Pop Culture 101: Today's Class - KNOCKED UP

I finally got to see Judd Apatow's hit comedy KNOCKED UP (newly released on DVD) which I really regretted missing last summer in the theaters. I thought it was very funny though it was more of a James L. Brooks style drama than I expected - the 2 hour 13 min. running time should have tipped me off. What really got to me about this anti rom-com about slacker stoner Ben (Seth Rogen) unintentionally impregnating way-out-of-his-league Allsion (Katherine Heigl), is the incredible amount of pop culture referencing going down. The abundance of name dropping, bad impersonations, and snarky wise-cracks would put Kevin Smith and Quentin Tarentino to shame! It's almost like without these media touch points these people would have nothing to talk about at all. Since I would have nothing to talk about without them let's take a look at the cinematic schooling KNOCKED UP provides us in pop culture profundity: WARNING : Many Potential Spoilers A large percentage of the riffing comes from Ben's room-mates (Jason Segel, Martin Starr, Jay Barachel, and SUPERBAD's Jonah Hill - who all use their real names in the movie). They all have a what they call "the dirty man competition" - a bet that air-headed Martin can't grow his hair and beard without cutting or shaving for a year. If he lasts that long they have to pay his rent for a year - If he caves and shaves he'll have to pay all of their rents for a year. So they hurl insults relentlessly at him - calling him SERPICO, Charles Manson, Chewbacca by way of Jay's horrible impression, and Jonah asking him if he had a hard time changing his name from Cat Stevens to Yusef Islam. Martin: "yeah, it was awkward." The gang has a website in the works - Ben's pitch: "only at fleshofthestars.com * will customers be able to find exactly into what movie their favorite stars are exposed". It seems to be a premise created soley to riff on Jamie Lee Curtis' infamous full-frontal in TRADING PLACES, Julianne Moore's pantless appearance in SHORT CUTS , we actually see them watch the Denise Richards/Neve Campbell lesbian love scene in WILD THINGS on TV, and Meg Ryan's nude scenes in IN THE CUT. To their later dismay Pete (Paul Rudd) tells Ben there is already a celebrity nudity website called Mr. Skin. Ben rationales - "Good things come in pairs you know? VOLCANO, DANTE'S PEAK. DEEP IMPACT, ARMAGEDDON, right? WYATT EARP, TOMBSTONE." To which Jay adds - "Panda Express, Yashinoya Beef Bowl." * Yep, it's a real site now. Random Reference Riffing : Shortly before Ben and Heigl meet, the guys discuss Speilberg's MUNICH - all agreeing on its awesomeousity. Ben : "Dude, every movie with Jews we're the ones getting killed. MUNICH flips it on its ear. We're capping motherfuckers!" They all drink to Ben's proclamation - "if any of us get laid tonight it's because of Eric Bana in MUNICH!" Paul Rudd's character Pete is a A & R guy for some never named record label. Photos of him with Elvis Costello and framed album covers (Tom Petty and the Heartbreakers "Damn The Torpedos" can be seen a few times) decorate the walls of his suburban home. Pete does a number of impressions throughout the film including Robert Deniro (not bad) and in the deleted scenes - Austin Powers (awful). He and Rogen disagree on music - Ben: "If I ever listen to Steely Dan, I want you to slice my head off with an Al Jarreau LP!" The most defining straight-forward statement that Pete makes of course is encased in pop culture - "marriage is like that show, Everybody Loves Raymond but it's not funny." Pete and wife Debbie (Leslie Mann - Judd Apatow's real-life wife) have kids (played by Apatow's daughters Maude and Iris) who argue over whether to listen to the soundtrack to "Rent" or the band Green Day from the back seat of Allison's car on the way to school. Not far from the tree obviously. Of course you've got to have a "boy loses girl" 3rd act conflict development with both couples spliting temporarily. Ben and Pete take a trip to Las Vegas in which they plan to take mushrooms (acquired by Pete from a roadie for The Black Crowes no less) and go see Cirque de Soleil quoting SWINGERS all along the way - "you're so money!" On a hotel room TV a scared Ben, tripping out of his mind on those Crowes roadie 'shrooms, watches CHEAPER BY THE DOZEN (we see shots of Steve Martin running around surrounded by his kids' wacky shenanagins) and remarks "He's got 12 kids...that's a lot of responsibility to be joking about. That's not funny." When Ben starts getting his life together and moves out of what was essentially a clubhouse into a respectable apartment he replaces his framed Bob Marley smoking a big ass spleef poster (obviously pictured on the right) for a ETERNAL SUNSHINE OF THE SPOTLESS MIND poster which he hangs in the soon to be nursery. Dr. Kuni (Ken Jeong) who delivers the baby angrily tells Ben in the hallway - "if you want a special experience go to a Jimmy Buffett concert!" In the bonus features there is a line-o-rama feature that has dozens of alternate lines for many scenes. There's an amusing run with trying out variations on the Jimmy Buffett line - some examples: "go to Disneyland", "go to freaking Busch Gardens", "go to Korea", and "go to my apartment, it's phenomenal." Another run on the line-o-rama has Jonah Hill saying "Mr. Skin is like the Beatles and we're like the Monkees" and "Mr. Skin is like Alec Baldwin and we're like Billy Baldwin." The opening credits sequence shower scene from CARRIE is viewed by Ben and Allison for further fleshofthestars.com research. Loudon Wainwright III plays Dr. Howard and also contributes the songs "Daughter", "Grey In L.A.", and "Lullaby" to the soundtrack. One of the deleted scenes has Jonah spouting out a hilarious rant about BROKEBACK MOUNTAIN which he says "was made by, like, fuckin' homophobes in my mind!" He drags MASTER AND COMMANDER and Bruce Willis's full frontal in COLOR OF NIGHT down into his profanity filled diatribe. Harold Ramis makes a nice (albeit too brief) showing as Ben's father. He attempts to console his son in an extended scene with an Indiana Jones analogy - "So, he could be like little Indy and you could be Sean Connery." Ben: "Or, I could be the guy that got melted when he looked in the Ark." Uncredited cameos by obvious Apatow and Co. friends Steve Carrell, James Franco (plugging SPIDERMAN 3 which was released at the same time as KNOCKED UP and is mentioned several times), and Andy Dick are brief blips on the reference radar - helped by Heigl's character being a reporter for E! Entertainment Television. That definitely hooked up the attitude-infused Ryan Seacrest appearance. Also swift bit parts from SNL's Kirsten Wiig and Bill Hader should be noted too. Whew! That's a lot of TRAINSPOTTING for one movie. I didn't even mention the mentions of Robin Williams, Taxicab Confessions, Martin Scorsese, Cartman from South Park, Doc Brown from BACK TO THE FUTURE, Ben's Mr. Bill T-shirt, Pete's Tom Waits "Rain Dogs" T-shirt, Vince Vaughn, Matthew Fox from Lost, Fellicity Huffman from TRANSAMERICA, as well as Ben and gang's posters of Pink Floyd, Hunter S. Thompson, and Fraggle Rock. Okay, now I 've mentioned them. There will be a test on all this so I hope you took good notes. More later...

THE DARJEELING LIMITED: More Or Wes Worthwhile

Peter (Adrien Brody): He said the train is lost.
Jack (Jason Schwartzman): How can a train be lost? It's on rails.
Film geeks from all markets can rejoice as Wes Anderson's latest opus THE DARJEELING LIMITED today enters its nationwide release. 

Jason Schwartzman, Owen Wilson, and a new addition to the Anderson repertory company, Adrien Brody, are brothers who haven't seen each other in the year following their father's death.

In a plan initiated by Wilson they meet up to take a train ride in India to bond and take "a spiritual journey" - also suggested by Wilson. They lug a huge amount of luggage with them on this trip - of course we get the symbolism there - baggage, right? Along the way they fight, embrace, engage in odd enforced rituals, and wonder where the Hell they are really going and what they are going to achieve. It is easy to wonder that about the film as well but Anderson's visual mastery is absorbing as usual, his soundtrack choices exquisite (including The Kinks and music from Satyajit Ray's films), and the acting superb so it's best to just sit back and enjoy the ride.

It is hard though, maybe impossible to not think of Owen Wilson's real-life suicide attempt when his character here had nearly killed himself by crashing his car on purpose and spends the film with his head wrapped in bandages. What makes it so difficult to separate the art from the non-fiction is his character is given practically no back story. In fact we are given so little to go on with just about everybody on the screen - Schwartzman is a published writer but of what type and is he respected or a hack? 

I can't recall at all what Brody or Wilson's occupations are and the info given on their parents is pretty vague too - their Mother (played by Anjelica Huston in a quiet but effective manner) became a reclusive Nun at some point but again we are given little motivation. They seem to have an unlimited amount of fundage to back their trip and to buy expensive trinkets so maybe their family was old money - who knows? These people don't appear to have any life except what we see on the screen but maybe that's the point.

Not fully thought out narrative threads and a pungent lack of pay-offs aside this is still a worthwhile night at the movies. Anderson may be treading water in some respects but it's his own water and he stays afloat more than he sinks. The train of the films title winds down the tracks unconcerned with any existential meaning or the lack of it and that's how moviegoers should be too when they get on board.

Postnote: I didn't realize before seeing the film last night that the 13 min. prequel HOTEL CHEVALIER (reviewed on the post The Darjeeling Prequel - Now Playing On My iPod Nano 10/1/07) was going to be played before the main feature theatrically. It gave me the chance to re-evaluate the short and I admit I liked it a lot better on the big screen as opposed to my previous iPod postage stamp sized viewing. Go figure.

More later...

The Magnificent Andy-Clones

“Andy Warhol looks a scream, hang him on my wall. Andy Warhol, Silver Screen, Can't tell them apart at all.” - David Bowie (“Andy Warhol" off the album Hunky Dory - 1971)

Pop-art pioneer (and filmmaker - though the worth of his cinematic output is highly debatable) Andy Warhol has been portrayed by a host of notable actors since his death in 1987. The latest was Guy Pearce earlier this year in the Edie Sedgwick bio-pic FACTORY GIRL (newly released on DVD and reviewed below). How does Pearce rate compared to the other Andys? Well, let's see...we'll start off with:

Crispin Glover in THE DOORS (Dir. Oliver Stone, 1991) Definitely the best Andy though the next contender comes close, Glover scores because he is in real life almost as eccentric and creepy as Warhol was. Appearing very briefly in an extremely caricaturized version of the Factory scene Jim Morrison (Val Kilmer) in his usual stoned haze stumbles upon Andy holding court and fondling a gold telephone - "Somebody gave me this telephone... I think it was Edie... yeah it was Edie... and she said I could talk to God with it, but uh... I don't have anything to say... so here...this is for you...now you can talk to God." Morrison takes the phone but doesn't make an attempt to speak to the Grand Deity - perhaps he knew he'd get his chance soon enough.

David Bowie in BASQUIAT (Dir. Julian Schnabel, 1996) With his incredibly informed interpretation (he even wore some of Andy's actual wigs) of Warhol's mannerisms Bowie benefited from actually personally knowing the man. Though from everything I've ever read possibly nobody really personally ever knew the man. Bowie's performance is all verbal ticks and unctuous posing framed by a laid-back lackadaisical hands-off approach. Warhol reportedly hated Bowie's song "Andy Warhol" (quoted at the top of this blog post) but something tells me he would've been honored by this depiction. He probably would've thought Bowie made him look fabulous.


Jarred Harris in I SHOT ANDY WARHOL (Dir. Mary Hurrin, 1996) This movie perhaps has the most accurate, or at least most believable, simulation of the Factory scene. Extra points for casting indeliable indie-rockers Yo La Tengo to play The Velvet Underground too. Harris has quite a bit more energy than the others in his characterization of Warhol but it's convincing and captivating at the same time. Dealing with the odd assassination attempt by radical feminist and sociopath Valerie Solanas (played by Lili Taylor) the film, despite a non-endorsement from Lou Reed, made quite a case for how Warhol's smug indifference to the violent nature of the turbulent times could be deadly.

Gregory Sullivan in 54 (Dir. Michael Christopher, 1998) This isn't really a performance - more like a costume party likeness. That is almost any pale skinny bloke can don the glasses and astronaut-silver wig and pull off a Warhol impression. Especially in the crowd scenes that dominate this empty as Hell misreading of historical decadence.

Mark Bringleson - AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY (Dir. Jay Roach, 1997) Ditto. It's a throwaway fake cameo - nothing more.

And the rest : Warhol was also played by Bob Swain in DEATH BECOMES HER (Dir. Robert Zemeckis, 1992), Sergio De Beukelaer in ANY WAY THE WIND BLOWS (Dir. Tom Barman, 2003), Todd Boyco in DRUG-TAKING AND THE ARTS (Dir. Strom Thorgerson, 1994), and Allen Midgette in CALDO SOFFOCANTE (translation - SUFFOCATING HEAT - Dir. Giovanna Gagliardo, 1991) which I haven't seen but the guy was in actual Warhol movies like LONESOME COWBOYS (1968) so maybe it's worth a look.

So again, how does the new guy Guy Pearce rate as Warhol? Let's take a look at the evidence:


FACTORY GIRL (Dir. George Hickenlooper, 2006) "You're the boss, apple sauce" Pearce as Warhol says early on to Edie Sedgwick (Sienna Miller) and that stands as some of the only believable dialogue in this glossy mess of a movie. Sedgwick was indeed a sad victim of 60's excess and her story could make an engrossing and profound film - but this sure isn't it. Despite the use of period methods like split screen and tilted angles - the aesthetic is purely TV movie quality and we're never convinced that we're anywhere but the current day with actors playing dress up.

The basic story is this - ambitious girl comes to the big city and falls into the wrong crowd and dies because of it. Got it? 'Cause there's nothing else going on here. I mean, the only artistic analogy this film tries to make is that Edie is like one of Andy's silver pillow balloons that floated away from his fragile Factory scene. This is displayed in a none too subtle shot of one of said balloons drifting upwards in the New York sky. Is that all you got in your bag of tricks, Hickenlooper?

Bob Dylan lobbied against this movie and wouldn't allow his name or music to be used so we have Hayden Christensen playing a character only billed as "musician" and referred to as "Billy Quinn" though a shot of a newspaper article has him called "Tommy Quinn". That's just one of the many things this film gets wrong. Dylan was right to protest (was he ever wrong to protest?) - the dialogue Christensen spouts is embarrassing and unfathomable that Dylan ever said such garbage : case in point - "Lady, you don't know shit about shit."

I get and appreciate that the premise is that Dylan offered a way out of the Warhol dungeon that Edie stupidly refused and that led to her downfall. It's just that it's such a simplistic dumbing down of their legacy that it leaves a disgusting taste in my mouth. But wait, what about Pearce as Warhol - the conceit of this entire blog-post? He's very good - maybe the saving grace of the entire project. I'd rate him between Bowie and Jarred Harris. He obviously did his homework. But back to the film - as Miller (who does more than a passable performance - the film's failings are far from her fault) as Sedgewick says at one point in the film "Andy took ordinary objects and made them iconic" - FACTORY GIRL, a misguided attempt to make a pop-art ALL ABOUT EVE, takes icons (Sedgwick, Warhol, Dylan) and makes them ordinary. Before seeing it I would have thought that would be impossible. I stand corrected.

Postnotes : I can't leave without mentioning that Warhol actually appeared in some films (always as himself) - in DYNAMITE CHICKEN (Dir. Ernest Pintoff, 1972) with Richard Pryor, TOOTSIE (Dir. Sydney Pollack, 1982), and BLANK GENERATION (Dir. Ulli Lommel, 1980) to name a few. As for television he did a fair share of guest shots - he even did an episode of The Love Boat for Christ sakes!

Also I have to mention that Hank Azaria voiced Warhol in a brief surreal dream bit on The Simpsons. I doubt when Warhol conceived his famous quote "In the future everyone will be famous for fifteen minutes" he factored in the effect that a few seconds on the pop-culture juggernaut that is The Simpsons could have. To be fair he later amended the line to "In fifteen minutes everybody will be famous." Today that line is more apt.

More later...