Comedy film  

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In 1963, Roger Corman directed The Raven, a horror-comedy very loosely based on the poem The Raven
In 1963, Roger Corman directed The Raven, a horror-comedy very loosely based on the poem The Raven

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Comedy film is a film genre designed to be humorous. It is an old genre with some of the very first silent films being comedies. Comedy, unlike other film genres pays much more attention to stars, many former standup comics transition to the film industry, and cash in on the stage presence a known actor provides. Many comedic films are just there to make you laugh. However, some are a political or social commentary (Wag the Dog, Man of the Year).



A comedy of manners film satirises the manners and affectations of a social class, often represented by stock characters. The plot of the comedy is often concerned with an illicit love affair or some other scandal. However, the plot is generally less important than its witty dialogue. This form of comedy has a long ancestry, dating back at least as far as Much Ado about Nothing by William Shakespeare.

In a "fish out of water"-style comedy, the main character (or characters) finds himself in an unusual environment, which drives most of the humor. Situations can be swapping gender roles, as in Tootsie (1982); an age changing role, as in Big (1988); a freedom-loving individual fitting into a structured environment, as in Police Academy (1984); a rural backwoodsman in the big city, as in Crocodile Dundee, and so forth.

A parody or spoof film is a comedy that satirizes other film genres or classic films. Such films employ sarcasm, stereotyping, mockery of scenes from other films, and the obviousness of meaning in a character's actions. Examples of this form include Blazing Saddles (1974), Airplane! (1980), and Young Frankenstein (1974).

The anarchic comedy film uses nonsensical, stream-of-consciousness humor which often tampons a form of authority. Films of this nature stem from a theatrical history of anarchic comedy on the stage. Well-known films of this sub-genre include Duck Soup (1933), [[National Lampo

The black comedy film deals with normally taboo subjects, including, death, murder, suicide and war, in a satirical manner. Examples include Arsenic and Old Lace (1944), Monsieur Verdoux (1947), Kind Hearts and Coronets (1949), The Ladykillers (1955), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), The Loved One (1965), MASH (1970), Monty Python's The Meaning of Life (1983), The War of the Roses (1989), Heathers (1989), Keeping Mum (2005), and Burn After Reading (2008).

Gross-out films are a relatively recent development, and rely heavily on vulgar, sexual or "toilet" humour. Examples include Porky's (1982), Dumb and Dumber (1994), There's Something About Mary (1998), and American Pie (1999).

The romantic comedy sub-genre typically involves the development of a relationship between a man and a woman. The stereotyped plot line follows the "boy-gets-girl", "boy-loses-girl", "boy gets girl back again" sequence. Naturally there are innumerable variants to this plot, and much of the generally light-hearted comedy lies in the social interactions and sexual tensions between the pair. Examples of this style of film include It's a Wonderful World (1939), The Shop Around the Corner (1940), Sabrina (1954), When Harry Met Sally... (1989), Pretty Woman (1990), and Four Weddings and a Funeral (1994).

It was not uncommon for the early romantic comedy film to also be a screwball comedy film. This form of comedy film was particularly popular during the 1930s and 1940s. There is no consensus definition of this film style, and it is often loosely applied to slapstick or romantic comedy films. Typically it can include a romantic element, an interplay between people of different economic strata, quick and witty repartee, some form of role reversal, and a happy ending. Some examples of the screwball comedy are: It Happened One Night (1934), Bringing Up Baby (1938), Philadelphia Story (1940), His Girl Friday (1940), and more recently What's Up, Doc? (1972).

Hybrid genres



Comedic films began to appear in significant numbers during the era of silent films, roughly 1895 to 1930. The visual humor of these silent films relied on slapstick and burlesque. A very early comedy short was Watering the Gardener (1895) by the Lumière brothers. In American film, the most prominent comic actors of the silent era were Charlie Chaplin (although born in England, his success was principally in the U.S.), Buster Keaton and Harold Lloyd. In his native France and throughout the world, Max Linder was a major comic feature and might qualify as the first true film star.

A popular trend during the 1920s and afterward was comedy in the form of animated cartoons. Several popular characters of the period received the cartoon treatment. Among these were Felix the Cat, Krazy Kat, and Betty Boop.


Toward the end of the 1920s, the introduction of sound into movies made possible dramatic new film styles and the use of verbal humor. During the 1930s the silent film comedy was replaced by dialogue from film comedians such as the W. C. Fields and the Marx Brothers. The comedian Charlie Chaplin was one of the last silent film hold-outs, and his films during the 1930s were devoid of dialogue, although they did employ sound effects.

Screwball comedies, such as produced by Frank Capra, exhibited a pleasing, idealised climate that portrayed reassuring social values and a certain optimism about everyday life. Movies still included slapstick humor and other physical comedy, but these were now frequently supplemental to the verbal interaction. Another common comedic production from the 1930s was the short subject. Hal Roach Studio specialized in this form. While Columbia was prolific, producing 190 Three Stooges releases, alone. These non-feature productions only went into decline in the 1950s when they were migrated to the television.

In the United Kingdom, film adaptations of stage farces were popular in the early 1930s, while the music hall tradition strongly influenced film comedy into the 1940s with Will Hay and George Formby among the top comedy stars of the time. In England in the late 1940s, Ealing Studios achieved popular success as well as critical acclaim with a series of films known collectively as the "Ealing comedies", from 1946 to 1956. They usually included a degree of social comment, and featured ensemble casts which often included Alec Guinness or Stanley Holloway. Among the most famous examples were Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951) and The Ladykillers (1955).

With the entry of the United States into World War II, Hollywood became focused on themes related to the conflict. Comedies portrayed military themes such as service, civil defense, boot-camp and shore-leave. The war-time restrictions on travel made this a boom time for Hollywood, and nearly a quarter of the money spent on attending movies.

The post-war period was an age of reflection on the war, and the emergence of a competing medium, the television. In 1948 TV began to acquire commercial momentum and by the following year there were nearly a hundred television transmitters in American cities.

By the 1950s the television industry had become a serious competition for the movie industry. Despite the technological limitations of the TV medium at the time, more and more people chose to stay home to watch the television. The Hollywood studios at first viewed the TV as a threat, and later as a commercial market. Several comedic forms that had previously been a staple of movie theaters transitioned to the TV. Both the short subject and the cartoon now appeared on the TV rather than in the theater, and the "B" movie also found its outlet on the television.

As TV became filled with family-oriented comedies, the 1950s saw a trend toward more adult social situations. Only the Walt Disney studios continued to steadily release family comedies. The release of comedy films also went into a decline during this decade. In 1947 almost one in five films had been comedic in nature, but by 1954 this was down to ten percent.

The 1950s saw the decline of past comedy stars and a certain paucity of new talent in Hollywood. Among the few popular new stars during this period were Judy Holliday and the comedy team phenom of Dean Martin and Jerry Lewis. Lewis followed the legacy of such comedians as Keaton and Harold Lloyd, but his work was not well-received by critics in the United States (in contrast to France where he proved highly popular.)

The British film industry produced a number of highly successful film series, however, including the Doctor series, the St. Trinian's films and the increasingly bawdy Carry on films. John and Roy Boulting also wrote and directed a series of successful satires, including Private's Progress (1956) and I'm All Right, Jack (1959). As in the United States, in the next decade much of this talent would move into television.

A number of French comedians were also able to find an English speaking audience in the '50s, including Fernandel and Jacques Tati.


The next decade saw an increasing number of broad, star-packed comedies including It's a Mad, Mad, Mad, Mad World (1963), Those Magnificent Men in Their Flying Machines (1965) and The Great Race (1965). By the middle of the decade, some of the 1950s generation of American comedians, such as Jerry Lewis, went into decline, while Peter Sellers found success with international audiences in his first American film The Pink Panther. The bumbling Inspector Clouseau was a character Sellers would continue to return to over the next decade.

Toward the end of the 1950s, darker humor and more serious themes had begun to emerge, including satire and social commentary. Dr. Strangelove (1964) was a satirical comedy about Cold War paranoia, while The Apartment (1960), Alfie (1966) and The Graduate (1967) featured sexual themes in a way that would have been impossible only a few years previously.

In 1970 the black comedies Catch 22 and M*A*S*H reflected the anti-war sentiment then prevalent, as well as treating the sensitive topic of suicide. M*A*S*H would be toned down and brought to television in the following decade as a long-running series.

Among the leading lights in comedy films of the next decade were Woody Allen and Mel Brooks. Both wrote, directed and appeared in their movies. Brooks' style was generally slapstick and zany in nature, often parodying film styles and genres, including Universal horror films (Young Frankenstein), westerns (Blazing Saddles) and Hitchcock films (High Anxiety). Following his success on Broadway and on film with The Odd Couple playwright and screenwriter Neil Simon would also be prominent in the 1970s, with films like The Sunshine Boys and California Suite. Other notable film comedians who appeared later in the decade were Richard Pryor, Steve Martin and Burt Reynolds.

Most British comedy films of the early 70s were spin-offs of television series, including Dad's Army and On the Buses. The greatest successes, however, came with the films of the Monty Python team, including And Now For Something Completely Different (1971), Monty Python and the Holy Grail (1975) and Monty Python's Life of Brian in 1979.

In 1980 the gag-based comedy Airplane!, a spoof of the previous decade's disaster film series was released and paved the way for more of the same including Top Secret! (1984) and the Naked Gun films. Popular comedy stars in the '80s included Dudley Moore, Tom Hanks, Eddie Murphy and Dan Aykroyd. Many had come to prominence on the American TV series Saturday Night Live, including Bill Murray, Steve Martin and Chevy Chase. Eddie Murphy made a success of comedy-action films including 48 Hrs. (1982) and the Beverly Hills Cop series (1984–1993).

Also popular were the films of John Hughes such as Ferris Bueller's Day Off. He would later become best-known for the Home Alone series of the early 1990s. The latter film helped a revival in comedies aimed at a family audience, along with Honey, I Shrunk the Kids and its sequels.


One of the major developments of the 1990s was the re-emergence of the romantic comedy film, encouraged by the success of When Harry Met Sally... in 1989. Other examples included Sleepless in Seattle (1993), Clueless (1995) and You've Got Mail (1998) from the United States, and Four Weddings and a Funeral (1994), Sliding Doors (1998) and Notting Hill (1999) from the United Kingdom. Spoofs remained popular as well, especially with the Scary Movie series and Not Another Teen Movie.

Probably more representative of British humour were the working class comedies Brassed Off (1996) and The Full Monty (1997). Other British comedies examined the role of the Asian community in British life, including Bhaji on the Beach (1993), East is East (1999), Bend It Like Beckham (2002) and Anita and Me (2003).

Also there were "stoner" comedies, which usually involve two guys on an adventure with random things happening to them along the way. Big movies of this sub-genre would be Dude, Where's My Car, Harold & Kumar Go to White Castle, and Pineapple Express. These movies usually have drug-related jokes and crude content.

Another development was the increasing use of "gross-out humor" usually aimed at a younger audience, in films like There's Something About Mary, American Pie and its sequels, and Freddy Got Fingered. In mid 2000s the trend of "gross-out" movies is continuing, with adult-oriented comedies picking up the box office. But serious black comedies (also known as dramatic comedies or dramedies) were performing also well, such as The Weather Man, Broken Flowers and Shopgirl. In late 2006, Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan blended vulgar humor with cultural satire.

More recently, there have been more sex comedies like (mostly Judd Apatow-made) Superbad and The 40-Year-Old Virgin, which have been described as romantic comedies geared towards a male population. While most of Apatow's films have been critically acclaimed and financially successful, similar films from other camps have met with mixed results.

See also

anarchic comedy film

Unless indicated otherwise, the text in this article is either based on Wikipedia article "Comedy film" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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