Man on the Moon
© 1999 Universal Studios
Distribution Warner Bros. International for Mutual Film Company
Jersey Films/Cinehaus production
in association with Shapiro/West Productions
photo: Francois Duhanel
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Once in a while, a funny film comes along that immediately classifies itself
as a classic. This is one of them. The film has so much humor packed into
it, that you might very well die laughing. It also manages to give a sensitive
portrait of Andy Kaufman, a man considered by some to have been a
comic genius. Don't miss it.
Some of the many ways he was described during his lifetime include "a
nihilistic self, a Zen Guerrilla, a Dadaist comedian and the first true
performance artist." Kaufman was a man who refused to break character.
One could never be sure if he would leave his audiences confused or
amused at the end of an evening. They might be totally baffled, but it was
all part of the act. He was an incredible wit who was driven to push the
envelope of experience and explore the reaches of the mind. Fantasy and
illusion mix into one form and the final reality, no matter how serious it may be, becomes a laughing matter.
Known to many only for his role as Latka Gravas in the TV series "Taxi," this movie of his life serves both as
document and tribute to a comic phenomenon. (The appearance of many of his sitcom colleagues in this film
attests to their affectionate feelings toward this man.) From beginning to end, it manages to combine an
extraordinarily enjoyable experience for the viewer with an informative insight into an incredible mind.
Man on the Moon
© 1999 Universal Studios
Distribution Warner Bros. International for Mutual Film Company
Jersey Films/Cinehaus production
in association with Shapiro/West Productions
photo: Francois Duhanel
|
Andy Kaufman (Jim Carry) performs an act that seems destined to wipe
him off the comedy stage forever when a cafe theatre's proprietor is on the
verge of firing the "unfunny", unpaid comedian. Andy, however (a real
trouper), returns soon afterward with a routine that differs so much from
the original that it has 'em howlin' en hootin' in the aisles. On this same
evening, manager George Shapiro (Danny DeVito), who is sitting at the
bar, instantly recognizes the talent of this "difficult- to-categorize" humorist.
Visiting him after the show in his dressing room, he hands him a business
card, arranges a meeting, becomes his agent, and the rest, as they say, is
history. In fact, even if it's a history that is unknown to many, it remains
practically impossible to discuss most it, especially the endless number of
mind-boggling moments displayed in the film, without ruining the movie for
those who have not seen it. So, mum's the word.
The borderline between truth and imitation is often hard to recognize. And Andy is in danger of losing his fans
for exactly this reason on numerous occasions. He takes them so far on his "meshuggah" trip to places where
they're often not really able to follow, that one can understand why they might sometimes get confused. Andy
is capable of splitting ends and edges in so many directions that even his best friends, including co-comedian
and writer Bob Zmuda (Paul Giamatti), are never completely sure whether he is serious or not. Troubled by
situations and left to fall once again by those he depends upon for support, he questions and analyzes himself
("I'm a bad person.") only to be lovingly rescued from depression by his girlfriend Lynne's (Courtney Love)
retort, "But Andy, there is no you." His reply? "Oh, that's right. I forgot."
Man on the Moon
© 1999 Universal Studios
Distribution Warner Bros. International for Mutual Film Company
Jersey Films/Cinehaus production
in association with Shapiro/West Productions
photo: Francois Duhanel
|
From stand-up comedy to sitcom to wrestling to TV guest appearances to
a glorious evening in Carnegie Hall, Andy gives 'em what they want and
sometimes what they don't want. His dedication to inseparable friend and
lounge singer Tony Clifton (played by Tony Clifton himself, please note)
also serves to compound a developing confusion and outrage among his
colleagues, friends, and fans. Despite this, Andy, remaining the true friend
he always was, demands that his buddy be signed onto the TV series
"Taxi" for four guest appearances. What the result of this agreement is,
cannot be described. The cast of the sitcom find it absolutely
incomprehensible (look at their faces) that Andy ever considered bringing
such a character into their midst. (Tony Clifton makes his initial
appearance on the set, for example, with a whore on each arm.)
Director Milos Forman has an incredible knack at realizing the demands
of whatever material he puts his hand to. Once again a knockout. Jim Carrey has finally been given a vehicle
not only to display his brilliant comedic talents (once again), but prove to the world that he is a fine dramatic
actor as well. (No disregard meant to "The Truman Show.") The greatest comedians possess an exceptional
understanding of the tragic element, but are often never given a chance to show it (,explore it, or exploit it).
Danny DeVito, as the agent, conveys a warmth and depth of character that undoubtedly resounds with a
strong note of truth from having been so close to the original man himself. The rest of the cast, including
Courtney Love, Paul Giamatti, Tony Clifton, Judd Hirsch, Marilu Henner, Christopher Lloyd, Carol Kane and
Jeff Conaway, are spectacular. In fact, the list of performers creates a layer of ambiguity paralleling Andy's life;
they're almost as incredible as Kaufman's life. Not only are most cast members of "Taxi" present, but Bob
Zmuda (Andy's best friend) and co-writer, Lynne Margulies (Andy's significant other), Lorne Michaels from
Saturday Night Live", talk show host David Letterman, wrestler Jerry Lawler and several members of Andy's
direct family are present in roles as well. Talk about layer upon layer.
Man on the Moon
© 1999 Universal Studios
Distribution Warner Bros. International for Mutual Film Company
Jersey Films/Cinehaus production
in association with Shapiro/West Productions
photo: Francois Duhanel
|
Lynne Margulies says, "The people who loved and got Andy's routines felt
as though they were in a special club, that they were the only people who
understood what he was doing. There were people who loved him and
people who hated what he was doing. And Andy wanted them to hate
him. The more they hated him, the more he felt like he was doing what he
wanted to do."
His antics on the small screen during broadcasts of "Fridays" and
"Saturday Night Live" finally got him banned from television. Both viewers
and (non-) selected cast members believed what he said and did, no
matter how infuriating or tasteless it appeared, and usually didn't
understand it was meant as a joke. Nevertheless, he refused to back
down and reveal how these performances were really meant. Margulies
explains, "Even if his career was dead and he never worked again, he was not willing to give away anything.
He had amazing purity. It was frustrating, but you had to admire him."
A chance conversation between Milos Forman and Danny DeVito at a Michael Douglas party wound up
becoming the seed that grew this movie. After the twice Oscar-winning director said, "this would make a great
movie," actor/director DeVito (with his typical energetic initiative) got the ball rolling. His intentions regarding
involvement with the production were clear: he would both produce the movie and star as Andy's agent. That
great friend of Kaufman's, DeVito explains, "I think Milos was fascinated by the duality of Andy's characters.
Andy was a crafty guy and nothing was ever what it seemed. There were such mechanics underneath Andy's
demeanor of naiveté, but what was happening was always by design."
Scriptwriters Scott Alexander and Larry Karaszewski have turned out another masterpiece with this amazing
scenario. Having won a Golden Globe for their collaboration on "The People vs. Larry Flynt," this team was
also previously responsible for the fantastically hilarious "Ed Wood." They've worked hard on taking elements
from Andy's life and forming them into a whole, which remains relevant throughout. Not intended as a literal
biopic, this movie is a portrait of the artist and his essence. Kaufman (Carry) even says so himself in the very
first black & white scene. Beautiful camerawork by DP Anastas Michos and perfect production design by
Patrizia von Brandenstein.
Andy Kaufman may also be present at many of the screenings worldwide. Keep an eye out for him.
Definitely a must see!
Tank you very much.
© 1994-2006 The Green Hartnett
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