Humor is incredibly challenging to sustain. In the short-term – film-length, say, jokes have to consistently strike a thin nerve and not stray too far away from the central themes or character motivations. A misplaced quip, or a joke that moves the plot off its close course, can derail an entire film. The audience rarely sees these errors because script and screen editors at the highest professional levels catch them and trash them almost as quickly as they are written.
In the medium-term – Oscar-season, perhaps, humor rarely makes buzz. Much humor is anti-erudite, and juvenile, such that taps into the audience’s deepest desires to identify with things they once found humorous; other humor is dry and satirical and the writing and acting work tirelessly to inform their audience of the hyper-specific culture referenced; still other humor does not parade as comedy and is unintentionally funny because either the story is intentionally poorly conceived, or the acting is laughably sincere or insincere, or often a heaping of both. None of these methods sustain the Academy’s wish to best represent the year in culture; gestalt. Worst case: nothing in the year struck a nerve as particularly humorous or even slightly funny. Modern times call for advanced emotions: fear, hatred, sadness, austerity.
In the long-term – the history of film, for instance, humor falls almost unconditionally flat as tastes are elliptical, and follow a long arc around a contemporary locus. Then, after some time, the basis for the humor no long exists as a strain in human consciousness, through no one’s fault. Tastes change. But, in the rare instance a film can track humor as part of a larger, more serious narrative, it sticks, and exists outside the general theory of relativity. Consider Chocolat. This film is a serious take on historical racism and family dynamics, but it does so through the lens of a loose, and well-intentioned, albeit funny, vagrant. Chocolat, was also one of a handful of films with even slightly humorous undertones nominated, since 2000. Some films, like Chocolat, use humor to their advantage, but are not comedy films, by the reasoning that the larger social and historical implications outweigh jokes. But a curious film from the 5th Academy Awards (1931/32) called The Smiling Lieutenant, seems to have broken all the rules on route to obscurity. Continue reading “[1931/32] The Smiling Lieutenant”