HOTEL CALIFORNIA: a review of "Funny People"

Originally written August 2, 2009

"FUNNY PEOPLE" Written and Directed by Judd Apatow
***1/2 (three and a half stars)

In 2005, while on the verge of continuing his landmark and then still rising cable comedy series, Dave Chappelle abruptly walked away from it all and ventured for a short period in South Africa--all to the tune of losing a reported $50 million dollars. He has since been seen publicly rarely. Aside from the amazing film "Dave Chappelle's Block Party," a terrific two-hour guest spot on "Inside The Actor's Studio" and some surprise stand ups gigs here and there, all has been quiet. I have had the suspicion that this is probably how he may have wanted it all along and I wonder if he is a happier man because of that one major life decision. I thought of him quite a bit as I watched the life of comedian George Simmons (Adam Sandler) in Writer/Director Judd Apatow's bold, warm and sprawling new comedy-drama, "Funny People."

Simmons is the epitome of a man who has everything and nothing. As the film opens we see the funny kid he once was, making prank phone calls to the amusement of his friends, become the world famous stand up comedian who has carved out an enormously lucrative movie career making dumbed down, family-friendly comedies such as one that depcicts him as a "merman" and another where he is transformed into a baby but with his adult head and sensibilities. He lives in a veritable palace by the ocean, his personal Xanadu like Charles Foster Kane's in "Citizen Kane" and yet, it is a black hole. He has no friends. No family. No one to confide in even if he would. All that tends to comfort him are being surrounded by the comedians that have inspired him and mostly, images from his past projected onto an arsenal of flat screen televisions, the sound echoing through the room and empty hallways of the cocoon that Holllywood built. Then one day, he receives the life-changing news that he is suffering from a rare form of lukemia and the prospect does not look promising.

He soon crosses paths with Ira (Seth Rogen), an up and coming stand up comedian who has a day-job at a Los Angeles deli counter and sleeps on a fold out hide-a-bed in an apartment with two extremely competetive and more successful roommates (played respectively by Jonah Hill and Jason Schwartzman). After watching Ira's brief comedy set, Simmons invites him to write some jokes for new stand up material and ultimately hires him as his assistant.

What could have easily become either a run-of-the-mill vulgar comedy, maudlin tear jerker or hybrid of both, "Funny People" wisely sidesteps all of those potential landmines to build a rich tapestry of characters who are quite possibly being held up as a giant warning sign in our extensively fame obsessed culture. In some respects, this could be a companion piece to Cameron Crowe's beautiful "Jerry Maguire," as amongst that film's many themes and concerns is the idea of maintaining a sense of integrity in a world that doesn't value it and doesn't want you to have it. Apatow's Los Angeles could also be a visual representation of The Eagles' classic "Hotel California," where nothing is ever enough and souls are sold by the second. In the case of "Funny People," it suggests that while it may be too late to save Simmons' soul, we need to focus our attention to Ira, who skin is too thin for Hollywood's brutality.

The world of the comedy clubs is presented as one of continuous one-upsmanship feuled through male rage. The film's endless penis jokes really shows how life is just an equally endless pissing contest. Ira's home life and roommate relationships is one of constant competition: Who wrote the funnier joke? Who has the television show? Who makes the most money? And worst of all, who will sleep with the cute, acerbic, comedianne (played deftly by Aubrey Plaza) first, despite the fact that Ira is nursing a crsuh on her?

By the time Ira has become not only George's whipping boy but sole confidant in the world, the film takes another surprising turn as we visit the Marin County home of Laura (terrifically played by Leslie Mann), George's ex-flame and former actress who is now unhappily married to travelling businessman Eric Bana. It is in this last third where we see that Ira's soul hangs in the balance as he takes a front row seat to the human damage that fame, money and self-aborption has cost all of them.

While the material is melancholy and goes down some dark holes, the film is indeed a comedy and a highly successful one. Judd Apatow's writing and direction remains controlled, non-judgemental, deeply insightful and even loving of its characters and situations. It never condescends to anyone and mostly, I applaud the great risk Apatow has taken in his own growth as a filmmaker. Even after writing and directing "The 40 Year Old Virgin" and "Knocked Up," producing many strong current comedies like "Superbad" and "Forgetting Sarah Marshall, to even his great work in television with the short lived collegiate set "Undeclared" and the brilliant high school woes of "Freaks and Geeks," "Funny People" is an achievement. It is by far his most mature work. There are a variety of themes and stories floating around this movie and Apatow handles them--and an epic two and a half hour running time--with confidance. For those expecting a typical Sandler comedy, they will be disappointed but patient viewers will be rewarded with a film to savor and even re-visit.

Adam Sandler is a comic actor who I have usually appreciated most in films that are not the typical Adam Sandler movie (i.e. "Punch-Drunk Love," "Reign Over Me") and his performance as George Simmons quite may be his finest hour. It is equally risky as Simmons is not a likebale man. He is filled with self-loathing and is manipulative, ego-driven, self-serving, and often extremely cruel and mean to Ira--and the film makes no apologies for his behavior. In fact, when Simmons receives the additional life-changing news that his disease has gone into remission, his behavior actually becomes worse. There is no major Hollywood transformation to George Simmons. He is simply more informed and Sandler handles all of the many layers effortlessly.

Rogen is continuing to come into his own as an actor. As Ira, he has dialed his now-familiar mannerisms way back and has found a guilelessness to root for. In many ways, he is like Steve Carrell's Andy from "Virgin" and Apatow remains quite protective and understanding of him. We care for Ira and his beliefs as well as his attempts to find the most humane answers to certain tricky emotional relationships. Watch him closely during the Marin County sequence and you will see a genuine sense of concern he has for how certain decisions could potentially affect everyone. In fact, he is the one character in the movie not entirely motivated by fame or money and you wonder how far into Simmons' world will he descend into.

Leslie Mann (Apatow's real-life wife) is the movie's secret weapon! Tart tongued, sensitive, nobody's fool, a great romantic lead and strong comedic actress, you wonder just how George Simmons could have ever let this one slip through his fingers and you can also see how much Apatow adores her (and also his children who make return appearances). Any film would brighten up with her presence and I hope more filmmakers jump at the chance to have her adorn their films.

I highly reccommend this film to anyone who not only wants a great laugh, but who also wants to hear strong dialogue and see a multi-layered story that is heartfelt. If this is where Judd Apatow has landed with his third directorial effort, I cannot wait to see his fourth!