GET HIM TO THE GREEK

US, 2010, 109 minutes, Colour.
Jonah Hill, Russell Brand, Rose Byrne, Sean Coombs, Colm Meaney, Elizabeth Moss.
Directed by Nicholas Stoller.

Refinement is not the first, second or even hundredth word that springs to mind in reviewing Get Him to the Greek.

Rather, this is one of those raucous American comedies where there is potential to offend sensitive audiences as well as potential to offer some laughs to different sensitivities about how silly human beings can be.

The silly human being in this case is a British rock star named Aldous Snow. He appeared as a supporting character in writer-director Nicholas Stoller’s previous film, Forgetting Sarah Marshall (and she has a moment or two in this film). He was played by comedian Russell Brand who is not known for being a quiet or subtle performer. He tends to be in your face with few holds barred in his topics for laughs or in his language and references for jokes. He comes across as a sometimes raving extrovert and the success of the film mainly depends on whether you enjoy this type of character and Russell Brand’s interpretation. Like him or not, he does have his moments.

Aldous Snow is the ‘him’ of the title. For those who don’t know LA, the Greek is short for the Greek Theatre where rock concerts are held. The command ‘get’ refers to Aaron Green, a publicist and producer for a record company. He is played with a mixture of affability, exasperation and some silliness too by Jonah Hill who has shown a flair for offbeat comedy in many roles in recent years, including Superbad and Funny People. It is Aaron who has the bright (?) idea to resurrect Snow’s career by getting him to sing at a concert in Los Angeles. Snow is in London, has a reputation for erratic behaviour and the rock star propensity for drugs, drink and sex. Will Aaron persuade him, get him out of London, get him to LA (after a detour to see his musician father, played by Colm Meaney, in Las Vegas). And what effect will this have on Aaron who thinks he has broken up with his medical student girlfriend (Ellisabeth Moss) who wants to move to Seattle for hospital opportunities?

A surprise is Sean Combs (P.Diddy) in the role of the demanding, manipulative and wheedling record company director.

The tone is set in the opening credits which are quite an amusing parody of music videos, especially one called African Child which is claimed to have done more damage to Africa than apartheid (and pokes at Madonna and other western adopting parents). It is also a summary of Snow’s success and then the collapse of his career and separation from his wife and music partner, Jackie Q (a surprising and different performance from Rose Byrne).

There is quite an amount of mayhem along the way to the Greek. But, underneath the bravado and living up to the reputation, there is a redeemable character inside Snow who, while he often does his best to undermine Aaron’s life and values, allows Aaron to be a catalyst for some change for the better. All is not lost. (There is a remark that British rock stars, unlike so many Americans, don’t burn out and kill themselves; after all, look at the Rolling Stones and their age and popularity.)

One of the producers of the film is Judd Apatow. Most of his films have the dramatic curve of beginning with obnoxious characters and/or obnoxious behaviour, centring on immersing the audience in the obnoxious and then ending with an optimistic and morally reforming finale: the Judd Apatow Syndrome. The same here.

1. A raucous comedy? Not refined…?

2. Audience knowledge of the Greek Theatre in Los Angeles, its reputation, rock ‘n roll concerts?

3. The American music industry, Los Angeles, the life, Las Vegas and casinos? The American road, the desert? The Greek Theatre? The American feel?

4. The contrast with the UK, postcard London, the high life and ordinary life?

5. The importance of the music? The introduction, Aldous and Jackie? The mocking of the MTV visuals, action, songs, lyrics, production, off-camera behaviour? The range of songs and their success? The sexual and parody lyrics? The importance of African child video? Filming, motivations and interviews, poking fun at Madonna and adoptions? The failure of the record? The comments about its offence to Africa?

6. The importance of careers for rock ‘n roll singers, celebrities, personalities, appearances? Talk and manner? Drinking, drugs, collapse? Failed careers?

7. Russell Brand as Aldous (and his appearing in Forgetting Sarah Marshall)? His age, lifestyle, British background, his friends, his relationship with Jackie, the failed marriage, the visit to his mother? Parties, the venues, the blatant lifestyle? His behaviour with people, with women, on the plane?

8. The boss, his personality, style, his career in real life, parodying the world in which he has been successful? The calling for ideas, his manipulative style, the response of his staff, his ridiculing them? His values, easily adapting for the financial needs? Promotions, meetings and talks, ideas and failures, mockery? Knowledge of the industry and parody?

9. The introduction to Aaron, in himself, Jonah Hill’s screen personality? Waking up, his relationship with Daphne? His idea, admiration for Aldous? The suggestion about the ten years anniversary at the Greek Theatre? The boss giving the go-ahead, the deadline?

10. Aaron and Daphne, their life, busy? Both having heavy schedules? The discussions, arguments, promotion? Daphne as doctor, needing sleep? The offer for her to move to Seattle? Thinking things over? Aaron thinking that they had broken up?

11. Aaron going to London, his experience of the different culture, the shock, meeting Aldous, the outings, the drinking, Aaron’s sense of urgency, the taxi to the airport, the traffic jam, getting on board? His experience of the high life of London, drinking, drugs, women?

12. The hazards and Aldous being erratic? Arriving in the US? His behaviour? The fans, New York, the interviews, radio, singing the song, the difficulties about the lyrics and depending on Aaron? His changing the lyrics, the effect of the fans, the interviewer? Success? Aldous and his behaviour, the hotel, wanting to see his father? The background of his story, the father as a musician, leaving the family?

13. Aaron desperate, yet the trip to Las Vegas, going to the club, his father’s performance, the music, their talking, sexual behaviour, Aaron and the women, the sexual attack on him? The effect? Aaron shocked? His concern about Daphne?

14. The boss arriving in Las Vegas, putting on pressure, manoeuvring?

15. Getting to the Greek Theatre, getting on time, the difficulties that Aldous had with the technical side? Putting on a tantrum? Going on stage, the change, his loving to do performances, rapport with the audience?

16. The ending, the change in Aldous, a comeback? The change in Aaron? Achievement? The disillusionment with the business? Daphne and the reconciliation? Going to Seattle? The club, the records, Aldous singing in Seattle, success?

17. The shift from a raucous comedy, unrefined, to something nice and hopeful?