HUMOR ME
US, 2017, 90 minutes, Colour.
Jemaine Clement, Elliot Gould, Ingrid Michaelson, Maria Dizzia, Priscilla Lopez, Joey Slotnick, Willie C.Carpenter,Le Clanche du Rand, Rosemary Prinz, Annie Potts, Erich Bergen, Bebe Nieuwirth, Cade Lappin.
Directed by Sam Hoffman.
Jewish jokes!
This is a brief humorous story but also a portrait of a desperate middle-aged man. The middle-aged man is played by New Zealander Jemaine Clement, his father being played by Elliot Gould.
The film opens with him at a play reading, but he is not satisfied, and is actually fired by the producer, Bebe Nieuwirth. At this stage, his wife tells him that she is leaving with a billionaire and going to the Riviera with their son. The playwright is desperate, tries to get some accommodation with his very successful real-estate agent brother, finally having go to go to the retirement village where his rather happy-go-lucky father lives.
At the opening of the film, in black and white, there is a dramatisation of a Jewish joke – and this recurs, with the same character as the butt of the jokes in black-and-white sequences throughout the film. Bob, the father, also has a propensity for telling Jewish jokes, his old friends lapping them up, his son rather wary.
The son has to get a job at the village, menial jobs like folding sheets and sweeping. His father wants him to get some kind of responsibility. The difficulty between father and son is that the father, with his jokes, has not really mourned the death of his wife. The son is still very affected by his mother.
All works out well in a satisfying kind of way. The son is asked by the ladies (some eccentric performances here) to direct them in a performance of Three Little Girls from School from The Mikado. The eventual performance also includes some rather raucous Jewish jokes. The son also discover that his father has in storage all the mementos from his wife – including a statue from a Pompeii which serves as an inspiration for the son to write a new play, aided by the drug-addict piano player at the centre who is getting her life back and supports him.
His wife is dumped by the wealthy man and returns to the US with their son, finalising a divorce but, amicably.
A light Jewish film with a lot of serious undertones.
1. The title, old men, jokes, Jewish jokes, jokemakers?
2. An American story? American Jewish story? Traditions?
3. The theatre world, homes and apartments, New Jersey and the village for the elderly, the grounds, the interiors, suites, dining room, theatre? The contrast with the Riviera, the musical score?
4. The opening joke, Bob Kroll and his telling it, its being visualised? The recurring of the visualising of the jokes? The Jewish tone? The kind of humour? And incorporating these jokes for the three young maids from school in The Mikado?
5. Nate Kroll’s story? His play, the rehearsals, the producer and her being present, disapproving? His relationship with his father and mother, incorporating them in the play, his mother’s death and grieving, the title, Crack in the Clouds? The video copy and later seeing scenes from it? The audience reaction, and Bob? His new play not finished? The producer breaking the connection? Going home, his wife, leaving him, his relationship with his son? Going to the Riviera with a millionaire?
6. His being stranded, his age, ringing his brother, the estate agent, ringing friends? Nowhere to stay? And willing to go to his father, going to the village, the first meeting, the tensions, his room, going out for food, not having enough money? His father’s friends, their company, giving him work, folding sheets, mopping floors? The effect on him?
7. Bob Kroll and his vitality, his jokes, yet reticent about emotion, memories of his wife, distancing his grief by extraversion, joking with friends? No mementos – but the discovery of all the mementos in storage? His relationship with Connie, going out with her, her staying? The common sense, companionship, helping Nate? Bob’s happy life?
8. Nate and his encounter with Allison, playing the piano? Spectacles and the unexpected story of cocaine and drugs? The dominant mother and criticisms? Inviting Nate to dinner? Playing the piano, The Mikado, helping Nate, reading his play? The bond between the two?
9. The elderly ladies and their participating as the three young maids from school? Helen, age, presence and charm, talking about courtesans, her life, the invitation for Nate to visit, his coming, her stories? Ellis and his jealousy? Her discovering that Ellis had a passion for her? Dee, commonsense, bright, co-operative? The contrast with Gertie, the rehearsals, not singing? The relationship to the producer? The rehearsals? The performance and her actually singing? Nate and his explanation behind the Mikado – but just letting it play? The best? The performance, the introduction of the jokes, the elderly ladies and the raucous tone of the audience appreciative? The producer and her presence and acknowledgement?
10. Bob, his collapse, Connie’s concern, in the hospital, the visits? Telling the jokes to Bob? His recuperation?
11. Nate’s phone calls to his wife and son? Their experiences on the Riviera? His wife being dumped for another woman? Her selling the artwork? The return, discussions, the
agreement about the divorce? Her regarding him in a better light? Nate and his love for his son?
12. The statue from Pompeii, his father’s reaction, finding it in the storage, explaining it to his brother? Writing the new play? Performance, success – and hope for him?
