken human being.
Take the opening scene – Swanson sits sipping scotch and tearing through one crispy chocolate cookie after another as, just a few feet away, his father, hooked up to an I.V., lies dying in his bed. A male nurse enters and Swanson starts laying into him. Attempting to embarrass the man by mocking the unpleasantness of his job and specifically as it relates to his father, Swanson fails. The male nurse says a lot by saying nothing – just staring at Swanson with contempt.
A simple scene, yet with complicated implications. Swanson’s cruel attempt at mocking the male nurse actually tells us more about him than it does about his target. This is a stock scene, yet, what Alverson, Heidecker and company do here is play with our familiarity of the way this scene usually unfolds. As an audience member, we know this scene before a word is spoken. The shots reveal all – dying dad, son, nurse. Yet, what you get in THE COMEDY is a scene so far from what is expected that it, at first, throws you. As you slowly adjust to not getting what you expect, you realize that what you are getting is something far more interesting – an addition by subtraction experience. The subtraction is any dialogue or action dealing with the reality at hand – the father is dying – and the addition is what we the audience add in way of interpreting what Swanson – the son – is really trying to say. Of course, I can’t be sure what was intended by the filmmakers and every audience member’s interpretation would probably vary, yet still something universally understandable is communicated – emotional avoidance.
Swanson’s target is the male nurse, but, when you look at the scene more closely, it could just as easily be himself. Just think of it – a male nurse is caring for his father. He’s doing all those unpleasant tasks that you, as a son, would be doing if not for him. Why would you have any anger towards this man? The only answers I could come up with pointed at Swanson’s unresolved emotional issues with his father and his own shortcomings as a human being.
I wondered, does Swanson feel guilty for never having cared for his father in his time of need? Also, I wondered, does the pain of Swanson’s emotional distance from his father run so deep that the mere presence of another man caring for him arouses a kind of emotional jealousy? I use the word jealousy because Swanson, as the full film will show, exhibits such a firm indifference to the emotions of everyone around him that to see one human being caring for another human being must cause him fits. That male nurse’s whole career centres around having the capacity to feel for another human being. This is one fundamental characteristic that Swanson does not possess. He just doesn’t give a s***. That must sting.
So, I guess what I’m trying to say is that this film, The Comedy, made so many unusual and interesting choices in scenes that it forced me to engage with it in a way that I just don’t when watching more conventional films. And, look, I know you might think I’m just trying to fill in blanks and giving the film more credit than it deserves, but, you’d be wrong. Listen to the accompanying commentary track, which features Alverson and Heidecker, and you’ll quickly realize that these guys had a lot on their minds when they were making this unusual and challenging film.
So hats off to THE COMEDY, a strange and ultimately deep moving film.
Original Language en
Runtime 1 hr 35 min (95 min)
Rated Not Rated
Genre Comedy, Drama
Director Rick Alverson
Writer Rick Alverson, Robert Donne, Colm O’Leary
Actors Tim Heidecker, Eric Wareheim, James Murphy
Country United States
Awards 2 wins & 2 nominations
Production Company N/A
Sound Mix N/A
Aspect Ratio 1.85 : 1
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format N/A