THE KING OF COMEDY
US, 1983, 109 minutes, Colour.
Robert De Niro, Jerry Lewis, Sandra Berhhard, Diahnne Abbott, Shelley Hack, Tony Randall.
Directed by Martin Scorsese.
The King of Comedy is one of several collaborations between director Martin Scorsese and actor Robert de Niro. After Mean Streets, Taxi Driver, New York, New York, the Oscar-winning Raging Bull, they made this savage satire on American media, the mentality of the fan as fanatic. Later De Niro was to work with Scorsese in Goodfellas, Cape Fear and Casino.
Robert de Niro is excellent as the rather dim-witted, but ambitious would-be entertainer. He admires show host Jerry Langford (Jerry Lewis acting, modelling himself on Johnny Carson). The interactions between the two highlight the American phenomenon of celebrities being persecuted and even being assaulted by their fans. The film moves between reality and fantasy, especially in the imagination of Rupert Pipkin, de Niro's character. There is a kidnapping, assault, the taping of a show under the surveillance of the FBI - and an ironic ending where Pipkin himself becomes and American celebrity.
The screenplay by Paul D. Zimmerman (The Effect of the Man in the Moon Marigolds) is quite sharp, highlighting the surface as well as the depths of American popular culture. There are strong supporting performances by Sandra Bernhard as the equally fanatic Masha. Tony Randall appears as himself at the end of the film and Scorsese is a television director.
1. A portrait of America in the '80s? Fans, humour, exhibitionism, paranoia, dreams and success? Celebrities and popular culture? The impact for American audiences, non-American audiences?
2. The work of Martin Scorsese, his attempt at comedy - but with American paranoid undertones? His career, insights, serious treatment of his themes? Collaboration with Robert de Niro?
3. The portrait of New York City, the streets, the New Jersey countryside? New York and its apartments, bars, television studios? The affluent world, the ordinary people's world? Television styles, popular response? Reality and fantasy? The musical score, songs?
4. The credibility of the plot - and the experiences of
Ronald Reagan and Jodie Foster, of John Lennon's death? The echoes of Taxi Driver? The dreams of the would-be star - the fantasies of A Star is Born, Rupert and his show? Going on Jerry Langford's show and marrying Rita? The ironic ending with Rupert as the celebrity? The irony of the film made while Ronald Reagan was president - the movie star as supreme authority? Madness, fantasy and reality? The consequences of this Americanism in terms of leadership, the public?
5. The opening with Jerry Langford - Jerry Lewis and audiences' knowledge of his comedy background? His playing a straight role? The same initials? His screen persona, reputation and style? Playing against style? The fans rushing the host shows, the razzamatazz, the logo etc? The harassing of Jerry Langford? The fantasy Jerry - especially for Masha and Rupert? The real Jerry? As TV host? As businessman? His handling the hype and his reputation? As fantasy - bowing to Rupert, zany style? As perceived by Rupert? His explanation of himself when apologising? As an apologia for his own life? The opening, the taxi ride, the steps, trying to get rid of Rupert? Rupert and Rita invading his house? Getting rid of them? The kidnapping, the humiliation, the treatment by Masha? As a sex object? His turning the tables, persuading Masha to set him free? His escape after knocking her down? His watching of the show? How much of Jerry Langford - and Jerry Lewis - in Rupert Pipkin?
6. Robert de Niro's skills, his Rupert Pipkin? The opening, at the stage door? His appearance, clothes, moustache? Masha and the car? His talking to Jerry, pouring out his heart, his persistence? The transition to fantasy - the focus on himself, patronising Jerry? His portrait, inflated? The shadow Jerry praising Rupert? Six weeks as compere? Rupert, family background, personality? Paranoia? His mother and her intervention? The fantasy about his tape and the success, the build-up to the wedding? The comparisons with reality? His tape, going to see Jerry, being fobbed off by the secretary, his manic behaviour in the studio reception room? Becoming more obsessive, more fantasy? The visits to the studio, the reaction, the blackmail and abduction? His relationship with Rita, boasting, her fascination? The kidnapping, the FBI? His doing his show, his routines and success? Going back to watch himself in the bar? Going to prison, the experience in prison, getting out, celebrity?
7. Masha as the mad fan, her behaviour, enthusiasm, the car, talking with Rupert, the plan, pursuing Jerry, taking part in the abduction, her holding Jerry, the sex fantasies, being persuaded to untie him? The violence - and her pursuing him?
8. Rita, the past friendship with Rupert, her understanding him, fascinated? Going home with him, enjoying his celebrity? Believing him? Going to Jerry's house, not being welcome, Rupert's mad behaviour, her discovery of the truth, the humiliation, her return home? Back in the bar - and Rupert watching his performance?
9. The people in the television world, in the studios, technicians, directors? The secretary and her suave manner with the tape, inviting Rupert to come again? His reaction against her?
10. The police, the FBI, the staff - and meeting Rupert's demands? The meetings to discuss this - the criteria for their capitulation?
11. Rupert's show, Tony Randall performing as himself? Giving the show the semblance of reality - this could happen?
12. Themes of fans and the media, the effect of creating celebrities, image and reality, fantasy - and real life and violent consequences?
