clark2600

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  1. Dr. Rich Edwards, Will I be mailed a certificate of completion for my participation in the course, "Ouch, Tribute to Slapstick Comedy." Thanks, Angela Clark.
  2. 1. How does style of Ferrell and McKay differ from or compare to Woody Allen, Mel Brooks, or the team of ZAZ? Be specific. Unlike the seriousness and specificness of Woody Allen, the collaboration of Will Ferrell and Adam McKay is completely off the wall. The team is moreover more closer to Mel Brooks and ZAZ, where they take a joke and run away with it. Ex. when the rival Anchorman Frank Vitchard's arm was severed. It's just what viewers have come to expect from "that wild and crazy guy," Ferrell. Even down to the preparing for the duel, armed with battle axes, medieval flail, grenades, whips, even swords, it's a real laugh riot. 2. We first saw a portion of this clip during our Breakdown of a Gag on cameos-in full context, what do the cameos add to this fight scene? The street brawl reminded me of scenes from West Side Story. There was also a portion of the film consisting of Brian Fantana being dragged that was reminiscent of The Ten Commandments. These cameos further enhance the realness, the effectiveness, as well as overall credibility of the scenes. These cameos would over exaggerate, hooping up the scene. 3. Of the slapstick influences we've covered in this class, who do you think influenced Will Farrell as a slapstick comedian? You can select for your answer any of the studios, directors, writers, or actors covered in this course. When, I think of someone as radical, "off the wall" humor, Jim Carrey would stay stuck in my mind. Another would be the buffoonery of Jerry Lewis, maybe even Lou Costello. Even "no fool like an old fool," Jimmy Stewart. Maybe, even Hal Roach studios.
  3. "Strange Brew" was a real spoiler filled with gags, ex. when Bob was heavily bloated from drinking a whole vat of beer. It was a real barrel of laughs. Laughs a minute. I really enjoyed the movie. Cracking jokes like the brewery being a wrong turn for the mental institution. I was actually reminiscent of those misfitted brothers from the film, "Dumb and Dumber," where mishaps always seem to find them. It was an action packed adventure filled with chills. spills, and a whole lot of fun.
  4. clark2600

    Breakdown of a Gag, Episode 8: Spoofs since 1970

    It was "a really big show." Only regrets that I have to say. Hope that Dr. Rich Edwards, as well as the rest of the team "play it again, Sam," next year, or sooner. Best regards.
  5. 1. How would you describe ZAZ's approach to film parody or film spoofs in this scene? Cite specific examples. Anything goes with this crew, nothing's panned. Just about anything under the sun is included in this film. Go get 'em team, all in the name of the brotherhood theme, "all for one, and one for all." They're back in the flash and ultimately ready for action. It's a threesome, like "birds of a feather" gathered at the window located at police headquarters. They're family; inseparable. Like as if the message were guilded in stone, never leave your partner stranded. 2. How is ZAZ's approach to spoofing similar to or different from Mel Brooks and Gene Wilder's approach in yesterday's Daily Dose? Like Mel Brooks and Gene Wilder's attack on comedy, ZAZ's approach isn't much different, as to state of all in the name of painful humor; all in the name of cracking a joke. "Hey, watch out for that runaway car," that after years of abuse, gains a mind of its own and lashes out at not only its owner, but our fine city. The laughs are outrageous. The laughter is rather contagious. One liners are all over the place. It is rather interesting as to state of the scientist that reinvents a handy shoe that is "kitchen ready," it has everything but the kitchen sink. The scientist also invents cufflinks that shoot darts that knock the unaware fellow officer out. His job is defending the little men, whereas in this scene, he appears ready to ditch his fellowman, all in the name of maintaining his badge. 3. In the name of slapstick comedy, compare Peter Sellers' Inspector Clouseau with Leslie Nielsen's Frank Drebin. They are both downright fools, all in the name of comedy. Frank Drebin is blindsided by enemy in this scene ultimately is his car. Like Inspector Clouseau, Drebin is your "ordinary, average Joe," who gets by in society by the mere skin of his teeth. If it weren't for his head screwed on tight, he would lose it at the drop of a hat. Drebin is like "the knight for a day," King Arthur, as well as "legendary buffoonery of D.F. Lawrence."
  6. 1. How does this scene successfully parody the Universal horror films of the 1930s. Be specific. In comparison, this scene from Young Frankenstein actually pokes fun at those serious, scary "3-D" sci-fi horror films. Exemplary of such horrifying films as "The Island of Dr. Moreau," Mary Shelly's "Frankenstein," as well as other bone chilling, blood curdling films, these stories host a sordid, diabolical mad scientist who escapes to his lab to do evil, in his attempts on the face of the world. It is like preceding strong medicine with a spoonful of laughter. 2. In keeping Gene Wilder's own observations, about the writing of this film, how does this scene move between comic subtlety and broad slapstick humor? Be specific. The scene of the humiliated man captured as a human guinea pig, is moreover a classical example of painful humor. Where the man lifts his left leg, as if he were a young man, and lowering it, before having his groin hit. Even after expressing his excruciating pain it is all to no avail. The levels of human anguish, as to how much can a man take. It is as if this scene alludes to the introduction of Dr. Fronkensteins horrific discovery, his monster. 3. Would this film and its gags have worked as well if Young Frankenstein was shot in color? Defend your answer. I think that B&W enhances the realism, and helps viewers focus on the finer points of the film. In B&W films, we gain more visual depth, as well as clarity. On the other hand, the implementation of color reminds me of the institution of technicolor, introduced by Hal Roach's Studio in Hollywood, California, namely its "Mighty Mouse." It is rather colorful, in its wide range of the color scheme. Color leaves little to the imagination. The colors are often colored in even over the films to make the seem more realistic.
  7. 1. In what ways does this scene from Bananas operate as both slapstick and a parody? Fieldings' character was an overall loser, non achiever, like charismatic D.F. Lawrence, inasmuch as to state of the irony of it all. His landing his first job as a revolutionary soldier for Castro's army. Whereas, "comedy is the best medicine," as to state of how nobody's life is this bad. Look at how fast he takes to these soldiers, connects with their faction, as if he known them all his life, as well as their ideals. He leads these workers as if he is "a pro" at it. "Gun toting" Fieldings obviously knows his way around a machine gun. 2. Do you agree or disagree with Mast in his view that Bananas more closely captures Sennett's style or spirit than the Great Race? Even if you didn't see either film, you can base your analysis on today's Daily Dose vs. lat week's Daily Dose for the Great Race? I must agree that the Great Race lacks structure, depth, theme, as well as character. I found the Great Race to be nonsensical, as well as oddly ridiculous. Fieldings seems to be a more realistic character than that Eric Von Whoopee, or whatever his name was. The Great Race was totally fun, colorful, action packed, loaded with spills, chills, and vaudeville style humor. Bananas was more modern day contemporary than The Great Race. I could better relate with Fieldings' down to earth character other than Von What's His Name. Even though, it was a tight race, neck to neck, I'd chose Fielding by a nare.
  8. clark2600

    Cameos

    In the world of work, hey I'd sure not like to be in that fellow's predicament.
  9. clark2600

    Are the "ROAD MOVIES SLAPSTICK"?

    It is interesting that you should ask. Also, if I might add, it's interesting that these directors would pitch a film surrounding the WW II era. I'd guess that the troops, as well as the home front needed a laugh. Another road movie featuring Dorothy Lamour would be "High Road To Singapore." On a theme of "guy gets girl," "...hey, by the way, who gets the girl?" It's anybody's answer. Lamour sure is slippery when wet. It's kinda hard to hold her down. That was a great topic, I might add to bring up to the event.
  10. "It's A Mad, Mad World" shrouded in the world's greatest pastime, the steeplechase. The great hoopla of the scene would be all in the event of racing after "yellow fool's gold." To state of the authenticity of the threat, where it is extolled that one man didn't make it, upon "kicking the bucket." The race with time was filled with thrills, spills, and lots of action. It was an all-over comedy hit. A crowd pleaser for audiences of the young, as well as the old. Where "laughter is the best medicine," this real pleasure ride consisted of a rip roaring laughs, every minute. It hosted a star studded cast of characters who participated in "this real spectacle of buffoonery." It's like episodes of "the world's worst bet," entitled "Around The World In Eighty Days," only this time, there's a twist, where the dirty lawyer portrayed by Spencer Tracy escapes with the loot. Who would have expected him, of all people. The film was a portrayal of human nature, who this dysfunctional family unit chooses to trust. An ordinary guy, "average Joe," (Sid Caesar), entered the race, in order to afford his goldigging wife, portrayed by Erma Bombeck. Buddy Hackett's character is definitely not in it for the ride, reminiscent of those comedy legends, "Bud Abbott and Lou Costello," and lastly "Stan Laurel and Oliver Hardy." When the crew was found dangling from a window on a tenement apartment dwelling, it reminded me of those archaic Charlie Chaplin movies. It was real whoopee fun.
  11. 1. As you carefully watch the screen, what do you learn about the character Hulot (Jacques Tati) as he walks up to his apartment? As yet another perfect day not without a mishap, here we have Hulot, a perfect victim of circumstance. Haphazardly, he slowly enters the scene from the bystander standpoint while his life goes through a taciturn at his encountering a girl who nonchalantly runs and drops a tomato on the ground. Mother yells at the girl. There is confusion as to whether she is yelling at the girl or at unawares Hulot. As if matters couldn't get worse, he taunts his fish in front of snarling dog, as if to tease. Business as usual, he leaves and walks past girl, who argues him as if he is in the wrong. He reminds me of episodes of that crazy, funny uncle," from episodes of "Good Ship, Lollipop." Whereas, after shunning girl, while waving his umbrella at the girl, he finally rewards her with a piece of fruit that her mother claims for her own. 2. How is the building used to support Tati's physical comedy? In reference to the tenement, the Villa Arpel, it is referenced as modern, meanwhile au contraire as in comparison to the ruins of Europe; it is rather archaic, devoid of modern advances. Concerning episodes of "can't take it with you," these apartments weren't well furnished. It is rather "simply stated," obvious. It's peoples are rather beastly, as to how distant, as well as hostile this family domicile is. It is leading, concerning its long, winding stairwells. His apartment, in particular is so small, like that of a walk in closet. Once you step in, you're in. The episode is just like a moving conversation involving Julia Child's "America," concerning the ambiance of this neighborhood, as seen only on the surface.
  12. 1. What do you think the addition of color adds to this scene and its gags? The addition of color adds more depth, more visual acuteness, as well as clarity to the scene. If the viewer could only capture the irony that these characters are in, found on an incline between the grips of death and holy matrimony. Her struggles to find the bright side of life with her making jokes, and one-liners. If one could capture the frustration of Lucy falling out of the camper and looking "like a pig" into the mud. 2. What are some of the techniques that Vincente Minnelli uses in this scene to make it more cinematic than a TV Show such as I Love Lucy? Consider, for example, camera angles, depth of focus, or editing strategy. He makes use of such camera lengths as focusing on the slant of the trailer, where Lucy finds it difficult not to slide out of bed. While ironically enough, Desi seems unmoved, nonchalant as he fixes his bed and sleeps with the greatest of ease. Vincent Minnelli also makes a point of focusing on Lucy's being found in the mud. As, if it couldn't have been more well timed as to lead up to the laugh, concerning Lucy struggling before falling in the mud. It was hilarious to say the least. 3. What are some of Lucille Ball's contributions to the history of slapstick comedy, and how does Minnelli use her physical comedy in this clip? Lucy is well known for buffoonery, whooping it up, all in the means of gaining a laugh. The world of comedy is full of over exaggerations, mishaps, as well as the irony of it all. Nobody in this lifetime's life could ultimately be this bad. Lucy proves herself no amateur in the field, where scenes become second nature to her many years of experience on the subject of slapstick comedy.
  13. As far as his publicity goes, he is known as top aced detective Inspector Jacques Cousteau. Otherwise, as far as the bedroom is concerned, he is not so worthy. Whereas, his wife has an eye for every man but his impresario. The misleading facade of the the doting wife, while she is off gallivanting with another man. She seems unamused, even bored with him. The team of criminals seem to pay more attention to his presence, concerning their outwitting, foreplay, as well as walling technique.

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