Physical comedy is officially dead, and Rowan Atkinson killed it. Well, not the actor himself, but with his inexcusable desire to keep destroying the reputation of his resplendent Mr. Bean with all manner of mediocre motion picture incarnations. That sunny British series, with its reverence for silent film funny business, was a class act of timing and treatment, using old school slapstick to illustrate an eccentric’s uneasy way in this button down, conformist cock-up called society. Now, on celluloid, he’s nothing more than crass kid fodder, a G-rated response to the parental cries of media inappropriateness. Once he was a mean spirited plank who saw the entire world as worthy of his slightly askew scorn—yes, even women and little children. But now he’s been transformed into a gangly, goofball Gamera, friend to everyone except the sideswiped member of the audience who didn’t see such a tiresome trainwreck coming.
Helmed by British TV director Steve Bendelack (proving that the UK boob tube can match its American counterpart in producing horrible hack auteurs) and written by actor Hamish McColl (with appropriate credit to Robin Driscoll for all the original series bits being stolen) Holiday offers very little that’s new. Bean—embodied by a rapidly aging Aktinson—repeats shtick from previous so-called ‘adventures’ while proving that new ideas are few and very, very far between. The story has our hapless hero winning a trip to the French Riviera. Along the way, he prevents an important Russian director from boarding a train to Cannes, befriends the man’s smart alecky son, and disrupts the set of American moviemaker Cason Clay’s (a lost Willem Dafoe) latest epic. He eventually makes it to the big time film festival, where more mindless hijinx (and a case of mistaken kidnapping) ensues.
Back in the days of Charlie Chaplin and Buster Keaton, broad farce founded on the fragility of the human body was a cheap and effective means of making audiences laugh. Without the ability to used words and sounds, the visual element was crucial. That’s why writers would spend hours working up elaborate gags, recognizing that the viewer was relying on said set up and pay off for their entertainment value. In the post-Jazz Singer era however, only The Three Stooges managed to carry on the tradition. In their case, they merged recognizable types (the bully, the mensch, the idiot) and accented the byplay with equally emblematic noises (watch one of their shorts with the sound off and see how successful it is). Aktinson and Bean have none of this. At first, he was a novelty for mining this vast untouched vein of humor’s history. We laughed not only at the pratfall, but the audacity to attempt it in a post-modern media.
Blown up on a big screen, our loveable lox loses that framework. Because of the immediacy of cinema, the larger than life facets of a 50 foot tall screen, Bean’s basic stumble bum approach is lifeless. It lacks energy and verve, scuttled by Bendelack’s complete disregard for comedy basics. Examples abound, as when Mr. Bean constantly undermines a film set. The various ‘jokes’ utilized to establish the characters complete lack of regard are telegraphed so far in advance that there’s more suspense in when they’ll start than snickers once they arrive. Even more frustrating, Bean borrows a great deal from its British betters. Snippets of the classic Goon Show wit (especially circa Peter Sellers) are wedged into elements borrowed from Monty Python (silly walks, anyone). Add in some sloppy satire, including the obviously aimed at adults lampoon of pseudo-serious Hollywood dramas (personified by Dafoe’s self indulgent film) and you’ve got a grab bag of gunk.
So little works here in fact that you can actually count the effective sequences on one hand—maybe even a single finger. When our inconsiderate dope derails the young boy’s reunion with his dad, they wind up with a telephone number missing the final two digits. Bean’s solution? Call every possible combination of numbers until they find his father. These quick cut moments, various archetypal individuals answering their phones in all manner of blackout buffoonery, have a nice, nonsensical randomness that actually gets us to giggle. But then Bendelack does nothing with it. A long sequence of our hero hitchhiking goes nowhere, and when Bean arrives in Cannes, he becomes a prop in a more and more preposterous chase. Even bubbly actress Emma de Caunes is wasted as the good natured Sabine. She’s saucy Parisian pulchritude, that’s about it.
Now there will be voices vehemently opposed to such a harsh stance, arguing that this is nothing but good, clean, wholesome fun. The rarity of fare that the whole family can enjoy—or at the very least, tolerate—apparently usurps all other artistic considerations to these supporters. It’s part and parcel of the new marketing mindset, a dynamic where watchability equals worth. But even under such a lax standard, Mr. Bean’s Holiday fails. Jacques Tati, a fairly obvious influence, managed to transform his bump and scrape situations into some manner of high art, using both the material and the method of its presentation in tandem to illustrate the chuckle. Here, Bendelack believes that frequent forays into handheld digital dreariness (our dithering dimwit carries around a camcorder) will emphasize the “you are there” feeling. Unfortunately, it merely muddies an already ambiguous ideal.
As an avant-garde notion of throwback homage, Mr. Bean’s Holiday is awfully cute. But it’s not funny or fresh. Its mixed message ideal of all ages appropriateness (the vast majority of the movie’s subtitled, oddly enough) lashed to a character that’s no longer a loveable louse renders the entire enterprise pointless. Fans of the original series will shudder at how soulless this all is, while anyone coming from the first film deserves this kind of dead-eyed sequel. Gearing everything to kids may make sense in light of the one off Mr. Bean animated show, but even those offered more imagination and sophistication that what’s offered here. And then there is Aktinson, a truly talented man who deserves much, much better. Anyone who has seen his work in Black Adder, or The Thin Blue Line can attest to that. Mr. Bean appears to be the legacy he can’t live down, an international nudge like Baldy Man or Dame Edna.
Yet none of these criticisms will matter in the end. The previous Bean outing was a huge worldwide hit, and the DVD became another in a long line of digital babysitters disconnected parents could use to safely keep the wee ones at bay. Holiday will be no different. It dives directly underneath the lowest common denominator to look for primordial approval, and even then it fails to generate much gregarious goodwill. While it’s inoffensive (unless you’re French) and even tempered (unless you’re America) it’s also dull, lifeless, and slack. Every once in a while, a movie comes along that has we critics scratching our head in ‘who demanded this’ confusion. Mr. Bean’s UK run ended more than a decade ago, and the first film came and went way back when President Clinton was still in residence at the White House (1997 to be exact). A great deal of silent era slapstick has only grown better with age. The exploits of Mr. Bean have vinegared.