By Aaron Cutler
By Amy Nicholson
By Simon Abrams
By Chris Klimek
By Nick Schager
By Stephanie Zacharek
By Stephanie Zacharek
By Alan Scherstuhl
For those who thought Dumb and Dumber signaled the end of the world as we know it, my advice is duck and cover. Comedy avatars Peter and Bobby Farrelly, the odium savants behind what some have considered Jim Carrey's Hamlet--as well as its follow-up, the mondo bowlerama Kingpin--have turned their attentions to the romantic comedy for There's Something About Mary.
For the record, this winsome fable harvests its gentle humor from the likes of human excrement, misplaced semen, oral-genital farce, near castration, serial killers, cripples, retarded children, exploding pets, and runny, festering boils. It is also--and here's the kicker--hysterically funny. Corrosively, virulently funny--a new military-grade strain of comedy that can peel paint and produce spontaneous bleeding from the eyes.
It largely accomplishes this through sheer hyperbole. Case in point: Anyone can attempt your routine dick-caught-in-a-zipper joke--but not everyone can stretch it out to 10 minutes, involve a prom date's parents, the police, the fire department, emergency paramedics, and go to the trouble of building a rubber prosthetic so they can actually show you the money shot. The Brothers Farrelly don't just push the envelope: They lick it, get their tongues stuck in the flap, and are mangled through a letter-sorting machine. It does not thrill me to have to tell you this.
The film starts from a workable premise: A guy hires a skip tracer to find his fantasy girl from high school; by Act Two, the skip tracer has become the other guy. Stiller, who already looks like he spent much of his own adolescence nailed up by the ears, portrays this high school boy with a mouthful of razor ribbon, and grounds the outlandishness in the same sort of deadpan hysteria he did in Flirting With Disaster. (To be fair, the litany of atrocities he faces is not all that different from the pathology on parade in Neil LaBute's upcoming Your Friends and Neighbors or the heroin slapstick of Permanent Midnight.)
Cameron Diaz is typically dazzling as the perfect woman--kind to small dogs, strangers, and all sorts of human kooks, and she repeatedly proclaims Harold and Maude to be one of the great love stories of our time. Diaz has always been a good sport as she has shown by singing in My Best Friend's Wedding and dancing in A Life Less Ordinary. But here she goes for a personal best, doing things to that million-dollar model's countenance I still shudder to think about. And Matt Dillon as the private dick, wearing a gelatinous pencil-thin mustache and fake teeth, spends much of his time reinventing himself as Diaz's perfect suitor, reminiscent of Bill Murray in Groundhog Day (another underrated comedy--albeit one that forgoes its ingenue spreading ejaculate in her hair).
Markie Post and Keith David shine as Diaz's unlikely parents, as do Chris Elliott and British comic Lee Evans as various rivals. Even troubadour Jonathan Richman gets with the program, trotting the eponymous ballad through his many signature styles, from salsa-lite to crunch guitar, and looking like Nat "King" Cole and Stubby Kaye wandering through Cat Ballou.
Moving between Florida and Providence, Rhode Island, Mary appears to be the most autobiographical of the Farrellys' trilogy, a sobering thought. It's also the first comedy in a while where the "No animals were harmed during the making of this film" qualifier is there for a reason. And for all I know, it may be their stylistic homage to Aristophanes and the robust Old Comedy of fifth-century B.C. Athens, whose Lysistrata, as we'll remember, is basically a Marx Brothers comedy about a bunch of guys with erections.
No doubt each succeeding comic generation is at some point labeled barbarians at the gates: Monty Python, Michael O'Donoghue and Doug Kenney of the National Lampoon/Saturday Night Live school, the Airplane team. In the introduction to his The Deer Park, Norman Mailer even blames kindly old Neil Simon for the death of the theater. Still, it's difficult to sanction that sort of thing.
Somewhere well before the end, as Stiller confronts Dillon in his Miami apartment, an enormous pile of apparently human feces sits quite visibly in the corner. It serves no purpose, no one ever refers to it--Stiller doesn't even manage to step in it as he storms out. It's just there. And suddenly (like Keyser Soze at the end of The Usual Suspects), this antic breathlessness you've been battling nonstop from the beginning is gone. The gyroscope steadies, equilibrium is regained, and the conscience you've been holding underwater like a beach ball for two-thirds of the movie resurfaces, reminding you succinctly you've been laughing at things you thought you outgrew in grade school.
You may not see a funnier movie this year. Or one that will make you feel worse.
There's Something About Mary
Directed by Peter and Bobby Farrelly.
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