November 7, 2009
Kemo: "Sarah Marshall.
Peter: Yes. How did you know I was dating Sarah Marshall?
Kemo: Dwayne told me. Chuck told me. Even Rachel told me. I heard about it from everybody. You gotta stop talking about it. It's like "The Sopranos." It's *over*. Find a new show....( read more)>"
Jason Segel follows Seth Rogen as the next Judd Apatow-produced regular to be an unlikely leading man and show off solid writing chops - this time, in the same film. Following the forgettable Drillbit Taylor, this raunchy and sweet romantic comedy shows that as long as Apatow keeps mining the cast and crews of his old cult TV shows "Freaks and Geeks" and "Undeclared," he'll more often than not be able to deliver the startlingly frank brand of humour he has become known for lately.
Directed by Nicholas Stoller (a writer for "Undeclared"), Forgetting Sarah Marshall follows a heartbroken puppy-dog named Peter Bretter (Segel) after being dumped by his famous TV-actress girlfriend, Sarah Marshall (Kirsten Bell). It turns out Peter is a non-motivated musician who's coasting because he can, since he landed the plum job of creating cheesy, brooding "mood music" for Sarah's "CSI"-like prime-time detective show.
Like Knocked Up, it does stretch believability to have a dumpy guy going out with a gorgeous TV star, but average-looking guys should thank Apatow and his stable of wish-fulfillment writers and actors for making it seem a little more likely that this kind of thing happens. It is too convenient to have sad-sack Peter go on a vacation by himself in Hawaii at the urging of his happily-married cousin (Bill Hader) and then unknowingly end up at the same hotel as his ex and her new British rock star boyfriend, Aldous Snow (Russell Brand). But this is easy to forgive, because in the confines of this typical set-up, Segel and company score over and over again with terrifically witty interplay and very funny situations.
Like Apatow and Seth Rogen before him, Segel nails the comedy so perfectly because he sticks to what he knows. Not only is the raunchiness a full-force part of the script, integrated seamlessly with that inherent sweetness that makes it all go down a little easier, but Segel also lampoons the hell out of Hollywood types - people with that unique mix of egotism and lack of self-confidence that comes with having jobs in the entertainment industry. (Segel's most recent gig is on the fabulous show "How I Met Your Mother," while Bell has been on hit TV shows since "Veronica Mars.")
I've always enjoyed films (and their writing) in which neither character is what you'd call a "villain." One of the reasons why I enjoy Apatow's stuff so much (and I mean even before he became world-famous) is because it usually does that. And Forgetting Sarah Marshall plays a delicate balancing act the entire time as well. As in most break-ups (depending on whose side you take), one person looks evil and the other completely sympathetic. That is, until the details about the relationship known only to the two start to come out. During the course of this film, there's a subtle switch happening that allows both characters to showcase their weak sides.
It all culminates with an indefensible act that is uncomfortably (and ingeniously) played for laughs. Like the infamous pregnant bedroom scene in Knocked Up, Segel breaks down another sacred behind-closed-doors sex situation that no one likes to talk about, and ends up with a classic memorable moment.
A super-solid supporting cast including Hader, Jonah Hill, Paul Rudd, and Mila Kunis - who is a real eye-opener in a tricky role - navigate the audience through some unlikely twists and turns, making sure that the characters never delve into parody. British comedian Brand, in a role that will surely open many doors for him, could have turned one-note faster than you can say "Bittersweet Symphony," almost steals the entire show as laid-back rock star Aldous. Besides being the only truly confident character in the film, he is so casual about his celebrity status that it makes his unexpectedly blunt remarks even more hilarious.
Forgetting Sarah Marshall may not contain all of the hardcore truths about modern male/female relationships that made Knocked Up so brilliant, but it has more than its fair share of uncomfortable and familiar situations. Segel's characters talk like real people and Stoller's direction keeps a close watch on their emotional trials, and a knowing eye on the punchline at all times.
Apatow is creating a solid body of work (with the occasional, forgiveable misstep) that is approaching household-name familiarity. Like Christopher Guest's stable of cult-favourite improv actors, the Apatow players make us smile by just entering the frame. My friends and I laughed heartily each time Rudd, Hill, or any other recognizable face showed up on the screen. The time of Meg Ryan, Tom Hanks, Julia Roberts, and Sandra Bullock has (thank God) passed and the nerds and their too-hot dates have taken over. When people look back at this time in Film history, Apatow's potent, frank, and sweet comedies will absolutely define this era of mainstream filmmaking.
"How you served five years under her, I don't know. You deserve a medal, or a holiday or at least a cuddle from somebody."
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