Another Fine Mess

November 1, 2010
American film comedy is barely a century old and already commentary on it can fill bookshelves, with countless pages devoted to the evolution of physical comedy, the influence of notable comedians like Charlie Chaplin, and the effects of technology on the form. Austerlitz touches on all of these things, but his objective is to provide a chronological set of biographies of the most important figures, both major (the top 30) and minor (over 100 more), and comment on their achievements and influence. The result is a comprehensive textbook that traces a legitimate line of succession from Chaplin to Apatow. Clearly Austerlitz has great affection for and knowledge of his subject; he can comment with equal skill on Renee Zellweger and W.C. Fields. Still, his take on the century is not without bias. Never less than candid ("Mel Brooks is overrated"), his tastes are also present in what he leaves out (Hal Ashby, Hal Hartley, and Cameron Crowe are all missing). Though readers will surely disagree with some of his choices, the breadth of material Austerlitz has compiled here is a feat. Photos.

June 15, 2010

An affectionate chronicle of a century of laughs from the silver screen.

Austerlitz (Money for Nothing: A History of the Music Video from the Beatles to the White Stripes, 2008) offers a breezy survey of American film comedy, from the sublime artistry of Charlie Chaplin to the disarmingly sweet juvenile antics of Judd Apatow. Largely unconcerned with academic explorations of the nature of comedy or the larger socio-historical contexts in which the films exist, the author comes off as an eloquent superfan celebrating his heroes and pinpointing favorite moments in their work. This approach works just fine, and the book, a compulsively readable reference for the confirmed comedy fan, will inspire readers to rewatch classics and delve deeper into the oeuvres of such legends as W.C. Fields, Ernst Lubitsch and Billy Wilder. It's heartening to see underappreciated talents like Albert Brooks and Harold Lloyd receive the same careful attention as Woody Allen and Buster Keaton, and the affection and respect Austerlitz feels for his subjects is palpable. The author makes some interesting comparisons between such ostensibly unlike entities as screwball maestro Preston Sturges and the austerely artful Cohen brothers, or august auteur Robert Altman and mockumentary pioneer Christopher Guest (a freewheeling approach to performance and emphasis on ensembles), and he finds room to discuss the comedic legacies of such unlikely subjects as John Wayne and Meryl Streep. There are a few infelicities—Austerlitz likes the word "erstwhile," but seems a little unsure of what it actually means—but overall, the author provides a delightful roll call of the funny men and women who have distinguished the cinema of laughter, and an indispensible listmaking tool for the Netflix generation in search of a good guffaw.

An enthusiastic, well-observed, fresh look at old favorites that makes a compelling case for the genius of American film comedy.

(COPYRIGHT (2010) KIRKUS REVIEWS/NIELSEN BUSINESS MEDIA, INC. ALL RIGHTS RESERVED.)

Starred review from September 15, 2010
Austerlitz asserts that comedy has been underappreciated as a cinematic genre by critics and historians, and that this has resulted in underrepresentation in Academy Awards presentations and nominations. To redress this inequity, Austerlitz presents more than 100 biographical sketches of top comedy talents from Charlie Chaplin to Judd Apatow, augmented by shorter tidbits regarding lesser players. So the Jim Carrey saga coexists with the legend of Harold Lloyd, and the debonair comic stylings of Cary Grant contrast nicely with those of Will Ferrell. As the title would indicate, Laurel and Hardy are limned, as are Buster Keaton, W. C. Fields, Mae West, and the Marx Brothers. Katharine Hepburn, Marilyn Monroe, and Doris Day are the only other women accorded full chapters, but Myrna Loy, Carole Lombard, and Tina Fey, among others, garner tidbit status. More recent comic masters featured include Ben Stiller, the Coen Brothers, and Steve Martin. With broad coverage like this, the book has some reference applications, though most of the pieces are unfailingly upbeat. Even tragic death is fraught with dreamy potential: regarding Jean Harlows death at 26, Austerlitz muses, What might Preston Sturges have made of her had she lived? Entertaining reading.(Reprinted with permission of Booklist, copyright 2010, American Library Association.)