hostaccu.blogg.se

1. DATE OF FIRST MAN ON THE MOON MOVIE
2. DATE OF FIRST MAN ON THE MOON FULL
3. DATE OF FIRST MAN ON THE MOON PROFESSIONAL

Although the writers, Scott Alexander and Larry Karasczewski, and director, Milos Forman, convey an obvious attitude of affection towards Kaufman, they do not shy away from portraying the self-centered petulance that governed many of his actions both in his professional and personal life. If anything, the gross lack of humor of many of his performances recreated for the film simply underlines the overrated comic gifts of Kaufman himself.

DATE OF FIRST MAN ON THE MOON MOVIE

The movie finds surer footing as it moves ahead in time. The chronicle of his meteoric rise to fame simply lacks the detail necessary to make it credible. Before we know it, Kaufman has somehow landed a hosting job on `Saturday Night Live' (yet another bad performance) and has become so much in demand that he not only secures a role in a new sitcom, `Taxi,' but is allowed to make all sorts of demands from the producers in exchange for his services. Then, virtually in the blink of an eye, he is discovered by his future manager, again, in a scene of staggering incredibility, in which Kaufman somehow manages to reduce his audience to helpless laughter with material that couldn't possibly evoke even titters let alone room-shaking guffaws. After a clever 5-minute view of Kaufman as a performance-obsessed child, we move to his young adulthood where we see him bombing in a local nightclub with an act so aggressively unfunny that we cannot even imagine that it could possibly be real. The film itself is an uneven study of the man. It was like he was always pointing his thumbs back at himself saying, `Look how funny I am.' Such unctiousness inspires us not to laugh.

DATE OF FIRST MAN ON THE MOON FULL

In short, Kaufman always seemed too full of himself and so dazzled by his own cleverness and cuteness to ever be truly funny. The problem, however, is that iconoclasm has never been a source of humor in itself, and much of Kaufman's act and persona came across as heavy-handed, smug and self-conscious, particularly in his grating Lithuanian `Taxi' character. Thus, we see him in the film reading the entire novel `The Great Gatsby' verbatim to a stunned and ultimately hostile college audience we see him wrestling women while spouting inflammatory chauvinistic rhetoric and deliberately muffing his lines on live national television in a brilliant blurring of the line between reality and theatricality.

Kaufman's act became, then, a kind of exclusive comic club, a collective act of defiance against the social norms of theatrical convention and good taste. That audience, ultimately discovering that it was the butt of the joke, then was able to go a step further and become a willing part of the act, allowing them all to feel superior to the uninitiated masses still deluded enough to be on the outside looking in. Ostensibly, it lay, I imagine, in his metaphorically giving the finger to his audience while entertaining them at the same time. Kaufman's purported genius has always eluded me. This may be both the strength and the weakness of the movie itself. pretty much reflected the man who existed in real life. Indeed, the point of the film seems to be that, with Kaufman, the many characters he showed to us on stage and T.V. And, as this film suggests, there was not, ultimately, a very wide gap between the two. Your fondness for `Man on the Moon' may well be predicated on your feelings for Andy Kaufman, both as comic performer and offstage human being.