Film

These 'Brothers' Offer Offensive Delights


Step Brothers

Director: Adam McKay
Cast: Will Ferrell, John C. Reilly, Richard Jenkins, Mary Steenburgen, Adam Scott
Distributor: Sony
MPAA rating: R
Studio: Sony
First date: 2008
UK Release Date: 2008-08-29 (General release)
US Release Date: 2008-07-25 (General release)
Website

Embarrassing as it may seem, we've all been there - laughing when the fat man splits his pants, fighting off hysterics after an old lady farts. Even the most erudite among us can't deny that, on occasion, an expletive suits a situation far better then a calmly thought out rejoinder. Let's face it - buried deep within all of us is a primordial appreciation of the infantile. Whether it is monkeys flinging their own poo or babies whizzing in their parents' somehow shocked faces, the scatological and the sophomoric twinge an ancient aspect of our genetic make-up.

Perhaps that's why, in spite of our own civilized better judgment, the newest Will Ferrell/Adam McKay effort, Step Brothers, is so funny. Not only does it take foulness to a whole new level of arrested adolescence, but it actually banks on our love of such untenable tastelessness. The storyline is deceptively simple. While at a medical convention, Dr. Robert Doback meets Nancy Huff. Since both are single, they fall into an easy relationship. Fast forward a few months, and they are getting married. This really cramps the style of their sons - both of whom are middle-aged and still living at home.

Brennan Huff is a wannabe singer who refuses to accept his Mom's new man. He also hates that his younger brother Derek consistently undermines his station and self-esteem. Uber-slacker Dale despises his Dad's decision. After all, this means that a lady will be part of the Doback design, and this means much less musk-scented machismo. When they are forced to live together as step-brothers, sibling rivalries instantly come crashing to the fore. The result is 80 minutes of profanity, pranks, and the kind of over the top physical shtick that hasn't been seen since Inspector Clouseau battled his manservant Kato for dominance over their Parisian apartment.

It’s hard to deny how absolutely hilarious Step Brothers really is. You may feel guilty as Hell for laughing at it, but it definitely does earn its cheap and childish giggles. Like a lewd, later day classic comedy team, Ferrell and symbiotic performance partner John C. Reilly make a terrific post-modern mess. They play off each other in ways that signal their same wavelength wantonness, and it's clear that neither man is a hostage to current trends in male body typing. Though clearly created as a vehicle for both, it's equally hard to imagine two other actors who could fit as easily into Brennan and Dale's skid-marked shorts.

Step Brothers is, in essence, cinematic stand-up, all set-ups and payoffs. There is no real narrative nuance on display, the closest we get to reality being the foulmouthed fight between the four members of this cobbled together clan. Even the inclusion of Brennan's self-aggrandizing brother Derek (a nicely nauseating turn by Adam Scott) is just the fuel for more prurient punchlines. While actual adults Mary Steenburgen and Richard Jenkins definitely get to flex their foul mouthed muscles, it's purely Ferrell and Reilly's show - and they make the most of it. As they did in the delightful Talladega Nights, the pair swaps specialties, giving each other the opportunity to shine in ways that feel unique and unusual even if they are merely the same old scatology.

Of course, films like this need nasty set pieces to manufacture return adolescent word of mouth, and Step Brothers has plenty. Ferrell is beaten up and forced to lick a petrified dog turd…by a bunch of grade schoolers. Reilly gets the hand banana treatment from Derek's wife. Perhaps most memorably, a conflict between the 'boys' results in Ferrell wiping a particularly private area all over Reilly's drum kit…and the camera never flinches. Some might call it repulsive, but McKay understands the allure of such repugnance. In a world where Jackass frequently reminds us that our greatest comedic asset is ourselves, such gonzo groin antics are to be expected. Making them anything other than nauseating takes a certain cinematic skill, something the cast here completely understands.

Ferrell is always getting ribbed for playing the same stunted adult, a manchild incapable of reacting to situations in a grown-up, non-goofy manner. Here, he stands accused, but also adds a nice layer of pathos to his overgrown teen's social IQ. We expect this from him and he doesn't disappoint. Reilly is the real revelation however, if only because he moves so effortlessly from serious actor (The Aviator, Magnolia) to roles of outright idiocy. Here, Dale is the more defensive element of the pairing, the midlife crisis kid that fails to understand exactly why he has to conform to a life mandated set of rules. Together, they spark the kind of interest that gets us past the lax story designs and last act upheaval.

As a director, McKay doesn't get a lot of credit. This happens a lot in motion picture comedy. Everyone points to Judd Apatow as some sort of cinematic savior, but this fails to take into consideration how adept he is behind the camera. The same goes for the man responsible for such broad scoped efforts as Anchorman: The Legend of Ron Burgundy, and Talladega Nights. Here, the avenues are much smaller, but this doesn't mean McKay lowers his aim. There is an ambition here that's hard to shake, a sense that the filmmaker, in conjunction with his leads, wants to stretch old school slapstick into something almost surreal. Step Brothers is indeed a mind boggler, the kind of laughfest experience that has you shaking your head in dumbfounded disbelief at what has you giggling.

Naturally, any viewer offended by the notion of 40 year old men acting like they're 14, including all the summer camp crudeness that accompanies the prospect, will despise Step Brothers. To them, it will be yet another example of bodily fluids replacing wit as a means of getting already shell shocked and desensitized audiences to laugh. But that would miss many of the film's undeniable pleasures. Sure, there is something inherently sick about seeing a balding buffoon kicking the crap out of little kids, and nothing defensible can be found in a grown man groveling like a grounded middle schooler. But Step Brothers is a pristine example of vulgarity taken to endearing extremes. Check your sense of propriety at the door and simply go with the foul flow. Save the shame for another.

7

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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