Most
film biographies depict extraordinary people, presented glowingly.
By this, I mean that we have little ambiguity about the belief
that the person in the film is a great, inspiring, individual.
Of course, this has to happen, because why make a movie about
a useless real person that lasts two to three hours?? At the
very least, the subjects` flaws are dwarfed by their attributes.
This
leads us to Bob Fosse`s bio of comedian Lenny Bruce. Bruce
certainly contributed to society, by drawing attention to
the freedom of speech issue, which he defended numerous times,
even while being arrested for obscenity. Much of his comedy
dealt head-on with subjects which, at the time, nobody would
talk about. This film does not question these facts, and is
certainly worthy of a film bio. But Bob Fosse does something
else, which is very risky, and that is to present its subject
not as a hero of free-speech, but as a complex, deeply flawed
individual. This is all the more risky when you are dealing
with an entertainer, as well as someone who apparently did
so much to expose the world to the futility of censorship.
People want to see the glamour and the success, they want
to see someone bold and daring enough to fight for our rights.
But they don`t want to feel depressed, or be forced to truly
think about this individual, but that is what Lenny forces
you to experience.
Lenny
Bruce fans have expressed their discontent in such places
as the film`s entry in the Internet Movie Database. Dustin
Hoffman is miscast as Lenny, the routines aren`t funny, the
plot is not detailed enough, and so on. There is no doubt
that the film does not show us a lot of comedy.... but this
is not a comedy film, but a drama. Dustin Hoffman is a great
actor, and he does what he can, and does in fact pull off
the task of giving us a glimpse into Bruce`s comedy. And the
plot.... well, Fosse does give us a plot, but not the one
rabid fans probably expected.
My
opinion is that a vast majority of the Lenny Bruce fans were
disappointed because they ended up seeing a film rather than
a love-in (think of Man on The Moon, the Andy Kaufman bio
which dealt with a somewhat related personality, yet felt
about as unbiased and blunt as a political pamphlet, sacrificing
truth for constant attempts at laughter). Lenny is a dark,
grim piece of work, shot in moody black-and-white, and absent
of any forced attempts at humour, warmth, or sentimentality.
That is just the way Bob Fosse sees this story.
The
film details the rise and fall of this famous comedian. At
first, he performs lousy comedy and poor imitations at cheap
nightclubs. And in his personal life, he meets Honey Harlowe,
a stripper played by Valerie Perrine. As the years go by,
the two get married, and Bruce the comic becomes famous for
pushing the envelope (the movie does not quite get into detail
on his change in comedic insight). His personal and professional
lives both intertwine and mirror each other. This occurs as
a result of the two of them becoming heavily involved in drugs
and other hedonistic activities, while at the same time, his
career takes numerous hits due to charges of obscenity. The
rest of the film depicts a free fall into utter self-destruction.
Dustin
Hoffman portrays Lenny as a deeply flawed individual, whose
biggest flaw is that he cannot handle the pressure of being
both famous and persecuted. Over and over, he is charged for
obscenity, which creates a situation where he is even more
popular, and the film implies that this has little to do with
his talent but rather his notoriety, and the chance that something
even more outrageous might happen. At first, he is able to
survive the attention with his humour intact. But, soon, his
troubles are a curse, a scarlet letter, which ruins him. The
single most wrenching scene in this regard is a performance
where he wanders out, in a trenchcoat, high as a kite, and
delivers a rambling, incoherent rant on entrapment and harassment.
This ends when he whispers desperately to the audience that
he cannot take it anymore, that he is not funny, and walks
out. This entire sequence is done in one unbroken, unmoving
long shot. The camera cruelly, dispassionately witnesses his
despair as well as the audience`s reaction.
Bob
Fosse`s camera also cruelly witnesses Lenny Bruce no longer
in fashion with the crowd. This occurs in a running commentary
throughout the film, presented as a performance taking place
after much of the actual story in the film. Bruce is supremely
obsessed with his legal troubles, and the meaning of obscenity,
and all this causes is an alienated audience, who slowly drift
away from him.
Another
important aspect of the film involves his personal life. In
the Andy Kaufman bio, for example, we are presented with a
loving, eccentric couple. But in Lenny we see manipulation,
lies and misery. We know about the drugs. We also know that
Lenny has had affairs, and lied about them. We are also witness
to a painful result of Lenny`s need to push the boundaries
even in his personal relations. Lenny, in one scene, tells
Honey that he wants to engage in a threesome with her and
another woman. Honey attempts to get out of it, but can`t,
because she is unable to respond to Lenny`s claims that if
she loves him, she will do this for him. We actually do get
to see this threesome, but not in the way we expect. Played
against complete silence, helped by the black-and-white cinematography,
the fears and curiosity in Honey`s face are juxtaposed with
the imposing presence of the act`s orchestrator, and we are
soon witness to more emotional pain.
What
Bob Fosse does is give us an open-ended view of this person.
We are forced to think whether he was a great man done in
by society, or whether he did himself in, while society enjoyed
the spectacle for a time before they got bored. Either one
of these conclusions may work. Personally, I was leaning toward
the latter. Throughout the viewing of this film, I had the
feeling that Lenny was setting himself up for a fall. He marries
someone who is certainly his sexual fantasy, so expects her
to follow that fantasy. His comedy shocks the world, and brings
issues to light, but has the misfortune of being unable to
defend himself without sounding like a bore, or, usually,
utterly desperate. The man was not just a martyr for the rights
and freedoms of the rest of us, but was a victim of his own
hungers and needs.
David
Macdonald
David
Macdonald's Movie Reviews
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