Lamenting the Lost Art of Comedy

I was considering reviewing Couple's Retreat, which I went to against my better judgment last night. The movie, despite some initial laughs, a good cast, and an interesting premise was predictable, lost its energy by the middle, and was everything I hate about recent comedies. So, instead of a review I offer a nostalgic analysis of the bygone days of good comedy.

You might be asking, what is wrong with the comedy today? Here is the basic answer: the love story between the protagonist and the main lady grow more and more central to the movie as it continues. In other words, the first half is loaded with classic bits, great one-liners, and good physical stuff; the second half becomes increasingly about the idiot overcoming some personality based obstacle and making his love life work. Recent examples include Wedding Crashers (which almost made it to the end, but became a sap story), Road Trip, nearly anything with Ben Stiller (e.g., Along Came Polly), Adventureland, anything with Luke Wilson, and anything with actresses named Kate.  My reply: who cares?

The old comedies were great because that is what they were. Plain and simple. Caddyshack. Original screenplay focused heavily on Danny Noonan, the caddy, but with an all-star cast and a great director the movie made the love story a background element that makes very little sense in the context of the big picture. Airplane!? Naked Gun? Both had love stories, but the love stories were actually so insane that they were easily integrated in the surreal nature of both movies. Animal House also had a minor love story, but a dysfunctional one at best. The National Lampoon Vacation series? No love story because Chevy Chase was already married. Mel Brooks flicks? Same thing. In the Young Frankenstein, Gene Wilder's character is down with Teri Garr's, but the movie's plot takes precedence. Here is where it drops off. Adam Sandler flicks, pre The Wedding Singer, were good with the love story not hurting the plot...Austin Powers also succeeded, but the last two were questionable for other reasons. Will Farrell may be the only true comedian left. Anchorman, Talledega Nights, and Step Brothers all stay away from love stories dominating them.

Here is the problem. I don't think comedy and romance can't comingle. But, I believe that mature adult movies serve that genre the best. Sideways or Annie Hall demonstrate this quite clearly. But, I feel that directors and writers don't have enough funny ideas to drive an entire movie, so they resort to building into the first movie and second movie. Of course, in the Hollywood drive to reach bigger sets of demographics it cannot hurt to include women in the audience, but please, please, please. When I want to laugh, I want to laugh all the way through. Old School is awesome become it sustains its energy despite Luke Wilson's attempts at ruining it.