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Posts Tagged ‘Stanley Kramer’

Dark Humor in Films of the 1960s – Part 2

Monday, August 27th, 2012

Out this morning (August 27, 2012) is Part Two of my four part series on Dark Humor in Films of the 1960s in Film International.

The scene above is from Stanley Kramer’s epic comedy of wretched excess, It’s A Mad, Mad, Mad, Mad World, about which I have this to say: “Back in America, producer/director Stanley Kramer was readying a much more ambitious project, perhaps the most overwhelmingly brutal comedy ever made: It’s a Mad, Mad, Mad, Mad World (1963). With a cast featuring literally every living comedian in either a leading, cameo, or supporting role, including Milton Berle, Sid Caesar, Jonathan Winters, Mickey Rooney, Buster Keaton, Jimmy Durante, Phil Silvers, Dick Shawn, The Three Stooges, Jerry Lewis, and everyone else in between, the film, budgeted at a then-colossal $9.4 million, was of such epic proportion that when released at 192 minutes (in two parts, with a 15 minute intermission), after preview screenings of 210 minutes, it was one of the most spectacular films of the year, regardless of genre.

But what is most striking about the film, in the end, is not its epic dimension or scope (the film was shot in ‘Ultra Panavision,’ then touted as the new seamless form of Cinerama, a popular 1950s three camera, three projector process that produced an illusion of depth), but rather the film’s view of life, which is acerbic in the extreme. The premise of the film is slim; an aging gangster, ‘Smiler’ Grogan (Durante), runs off the highway in his car, and with his dying words, tells a group of ‘good Samaritans’ who have stopped to help him that there is $350,000 in stolen loot stashed under a ‘big W’ in the fictional Santa Rosita State Park in California, and the money is theirs, if they can find it. With that, Grogan dies, literally ‘kicking a bucket’ down the culvert as he does so. Almost immediately, the passersby begin fighting amongst themselves for the money, and soon each one is trying to stop the others from leaving the park, and finding the $350,000. The film then becomes a literally mind-numbing orgy of violence and destruction, as gas stations, cars, planes, and anything else in sight is destroyed with ritualistic, almost sadistic fetishism.

The members of the group are shadowed in their quest by Captain T. G. Culpepper (Spencer Tracy, in one of his last roles), the Chief of Detection of the Santa Rosita Police Department, but in the end, he, too, succumbs to the temptation of ‘Smiler’s’ loot, and tries to abscond with the entire fortune, tricking the others into thinking he will turn it in to his superiors at police headquarters. When the group discovers they’ve been tricked, they give chase, and in the end all wind up in the hospital as a result of injuries sustained in their pursuit, including Captain Culpepper. All their efforts have availed them nothing, and in the bargain, all face lengthy hospital stays while they recuperate. The film has developed a cult following other the years, and certainly, in terms of excess, violence, and spectacle, It’s A Mad, Mad, Mad, Mad World is one of the most expensive and epic “dark” comedies ever produced.

Yet the majority of humor in the film derives from outright cruelty – Ethel Merman perpetually screaming at her on-screen husband, Milton Berle, or anyone else in her line of fire; Phil Silvers offering a lift to the stranded Jonathan Winters, who is puffing along in the desert on a child’s bicycle; when Winters throws the bike away, Silvers speeds off, leaving him in the dust; Sid Caesar and Edie Adams locked in a basement full of exploding fireworks – and as many critics remarked at the time, the sheer wastage of the film is appalling. All that motivates the film’s central characters is greed, anger, lust and avarice. As a compelling vision of the dark side of the American dream, the film certainly succeeds. But when viewing the film, one can’t help but wonder how much of it was conscious, and how much simply a byproduct of the movie’s brutal trajectory.

Lured on by the ‘promise’ of instant wealth, the protagonists of Kramer’s film are locked into a headlong race to their own destruction, and they lay waste to everything they touch in the process. The film remains controversial to this day for its sheer overkill; how many more car crashes can the mind absorb? How many more shouting matches? How much more destruction? There seems to be no answer forthcoming in the film, which ends with Ethel Merman’s character slipping on a banana peel in the hospital ward where all of her co-stars are convalescing. At this, everyone starts laughing hysterically. Humiliation, pain, violence, cruelty; is this really the stuff of comedy? Yet the colossal perversity of It’s A Mad, Mad, Mad, Mad World remains a monument to over indulgence; ‘give me more, more, more,’ the film seems to say – which is just what its protagonists want, as well.”

You can read the entire article by clicking here, or on the image above.

Dark Humor in Films of the 1960s – Part 1

Monday, August 20th, 2012

I have a new essay in the journal Film International, entitled Dark Humor in Films of the 1960s.

It’s a long piece, so the journal is running it in four parts, one each Monday starting today, Monday August 20, 2012. You can watch this space for further installments in the series; for the moment, here’s the beginning of the essay for your delectation;

“There’s a story about an adolescent boy who was taken to a psychiatrist. The doctor drew a rectangle on a sheet of paper and showed it to the boy. ‘What does it make you think of?’ he asked. The boy looked at it and said, ‘Sex.’ The doctor got the same response when he drew a circle on the paper. When he had drawn a triangle and an octagon and an ellipse with the same results, he said, ‘Son, you need help.’ The boy was amazed. ‘But, doc,’ he protested, ‘you’re the one that’s drawing the dirty pictures!’” (Zern 1958: n.p.)

In the 1960s, themes which had previously been dealt with only in the most serious fashion were suddenly subject to burlesque, or parody, as filmmakers and audiences sought to move beyond the strained seriousness that characterized many of the most respected problem films of the 1960s. In such films as Roger Corman’s The Little Shop of Horrors (1960) and A Bucket of Blood (1959), Stanley Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Theodore J. Flicker’s The President’s Analyst (1967), Stanley Kramer’s It’s a Mad, Mad, Mad, Mad World (1963), William Castle’s The Old Dark House (1963), George Axelrod’s Lord Love A Duck (1966), Mel BrooksThe Producers (1968), Tony Richardson’s The Loved One (1965), Roy Boulting’s I’m All Right, Jack (1959), Stanley Donen’s Bedazzled (1967), Michael Winner’s I’ll Never Forget What’s ’is Name (1967), Karel Reisz’s Morgan! A Suitable Case for Treatment (1966), Robert Downey Sr.’s Putney Swope (1969), to say nothing of Richard Lester’s The Knack… and How to Get It (1965), as well as Kevin Billington’s acidic political comedy The Rise and Rise of Michael Rimmer (1970), viewers embraced a new vision of the world unfettered by the constraints of prior censorship, and wedded to a sense of the absurdity of life, in which all previous values were suddenly called into question, and found either morally or socially bankrupt. These films, which treated such subjects as war, sex, death, the workplace, national politics and the family with studied irreverence, found both a willing audience, and a place in the emerging national consciousness of the post JFK assassination era.”

You can read the rest of part one by clicking here; see you next week for Part Two, and so on.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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