How do you like your comedy - serious (meaning witty without being wanton) or scatological (bring on the feces and the farts!)? Do you prefer your laughter driven by sparkling dialogue, insightful characterization, and tasty interpersonal bon mots, or do you favor giggles glazed over with expletives, bodily fluids, and the fun that can be found in both? It's a contention that's as old as the genre itself. For centuries, jesters have lived (and often died) by mocking the rich, ribbing the poor, and playing to both's baser instincts when the subtler forms of funny didn't do it. In the movies, it seems the two are often mutually exclusive. After all, no one mistakes The Marx Brothers for the Three Stooges. With the sensationally sophomoric Step Brothers hitting theaters tomorrow (25 July), it's time to look back on some illustrations of how clever and crude in combination - or C3's for short - end up being a source of undeniable hilarity.
While the latest from Adam McKay, Will Ferrell, and newest creative soulmate John C. Reilly is all foul mouthed frat boy toilet trade-offs (and damn funny in the process), it's really nothing more than an extended series of splatter jobs. There's no important message, no attempt to find reality in its ridiculousness. Yet there are many actual examples of where the two seemingly divergent styles of comedy have meshed quite effectively. Some would even argue that, when done properly, the clever/crude combo gives rise to another alliterative adjective - classic (anyone for C4?). Below are just a few non-inclusive illustrations of the best of both wit worlds expertly fused together. The only comic continuity present is that both types are offered equally, and balanced to make sure neither completely overwhelms the others. If one or the other is out of whack, they fall back into their home category for easier examination.
And let's get some debatable punchliners out of the way right up front, shall we? The Producers? Too brilliant to be considered crude, even given the bad taste hippie Hitler subtext. There's Something About Mary? Jokey juvenilia without a stitch of socially redeeming value. The Blues Brothers? The outsized physical shtick and stunt set pieces override the craven culture steals from the black community. Animal House? Something serious? Come on…it's college after all. Certainly, one could go out on a limb and champion subversive standard bearers like Monty Python's Life of Brian, groove on the gore-laced lunacy of Edgar Wright's Shaun of the Dead or Peter Jackson's Dead Alive, or defend the dick driven delights of something like Superbad. But when it comes to the C3's, the comparison goes beyond good. There must be a visible inclusion of both the dignified and the dumb within final framework. Let's begin with:
South Park: Bigger, Longer, and Uncut