Sunday, June 26, 2011
Comic Training, Sir!
By J.D.
Watching Stripes (1981) again after all these years makes me nostalgic for the early comedies of the first generation of Saturday Night Live cast members: Animal House (1978), Caddyshack (1980), Fletch (1984) and so on. They were goofy and silly but they also had an engaging, anarchistic attitude that is so much fun to watch. This is definitely the case with Stripes, released 30 years ago today, a film that pits a “lost and restless generation,” as the film’s main protagonist puts it at one point, against rigid authority only interested in producing, lean, mean, killing machines, to paraphrase another character. Much of the film’s humor comes from the clash of these two ideologies.
After losing his job, his girlfriend, and his apartment all in one morning (“You still have your health,” deadpans his best friend), John Winger (Bill Murray) decides to enlist in the Army and straighten out his life. He convinces his best friend Russell Zisky (Harold Ramis) to enlist as well (“If I get killed, my blood is on your hands,” he says, to which John replies, “Just don’t get it on my shoes.”). Once they arrive at the base and meet their no-nonsense drill instructor, Sergeant Hulka (the perfectly cast Warren Oates), John and Russell realize that it’s not going to be as easy as they imagined.
Stripes settles into a classic fish-out-of-water formula as John and his misfit platoon (with the likes of John Candy and Judge Reinhold) gradually become efficient soldiers despite their complete ineptitude and perchance for breaking all the rules. The gang of misfits fulfills all the requisite stereotypes: “Cruiser” (John Diehl) is the dumb guy, “Ox” (John Candy) is the lovable oversized oaf, “Psycho” (Conrad Dunn) is the crazy guy, and, of course, John is the group joker and self-proclaimed leader. Other conventions include casual nudity (Ox wrestles three strippers in a mud wrestling contest) and the obligatory love interests as John and Russell get involved with two cute, female MPs (P.J. Soles and Sean Young). This template would prove to be so successful that it was exploited in films such as Police Academy (1984), PCU (1994) and countless others.
On his way to the premiere of Meatballs (1979), director Ivan Reitman thought up the idea for a film: “Cheech and Chong Join the Army.” At the premiere, he pitched it to Paramount Pictures and, incredibly, they greenlit the project that day. Len Blum and Dan Goldberg wrote the screenplay in Toronto and would read it to Reitman (who was in Los Angeles) over the phone. He would, in turn, give them notes. The director gave the script to Cheech and Chong’s manager and he read it and thought it was very funny. He gave it to the comedians but they wanted complete control. Reitman then suggested to Goldberg that they change the two main characters to ones suited more for Bill Murray and Harold Ramis, figuring that if they could get Ramis interested in it and let him tailor the script for the two of them that Murray would be interested in doing the film. It worked and Murray signed on to do Stripes.
Ramis already had co-written Animal House and Meatballs but was unknown as an actor. He screen-tested for Columbia Pictures, who hated his audition but Reitman told the studio that he was hiring him anyway. Judge Reinhold’s character, Elmo, ended up with a collection of all the best jokes from the Cheech and Chong version of the film. Before filming he thought that he had a handle on his character but once filming started, he was “petrified” because this was his first big studio film. The casting agent picked Sean Young based on how she looked and P.J. Soles tested with Ramis and they got along very well together. John Diehl had never auditioned before and this was his first paying acting job. Goldberg knew John Candy from Toronto and told Reitman that he should be in the film. He didn’t even have to audition.
One of the reasons why Stripes is my favorite Bill Murray comedy is the little touches that he adds to a scene making it that much funnier. For example, in the first scene where John goes to pay a guy after getting a shoe shine, Murray turns his back to the man so that he won’t see how much of a tip he’s going to give him. It’s an odd, idiosyncratic choice that no one else would’ve thought to make but it enriches the scene ever so slightly. The next scene demonstrates Murray’s gift for physical comedy when he loads a snotty rich lady’s luggage into the trunk of his cab and accidentally bags himself. It’s an obvious gag to be sure but Murray still makes it funny.
John continues to antagonize the lady (Fran Ryan) during the ride to the airport but in a deadpan, sardonic way. At one point she says, “I’ve never gone this way before,” to which he replies, “I’m sure there’s a lot of ways that I’ve gone that you haven’t,” implying that she’s square and conservative while he’s hip and liberated, thereby establishing a clear generational gap. The rich lady insults John and so instead of getting angry at her he decides to mess with her, including one memorable bit where he starts driving fast. Suddenly alarmed, she says, “Aren’t you going too fast?” He replies, intentionally slurring his words, “Oh, it’s not the speed, really so much, I just wish I hadn’t drunk all that cough syrup.” John proceeds to give the lady a little scare but when she calls him a bum, he’s had enough and quits right in the middle of a bridge, throwing his car keys in a river and leaving her stranded.
It’s not until almost eight minutes into the film that Elmer Bernstein’s first musical cue appears and it is a slightly sad, whimsical tune. The scene where John’s girlfriend Anita (Roberta Leighton) leaves him is interesting because it straddles the line between comedy and drama. She is clearly unhappy with their relationship and he tries to deflect her complaints with humor before half-heartedly saying, “I’m part of a lost and restless generation,” and follows this up asking her a rhetorical question, “What do you want me to do, run for the Senate?” This scene underlines John’s dilemma — he lacks direction and any kind of motivation. Interestingly, no music plays during this scene so that the gravitas of the scene, if you will, is not undermined by manipulative music. Bernstein’s whimsical score only returns when Russell arrives and the two banter back and forth about John’s sorry state of affairs.
The chemistry between Bill Murray and Harold Ramis is excellent. Ramis is the perfect straight man to Murray’s smart-ass slacker. They had been friends and worked together for some years and play well off each other as evident in the scene where Russell bets John that he can’t do five push-ups. It is in this scene that John realizes that he’s in crap physical shape and that the army is his only hope in turning his life around. Every scene had some element of improvisation and this was due in large part to Murray and Ramis who suggested things for him to say and this spread to the other cast members. Stripes is quite possibly Murray’s best comedy. He was well on his way to becoming a big movie star (he had already conquered T.V. with Saturday Night Live and a scene-stealing turn in Caddyshack) and applied the comedic chops he honed on T.V. to this role. Murray has a way of delivering dialogue and being able to give certain lines a sarcastic delivery or add a look or a facial expression that makes what he says so funny.
Reitman was a fan of Westerns that Warren Oates had been in and wanted someone who was strong and that everyone respected to control the misfit platoon. Reinhold said that during filming, Oates would tell everyone stories about working on films like The Wild Bunch (1969) and they would be enthralled. The casting of Oates, the veteran of many Sam Peckinpah films, gives Stripes a dose of gravitas and provides a certain amount of tension in some of the scenes he has with Murray. Sgt. Hulka is the ideal antagonist for the anti-authoritative John and their scene together in the barracks’ washroom, where Hulka finally asserts his authority, is filled with a palpable tension — unusual for a comedy but it works. Reitman wanted “a little bit of weight in the center,” and have a real argument between Hulka and Winger. It wasn’t played for laughs and allowed Murray to do something he hadn’t done before.
However, the improvisational nature of Reitman and some of the cast did not impress an old school actor like Oates. During one of the days of filming the obstacle course scenes, Reitman told the actors to grab Oates and drag him into the mud without telling the veteran actor about it in order to see what would happen in the hopes of getting a genuine reaction. Oates’ chipped his front tooth and was understandably pissed at Reitman, yelling at the director for what he did.
If Stripes has any weaknesses it is in the last third of the movie where the platoon, fresh from a successful graduation parade, is trapped in an Eastern Bloc country (remember, the Cold War still was in full swing at this point) looking for John and Russell after they took off with the army’s top secret armored recreational vehicle (the uber Winnebago). This part of the film feels forced and tacked on. It just isn’t as strong or as funny as everything that came before it. However, the first two thirds of the Stripes are so good that not even this hurts the picture all that much.
Stripes actually was fairly well-received by critics. Roger Ebert praised the film as "an anarchic slob movie, a celebration of all that is irreverent, reckless, foolhardy, undisciplined, and occasionally scatological. It's a lot of fun." The New York Times’ Janet Maslin called it "a lazy but amiable comedy," and praised Murray for achieving "a sardonically exaggerated calm that can be very entertaining.” However, in his review for the Washington Post, Gary Arnold wrote, "Stripes squanders at least an hour belaboring situations contradicted from the outset by Murray's personality. The premise and star remain out of whack until the rambling, diffuse screenplay finally struggles beyond basic training."
Only during a time when the United States wasn’t at war with anyone (unless you count the Cold War), does joining the Army to improve your life seem like an option if you’re reasonably educated as John and Russell are in Stripes. One gets the feeling that they could have easily had a productive life in almost any career if they only applied themselves. Joining the Army on a whim doesn’t seem that funny in our current climate which does date the film somewhat. Regardless, the script is filled with tons of witty dialogue and funny gags, the cast is uniformly excellent, and Murray and Ramis have never been better. At the risk of falling back on an old cliché, they just don’t make comedies like this anymore.
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Labels: 80s, Ebert, Movie Tributes, Murray, Oates, Peckinpah, Ramis, Television
Comments:
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Excellent look back at this one, J.D. It always brings a smile when I catch it on cable. I agree with you that the closing act is the weakest. But you're right, they don't make them like this anymore... which is a pity. Thanks.
Even though the ending is ludicrous, it's still funny. The year before the Goldie Hawn goes to the Army comedy Private Benjamin couldn't really come up with an ending either. Now if you'll excuse me, I'm gonna go have me a Hulkaburger.
le0pard13:
thank you my friend! Love this film and always watch it when I happen to catch it on TV. Definitely my fave Bill Murray film, hands down. He and Harold Ramis have such fantastic chemistry in this film.
Edward Copeland:
Yeah, I've grown to like the ending despite its silliness. And everything that came before it is so strong I don't really mind.
thank you my friend! Love this film and always watch it when I happen to catch it on TV. Definitely my fave Bill Murray film, hands down. He and Harold Ramis have such fantastic chemistry in this film.
Edward Copeland:
Yeah, I've grown to like the ending despite its silliness. And everything that came before it is so strong I don't really mind.
While I do love Stripes, Murray has grown into so much more than just a purely comic actor that I can't say it's my favorite Murray film. Groundhog Day isn't as pure a farce, but it's a better movie. Lost in Translation is something entirely different. Of course, he's just a supporting player in what is probably the best film he has ever made: Tootsie.
Edward Copeland:
As much as I love him in LOST IN TRANSLATION, I think his performance in RUSHMORE just edges that one out. Barely! You make a convincing argument with GROUNDHOG DAY. As you say, he's really grown as an actor and enlivens even pulpy nonsense like WILD THINGS just by doing his thing on screen.
As much as I love him in LOST IN TRANSLATION, I think his performance in RUSHMORE just edges that one out. Barely! You make a convincing argument with GROUNDHOG DAY. As you say, he's really grown as an actor and enlivens even pulpy nonsense like WILD THINGS just by doing his thing on screen.
I so blanked on Rushmore. That is more of a pure comedy. When I think of Lost in Translation, I don't really think of it as a comedy. Even though the movie is a mixed bag, he gives a great performance in Mad Dog & Glory. Then there's his hilarious cameo in Zombieland.
What fine comment thread you have going here, gentlemen. If I could add something, while it may not be his greatest performance and I'm likely in the minority, I really admire his work as Grimm in Quick Change. That movie really hits the spot for me in story and cast.
Edward Copeland:
I agree there is a lot of comedy in RUSHMORE it certainly has its poignant, even serious moments of reflection that Murray nails so well. That film and its performance really paved the way for LOST IN TRANSLATION. Good call on MAD DOG & GLORY - definitely one of my fave Murray performances. Such a great idea to cast him against type and he was able to pull it off!
le0pard13:
Count me as a fan of QUICK CHANGE also. The film is a little weak in the last third as it gets a little too silly but Murray was so good as the unflappable bank robber and how he interacts with Geena Davis and Randy Quaid is pretty awesome.
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I agree there is a lot of comedy in RUSHMORE it certainly has its poignant, even serious moments of reflection that Murray nails so well. That film and its performance really paved the way for LOST IN TRANSLATION. Good call on MAD DOG & GLORY - definitely one of my fave Murray performances. Such a great idea to cast him against type and he was able to pull it off!
le0pard13:
Count me as a fan of QUICK CHANGE also. The film is a little weak in the last third as it gets a little too silly but Murray was so good as the unflappable bank robber and how he interacts with Geena Davis and Randy Quaid is pretty awesome.
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