DVD: Divine Viewing Diversions
Steve Martin Movies
If there’s been a better contemporary physical comedian than Steve Martin, I’ve yet to see that person.
Of course, in Martin’s case, the laughs are produced by a successful eclectic artist who has long since staked his claim on being an actor, a standup comic, a musician, an author, a playwright, a screenwriter, and a producer as well.
And his smooth blend of a unique combo of the silly and the serene is as close as one gets to a surefire gush of smiles and guffaws, compliments of a magician who’s both goofy and distinguished.
So, if he doesn’t immediately come to mind when you find yourself listing the top movie stars, you might want to revise those rankings.
For now, see if this six-pack from his crowded and impressive filmography doesn’t make his case.
ALL OF ME (PG, 1984)
You might expect this sterling, inspired comedy to surface at the tail end of Martin’s career as a culmination of sorts. But that was not the case. Instead, this brilliant outing was achieved and offered up relatively early on, as if to set the bar ambitiously high. That it certainly did, with the on-screen teaming of icons – Martin and co-star Lily Tomlin – under the direction of frequent Martin collaborator Carl Reiner. In the refreshingly offbeat comedy-fantasy about a failed soul-transmigration experiment, Martin plays an idealistic lawyer who accidentally enters the mind and body of downbeat and demanding wealthy woman Tomlin. So, it’s her soul in his body, giving Martin the chance to show off his slapstick skills, which are not only endearing and impressive, but spit-out-your-popcorn hilarious. Their conflict for control of his body and the improbable romance that ensues make for a riotous supernatural gem that you’ll long remember.
PLANES, TRAINS & AUTOMOBILES (R, 1987)
Speaking of flat-out funny, here’s another gut-buster with a heaping helping of slapstick. This time, Martin is teamed with John Candy for writer-director John Hughes, as the leading man demonstrates once again that he’s a team player who can excel essentially working with a partner. The two play travelers trying to get home in time for Thanksgiving on the year’s least-forgiving travel day. Martin is a long-suffering companion to Candy’s boorish loudmouth, and the comedic chemistry between the two creates a collection of eruptive belly laughs. Then, surprisingly, the raucous farce sneaks up on us and delivers a touching succession of emotional moments in the climax. That Martin can conjure such a red-blooded, three-dimensional character – as opposed to the caricature that might have slipped through — is a tribute that renders him underappreciated.
DIRTY ROTTEN SCOUNDRELS (PG, 1988)
Did we mention that Steve Martin plays well with others? Works well, too. And that, yes, the leading man also stars when co-starring. In this triumphant outing, for example, American Martin is cast opposite Brit Michael Caine. And the pair of formidable farceurs are, both individually and together, superbly funny, with the narrative concentrating on the stimulating competition between their characters while we focus our attention on the consummate comedic chemistry of two splendid players. They play con artists operating on the French Riviera, employing complicated get-poor-quick schemes as they weave a wondrous web, trying to separate wealthy widows from their extravagant moolah. This remake of 1964’s “Bedtime Story,” which starred Marlon Brando and David Niven, was directed by Frank Oz and, like and thanks to the two commanding stars, is both engaging and hysterical. Martin and Caine seem to be enjoying themselves immensely, and so do we.
PARENTHOOD (PG-13, 1989)
Which brings us to an ensemble comedy, one that calls on Martin to be the first among equals, but to fit in and not steal focus from the other players or characters. Director Ron Howard has lots of major players at his disposal – Mary Steenburgen, Keanu Reeves, Jason Robards, Rick Moranis, Dianne Wiest, Joaquin Phoenix and Tom Hulce among them – in this accessible exploration of multigenerational family dynamics and willy-nilly child-rearing. This is a thoroughly lived-in movie in which we can feel the script’s convictions being bought into by the large cast. Martin is fine as the anchor, an appealing paterfamilias who is an everyman but who nonetheless has his share of knock-it-out-of-the-park meaningful moments. This material might not be deep, but these characters – who make us laugh and cry and remember and recognize without working up a sweat – are real. And Martin fits right in and gets every intended laugh.
FATHER OF THE BRIDE (PG, 1991)
In another remake, Martin inherited the title role originally played by the great Spencer Tracy in a warm, wise and winning family comedy centering around a wedding, telling its story very much from the point of view of the put-upon title character. This one has little or no slapstick and even less action or suspense. Instead, it aims to win over the audience’s rooting interest and sympathy and care about him. Well, color it accomplished, mostly because of Martin’s willingness to drop the gimmicks and the shtick and deliver an appealing and persuasive protagonist. Martin is a revelation as another everyman. Like the film itself, he charms – that’s his mandate here – and it widens his comfort zone in this accessible, pleasant, humorous wide-audience comedy. Martin has now made it abundantly clear that he’s more than capable of fleshing out the starring role in virtually any genre, employing his ever-ready sense of humor and comic timing not to distract from his character but to flesh it out. We’re now ready to follow him anywhere.
BOWFINGER (PG-13, 1999)
But ensemble involvement beckoned. And from his own screenplay, no less. Eddie Murphy, playing two characters, was the new co-star, the chief on-screen Martin collaborator in this explosively funny labor-of-love comedy about an independent moviemaking crew shooting a movie without actually informing cast and crew that this was a real movie aimed at real audiences performing for real money. Laugh-out-loud aggressive was only part of the winning formula because the love of making movies and teaming up with esteemed colleagues bleeds through just about every inspired frame. In this particular case, Martin’s contribution to the cause was mostly behind the lens, but it was also yet another demonstration of his willingness and capacity to blend in smoothly to the team he was playing on, and bringing his grounded-in-reality character to fruition without stepping on any other thespian toes.
