Movie review: Jojo Rabbit made me laugh, but not cry

“Comedy is a red rubber ball,” said Mel Brooks, “and if you throw it against a soft, funny wall, it will not come back. But if you throw it against the hard wall of ultimate reality, it will bounce back and be very lively.”

With this quote in mind, I went to see Jojo Rabbit, which has been nominated for six Oscars. It is the latest applicant to an exclusive club: Movies that laugh at Hitler.

The film’s premise is, if anything, more audacious than anything by Brooks. It follows Jojo, a sweet and manic 10-year-old German boy who is absolutely wild for the Führer. In fact, he has made an imaginary companion out of him and spends his days palling around with a goofy, benevolent Adolph, who eggs him on and encourages him through every woe. One day, Jojo and his buddy Hitler are both horrified to discover that his mother has hidden a Jewish girl in the walls of their house.

What to do? Who to trust? Who to fear? From the very first scene, the movie puts in balance two monstrously weighty forces: Life and death, good and evil, loyalty and rebellion, hope and futility. It whipsaws back and forth between slapstick and horror, comedy and tragedy. I watched, enthralled, to see where it would land.

As a Jew, I am ready and able to laugh at the darkest of jokes. That’s how you make it through the dark. Mel Brooks managed this feat handily in his lesser-known “To Be Or Not To Be,” which contains one scene that shatters me every time.

Until this scene, “To Be Or Not To Be” is pure comedy; but then the weight shifts, and for a terrible moment, everything hangs in balance. The bumbling crew of actors must smuggle Jews out of a darkened theater bristling with Nazis. In desperation, they disguise the refugees as clowns, and it’s actually working—until one poor old babushka, her wrinkled face pathetically smeared with greasepaint, freezes. So many swastikas, so many guns. It’s too much. She’s weeping and trembling, and the audience realizes something is wrong.

So the leader of the actors looks the Nazis straight in the eye and shouts merrily, “Juden!” He slaps a Star of David on the old woman’s chest, whips out a clown gun and shoots her in the head. POW.

And that’s what saves them all. The Nazis roar with laughter in the dark, and the innocent make it through.

This scene carries the whole movie, because it has the nerve to set aside comedy and make the audience sit for a moment in naked peril: These men are killers. They do laugh at shooting an old woman in the head. The terror is real. “To Be Or Not To Be” earns the right to make Hitler jokes, because it doesn’t flinch away from knowing and showing what is at stake. The ball of comedy bounces because that hard surface is there to hit, however briefly.

There is no such hard surface in “Jojo Rabbit.”

Instead . . .

Read the rest of my latest for America Magazine

Image: Still from movie trailer 

When receiving art, be Penelope, not Argos

A pox on anyone who tries to extract a message from The Odyssey. It’s not that The Odyssey doesn’t mean anything. Quite the opposite. It’s just that a work of art isn’t like a fortune cookie which can be cracked open, its message to be plucked out and read aloud over dessert. Instead, a work of art is like a deep, active pond into which you can cast your line and draw up any number of things, depending on the season, the time of day, your skill as a fisherman, and your willingness to wait.

Read the rest of my latest for The Catholic Weekly.

Image: “Penelope” by TheoJunior via Flickr (Creative Commons)

 

Don’t you realize comedy is a matter of life and death?

In honor of Mel Brooks’ 91st birthday, I’m re-posting this essay (slightly modified) from 2015. Mazel tov, Mel, and thanks for everything.

***

In 2015, one Jeffrey Imm organized an angry protest against the production of Mel Brooks’ The ProducersImm’s complaint was that the show makes fun of Nazis, and therefore doesn’t pay proper respect to the horrors of the Holocaust.  As Walter Hudson points out in PJ Media, “The irony of protesting fascism with a blanket declaration of what can’t be laughed at appears to be lost on Mr. Imm.”

It’s not really worth arguing beyond that. If you’re a soldier, you use a gun to fight evil. If you’re a writer, you use words. If you’re a comedian, you use jokes. Especially if you’re a Jew. That’s how it works.

Spaceballs, Men in Tights, and Dracula are unwatchable. The problem with these movies is that Brooks tried to skewer genres that he didn’t especially care about; whereas his funniest movies (including High Anxiety, Young Frankenstein, and Blazing Saddles) target something he loves and admires. And that’s where Mel Brooks really shines: when he’s in love. And this is a man who is in love with life.

His exuberantly ridiculous jokes catch you up in his love of life, dick jokes and all. The jokes that “make sense” aren’t what make the non sequiturs and the fart jokes forgivable; they’re all part of the same sensibility.

Life is funny. Even when it’s awful (what with racism, and Nazis, and murder, and stuff like that), it’s kind of funny. Especially when it’s awful. Especially when you’re suffering.

In The Producers, Brooks isn’t just “making fun of Hitler.” At the risk of over-analyzing humor, Brooks doesn’t just tease Hitler; he robs him of his power. He subsumes him.

This is obvious in The Producers, as Brooks deftly works the play-within-a-play angle, telling the world: this is how you do it. When you are a comedian, you make people laugh, and that is how you win.  People gotta do what they gotta do (and that’s why Max Bialystock won’t ever learn).

We’re all producers, and the worst mistake we can make is the one  Bialystock and Bloom made: when we don’t realize what kind of show we’re putting on.  In Brooks’ best films, he knows exactly what kind of movie he’s producing, and his glorious openness is what makes them so disarming. It’s what makes us laugh at things we don’t want to laugh at; and laughing at those things is what robs them of their power.

An even better example of how Brooks annihilates the enemy without losing his soul is in the somewhat underrated To Be Or Not to Be, where Brooks and his real-life wife Anne Bancroft play a pair of two-bit entertainers (“world famous in Poland”) who bumble into a plot to rescue a bunch of Jews from occupied Poland.

The movie is not great, but one scene makes up for everything else. The incompetent theater crew is trapped in a darkened auditorium full of Nazis, and the only way to shepherd the crowd of Jews out of town is (work with me here) to dress them up as clowns and parade them out of the theater right under the enemy’s noses. Against all odds, it’s actually working, and the Nazis are deceived — until one poor old babushka, her face pathetically smeared with greasepaint, freezes. It’s too much for her: so many swastikas, so many guns. She can’t make herself do it, she’s weeping and trembling, and the audience realizes something is wrong.

They’re just about to uncover the whole plot, when the quick-thinking leader of the troupe looks the Nazis straight in the eye and shouts merrily, “JUDEN!” He slaps a Star of David on the old woman’s chest, takes out a clown gun, and shoots her in the head. POW.

And that’s what saves her. That’s what saves them all. The crowd roars with laughter and keeps their seats while the whole company flees. Juden 1, Hitler 0.

The same thing happened to me. Again, work with me, here!

Depression and despair have been my companions ever since I can remember. Most of the time, if I keep busy and healthy, I have the upper hand; but one day, several years ago, I did not. The only thing that seemed reasonable one day was to kill myself, and that was all I could think about. The longer it went on, the less escape there seemed to be. I was trapped, and there was too much darkness. I couldn’t pass through it.

Spoiler alert: I didn’t kill myself. I’m still here. There are many reasons for this; but one stands out in my mind, because it’s so stupid. Out of nowhere, I suddenly thought of that scene in Brooks’ 1970 film The Twelve Chairs. I barely remember this movie (we try not to have a lot of Dom DeLuise in our house, out of respect for my husband)  but the plot was some ridiculous, convoluted story of someone trying to do some simple thing, and his situation just gets worse and worse. At one point, everything has come crashing down around the hero’s ears, and there is no hope.

So what does he do? He responds by running around in circles on the beach and screaming, “I DON’T WANNA LIVE. I DON’T WANNA LIVE.” And that’s the line that popped into my head.

So guess what? I laughed. Just a little giggle, but it helped. It was a little shaft of light, and it helped. I still had to pass through the dark room full of the enemy who wanted me dead, but someone who was on my side had slapped a Star of David on my chest, made me a target — and once I was explicitly made into a target, I could survive. It was all a joke. It was a circus, and I knew I would survive.

Suddenly I knew what kind of show I was in. It was a comedy, not a tragedy after all, and I was going to make it out of that dark room.

I don’t know how else to explain it beyond that. Mel Brooks saved my life, fart jokes and all. “I don’t want to live, I don’t want to live!” made me want to live, a little bit. That’s what kind of movies he makes.

How Mel Brooks saved my life

producers audience

Resolved: Jeffrey Imm is a moron, and so is anyone who wants to sanitize the power out of comedy.

Imm’s complaint is that Mel Brooks’ The Producers makes fun of Nazis, and therefore doesn’t pay proper respect to the horrors of the Holocaust.  As Walter Hudson points out in PJ Media, “The irony of protesting fascism with a blanket declaration of what can’t be laughed at appears to be lost on Mr. Imm.”

It’s not really worth arguing beyond that. If you’re a soldier, you use a gun to fight evil. If you’re a writer, you use words. If you’re a comedian, you use jokes — especially if you’re a Jew. That’s how it works.

Kathy Shaidle skewers Imm for his stupid protest, but then flashes her alien ID, saying:

Imm, in his own flaky fashion, is onto something. It’s not that those topics aren’t funny.

It’s that Mel Brooks isn’t funny.

This aggression will not stand, man.

I agree that Spaceballs, Men in Tights, and Dracula are unwatchable. The problem with these movies is that Brooks tried to skewer genres that he didn’t especially care about; whereas his love and devotion for his targets (including in High Anxiety —inexcusably missing from Shaidle’s list of Brooks hits) are the heart and soul of his funniest movies. And that’s where Mel Brooks really shines: when he’s in love.

Excuse me while I get a bit emotional about this, but this is why Mel Brooks is so great: he’s an optimist, and his exuberantly ridiculous jokes catch you up in his love of life, dick jokes and all. The jokes that “make sense” aren’t what make the non sequiturs and the fart jokes forgivable; they’re all part of the same sensibility.

Life is funny. Even when it’s awful (what with racism, and Nazis, and murder, and stuff like that), it’s kind of funny. Especially when it’s awful. Especially when you’re suffering.

Shaidle says:

Brooks always counters anti-Producers critics (no, Imm isn’t the first) by pointing out the obvious: that he was making fun of Hitler.

But what’s brave about that? Hitler managed to look pretty stupid without much help, and when it mattered, neither The Great Dictator nor (the far superior) That Nazty Nuisance accomplished sweet eff-all.

Well, he wasn’t just “making fun of Hitler” (and I don’t believe that Brooks considered himself “brave” for making The Producers, anyway). At the risk of overanalyzing humor, which is the worst thing that anyone can do ever, Brooks doesn’t just tease Hitler. He subsumes him.

This is obvious in The Producers, as Brooks deftly works the play-within-a-play angle, telling the world: this is how you do it. When you are a comedian, you make people laugh, and that is how you win.  People gotta do what they gotta do, and that’s why Max Bialystock won’t ever learn.

I don’t mean to crap things up by getting too analytical, but it’s hard to ignore: we’reall producers, and the worst mistake we can make is not to realize what kind of show we’re putting on.  In Brooks’ best films, he knows exactly what kind of movie he’s producing, and his glorious openness is what makes them so disarming. It’s what makes us laugh at things we don’t want to laugh at; and laughing at those things is what saves us from succumbing to them.

An even better example of how Brooks annihilates the enemy without losing his soul is in the underrated To Be Or Not to Be, where Brooks and his real-life wife Anne Bancroft play a pair of two-bit entertainers  (they’re “world famous in Poland”) who bumble into a plot to rescue a bunch of Jews from occupied Poland.

The movie is not great, but one scene makes up for everything else: The audience is full of Nazis, and the only way to shepherd the crowd of Jews out of town is (work with me here) to dress them up as clowns and parade them out of the theater right under the enemy’s noses. Against all odds, it’s actually working, and the Nazis are deceived — until one poor old babushka, her face pathetically smeared with greasepaint, freezes. It’s too much for her: so many swastikas, so many guns. She can’t make herself do it, she’s weeping and trembling, and the audience realizes something is wrong.

They’re just about to uncover the whole plot, when the quick-thinking leader looks the Nazis straight in the eye, and shouts merrily, “JUDEN!” He slaps a Star of David on her chest, takes out a clown gun, and shoots her in the head. POW.

And that’s what saves her. That’s what saves them all. The crowd roars with laughter and keeps their seats while the whole company flees. Juden 1, Hitler 0.

The same thing happened to me. Again, work with me, here!

Depression and despair have been my companions ever since I can remember. Most of the time, if I keep busy and healthy, I have the upper hand; but one day, several years ago, I did not. The only thing that seemed reasonable was to kill myself, and that was all I could think about. The longer it went on, the less escape there seemed to be. Too much darkness. I couldn’t pass through it.

Spoiler alert: I didn’t kill myself. I’m still here. Part of the reason for that is because, of all things, I suddenly thought of that scene in Brooks’ 1970 film The Twelve Chairs. I barely remember this movie — we try not to have a lot of Dom DeLuise in our house, out of respect for my husband —  but the plot was some ridiculous, convoluted story of someone trying to do some simple thing, and things getting worse and worse. At one point, everything has come crashing down around the hero’s ears, and there is no hope.

So what does he do? He responds by running around in circles on the beach and screaming, “I DON’T WANNA LIVE. I DON’T WANNA LIVE.” And that’s the line that popped into my head.

So guess what? I laughed. Just a little giggle, but it helped. It was a little shaft of light, and it helped. I still had to pass through the dark room full of the enemy who wanted me dead, but someone who was on my side had slapped a Star of David on my chest, made me a target — and once I was explicitly made into a target, I could survive. It was all a joke. It was a circus, and I knew I would survive.

Suddenly I knew what kind of show I was in. It was a comedy, and I was going to make it out of that dark room. I don’t know how else to explain it beyond that. Mel Brooks saved my life, fart jokes and all. That’s what kind of movies he makes.

Oh, sweet mystery of life, at last they’ve found the 100 missing brains!

PIC brain depository

The 100 brains that were missing from the campus have been found, sort of. Blah blah blah something something turns out there isn’t much of a story here after all. Who cares? This is a clear mandate from the universe to rush right out and watch Young Frankenstein, one of the most perfect movies ever constructed. You’ll laugh, you’ll weep, you’ll make yummy sounds.

PIC brain Hans Delbrook

Quotes from this movie make up fully 60% of the conversation in my family. The other 30%* is all from Blazing Saddles, which CAME OUT IN THE SAME YEAR, can you believe that? Boy. *The remaining 10% of conversation consists solely of the phrases “I think I’m pregnant” and “I really think you’re pregnant.” DESTINY! DESTINY! NO ESCAPING THAT FOR ME!