Dumb and Dumber

Sometimes, the title says it all. Name subtlety is for art house films and froufrou documentaries; if the Farrelly Brothers are masterminding the film, you can bet the title will be straightforward enough to describe the premise exactly without throwing in any frilly metaphors or double entendres. In the case of Dumb and Dumber, the title referred not only to the movie's main characters but also to the level of humor likely to be present throughout. Don't say they didn't warn you--it's exactly what it says on the label.

The movie's premise and content was, as it claimed, pretty dumb. My mother continues to use Dumb and Dumber as a reference point for all other slapstick films she is unlikely to enjoy based on their juvenile humor and lack of Lifetime movie tearjerking circumstances. Her use of the movie as a scale of stupidity isn't without its merits, though the rest of us did enjoy Dumb and Dumber. Nevertheless, she grumbled through the theatrical showing in 1994 and at every subsequent slapstick comedy trailer in the interim years. I don't believe I can count the number of times I've had to respond to "Is this going to be like Dumb and Dumber?" Apparently its dumbness was memorable enough to build the movie its own dreaded comedic category in our household movie selection process.



Dumb and Dumber is a quintessential example of a gross-out comedy, playing everything for laughs. It's not without its heartfelt and sincere moments, but for the most part the movie sacrifices all else in the name of the almighty punchline. Based on the movie's immense popularity, that's not necessarily a bad thing. Dumb and Dumber reiterates the notion that sometimes a comedy can just be a comedy: pure, unadulterated fun punctuated with near-incessant jokes and broad stroke concepts that boil down to nothing weightier than an audience guffaw or two. It's not high art, certainly, but its humor proved enough of a draw to pull in major box office numbers.

Jim Carrey and Jeff Daniels costar as Lloyd and Harry, a limousine driver and pet washer respectively who live together in an apartment that can flatteringly be referred to as a dump. Lloyd has a gig driving the beautiful Mary (Carrey's now ex-wife Lauren Holly) to the airport and becomes highly distraught to find that she left her fancy briefcase on the floor of the crowded airport terminal. Determined to reunite his attractive client with her misplaced luggage, Lloyd retrieves the case. Lloyd is unsurprisingly unaware of the money-filled briefcase's role as ransom to appease Mary's husband's kidnappers and thus bungles the entire scheme, blissfully ignorant of his misdoings the full way through.



In typical 90s comedy fashion, the whole set-up is a spiraling mess of misunderstandings and bumbling interventions, leading to generically villainous bad guys in hot pursuit of our generally oblivious lead characters. The good guys are good only in the sense that they are painstakingly trusting and bafflingly innocent; Harry and Lloyd are by no means heroic. They're just a couple of guys who managed to get themselves into the wrong place at the wrong time, but their buffoonish lack of reason protects them from realizing potential danger and harm.



Through a series of unfortunate and probably foreseeable circumstances, Harry and Lloyd find themselves unemployed and out of luck. The comedic premise may be formulaic, but it effectively gets us from point A to point B. The intended thug recipients of the briefcase mistakenly suspect Lloyd and Harry to be some sort of secret agents, break into their apartment, and commit some very unfortunate parakeetacide. Lloyd comes up with the brilliant plan to track down Mary in Aspen--the destination of the flight to which he drove her by limo and collected her apparently forgotten briefcase. They hop into the grooming site Sheepdog van and embark on a quest of misadventures.



All sorts of humorous elements go awry, and our eponymously dumb protagonists end up slumming it to Aspen on a crappy motorbike. They have a run-in at a diner with the bad guys, but as expected they manage to subvert their advances through total lack of awareness. The duo opens the briefcase and quickly begins the process of replacing the cold hard cash with warm soft IOUs.



Lloyd and Harry do miraculouly manage to track down Mary, and hilarity predictably ensues. They vie for Mary's nonexistent affection, both mistakenly interpreting her kindness as romantic advances. It all culminates in a final hotel room showdown in which our famously dumb friends somehow manage to outsmart the bad guy goons and play an active role in reuniting Mary with her captive husband. All's not totally well that ends well, though: Harry and Lloyd reiterate their stupidity by misinterpreting and declining a once-in-a-dumb-lifetime opportunity to work as oil boys for the Hawaiian Tropic model tour bus. Tough break.



The entire movie seems rooted in the comedic tradition of rapid succession jokes and gags. They may be hit or miss, but they come skyrocketing toward the audience with such transitionless speed that we quickly forget the flops and focus on the winners. The plot is almost peripheral to the thrust of the film: the major focus is on rapid-fire punchlines. That's okay, though; unlike my mother with her intense hatred of this film, most of go to see comedies with the expectation that they will make us laugh. We don't need character development and profound conflict resolution. All it takes is a slew of jokes funny of us to distract us from the film's glaring flaws and we're happy to roll with it. If you're the type who finds plot holes and inconsistency hair-tearingly bothersome, slapstick comedy in this vein is probably not for you. For the rest of us, though, Dumb and Dumber is a great exercise in learning to just laugh it off.

Memorable 80s and 90s PSA Campaigns

I wish I could take credit for this picture, but I just found it on Amazon. Funny, though, right?

No matter how hip and focus group-tested you aim to make your public service announcement campaign, it faces pretty dire odds of coming off as incredibly, mockably cheesy. It's just the nature of the medium. There's no cool way to say something totally buzzkillish and square, so you may as well shoot for saying it memorably.

This was the strategy these campaigns took, capitalizing deftly on their 30-second moment of influence over impressionable young people. Through the power of incessant repetition and catchy songs or phrasing, these publicly serving commercials took up residence in our malleable juvenile minds. Whether we were young enough to buy into their message or old enough to snark on their relentless harping, they undoubtedly held enough intrigue to be worth remembering fifteen-odd years down the road.


The Incredible Crash Test Dummies



The National Highway Traffic Safety Administration had a message for us: don't be a dummy. The clearest way to transmit that message? Actual crash test dummies. Sure, their crash-induced injuries were played for laughs, but we soon learned that driving without a seat belt was no joke. Thanks, Vince and Larry. We owe you one.


Mr Yuk



What easier way to warn non-literate small children of the danger of hazardous noxious household chemicals than with a giant, disgusted neon green grimacing face? I certainly can't think of any. Wikipedia helpfully points out that children may associate the traditional poison emblem of a skull and crossbones with pirates rather than poison, so we definitely need an alternative symbol. Right. I know when I'm trying to break into the yummy candy vials in the medicine cabinet, I'm pretty sure that one with the Jolly Roger on it is full of pirates. It all adds up so perfectly.


McGruff



I'm still waiting for my opportunity to take a real bite out of crime. I imagine it would be tasty, meaty and substantial, just as McGruff sold it to me in the 80s and 90s. McGruff empowered us to stand up to bullies and engage in healthy behaviors. Plus, we could write him for some free safety-themed comic books and pamphlets. It just doesn't get any better than that.


Smokey the Bear



Smokey's been around for years, so it always surprises me a little that we still have forest fires. I mean, don't these mischievous match-wielding kids ever watch TV? If they had, they would know that they were the only hands on deck capable of preventing forest fires.


The More You Know



NBC really knew how to cut to the PSA core: short, to the point, and featuring celebrity spokespeople. They also threw in a fun shooting star-type logo with a memorable series of tones that I'm pretty sure are supposed to be the instrumental track of the words "the more you know." I've yet to verify this with actual research, but it's the way I've always interpreted it.


This is Your Brain on Drugs



Ah, the classics. Talk about to the point--"This is your brain on drugs" practically invented to-the-pointness in public service messages. This is your brain. This is your brain on drugs. Any questions? Nope, think I can take it from here. Thanks, ominously sizzling frying pan.


I Learned it by Watching you



"Who taught you to do this stuff?" "You, alright? I learned it from watching you!" Yikes. Talk about a major buzzkill for recreationally drug-using parents. Guess what? Smoke one joint and your kids will turn into hardcore crack addicts. That's just basic science. They learned it from you, alright? They learned it from watching you.


Dontcha Put it in Your Mouth



This one is sort of terrifying. What exactly are those furry things supposed to be? If anyone has any insights, please enlighten me. I'd love to have been a fly on the wall when the ad guys were hawking this one to the Concerned Children's Advertisers. What do you think that studio recording session was like? It just leaves me with so many hilarious mental images about the possibilities.


Don't Copy that Floppy



This one truly speaks for itself, though today it would probably need a spokesperson to explain to kids what a floppy was. You know, the archaic giant computer disks from days of yore? Nowadays you can pirate anything online, but in the 80s and 90s your best bet was copying a game you borrowed from the primitive computer lab. If you did, someone would probably rap about it.


Check Yourself



In this FOX Kids series of PSAs, the network taught us to check ourselves before we wrecked ourselves while cleverly avoiding copyright infringement on the Ice Cube song. These ads taught us to imagine rewinding our unsportsmanlike actions and replacing them with good old fashioned polite conduct. At the time, we may have thought they were pretty helpful, but watching them now it's clear that they were among the cheesiest of public service ads.


Nickelodeon Orange Apeel



Until I just typed the words now, I'd completely forgotten Orange Apeel ever existed. Now that I've brought the memory to the forefront, though, it's clear as slime. Nickelodeon put its own slant on PSAs, producing a series of brief bumper-like spots teaching us a succinct but nevertheless valuable lesson. If it hadn't been for Omar from Wild and Crazy Kids' plea, I may never have become physically fit. I'm still meaning to do that, by the way.


Saved by the Bell: There's no Hope with Dope


Saved by the Bell - No Hope With Dope
Uploaded by ox-stargirl-xo. -

In one word, would I use dope? Nope. These kids are right! I appreciate Brandon Tarnikoff's hit idea for the new season. I'm not sure how much more of this I can paraphrase of this for laughs without generating any of my own original content, but truly I don't need any. It mocks for itself. From the moment these good looking teens uttered a single word each into the camera with deliberate seriousness, this was pure PSA gold.


Gopher Cakes



How fat did you feel at that moment you realized Gopher Cakes were fictional? Undoubtedly, to many of us they looked legitimately deliciousness, so it was a major let down to find that they were actually just poking fun at our tendency to consume foods that paved the path for our eventual morbid obesity. I still occasionally have dreams of covering one with whipped cream and swallowing it in a single gulp, like a python with a field mouse. Delicious.



These PSAs are certainly corny, but they do for the most part manage to get their point across. Into our teenage years many PSA agencies changed strategies and opted for cold, seriously threatening public service ads in lieu of the beloved lighthearted fare of our childhoods. Scare tactics work sometimes, sure, but we'll never be reminiscing about them in 2024. Stick to what you know, PSA people. Corny cartoons, puppets, and jingles are clearly the way to our still-impressionable hearts.



PS If you're looking for a drug-related PSA that's not on here, check out the full post here. In it I promise to do a part two about something hilarious I must have thought of at the time but have since forgotten, so here's my best shot at it. Not here, really; above. You know. Press Page Up. There you go.

Anti-Typecasting

For many actors, the craft is all about range. Being able to assume and fully inhabit another character showcases their true talents. Not all actors, of course, have this magnitude of expertise. There's a reason some guys are always the action hero and some guys are always the off-the-wall one-line spouting goofball--that's just what they're good at.

In some of these cases, an actor manages to transition from one type to another seamlessly, effortlessly demonstrating their breadth of skill as an actor. For others...not so much. As a career move, accepting a role against type can significantly boost an actor's credibility and garner them major industry respect. If done well, it can mean an outpouring of positive critical response and a shot at a prestigious award.
On the other hand, audiences aren't always quick to warm to watching an action hero play an allegedly comically out-of-character housekeeper/nanny; sometimes it's just not enough if the premise itself is the film's strongest punchline. As a general rule, lighthearted actor taking on a serious role, good. Serious actor taking on a lighthearted role, bad.


Robin Williams: Good Will Hunting, Dead Poets Society, etc



While now we have seen Williams in a wide range of roles, his road to fame was paved with comedic roles stemming from the goofiness of his breakthrough Mork television character. Williams has proven himself several times over as a serious actor with depth, particularly for his Academy Award winning role as a psychologist in Good Will Hunting and as a teacher in Dead Poets Society. He broke free from his typecast slapstick persona with some distinctly emotional performances. He may have once been pigeonholed as a goofball comedian, but he has since assumed a number of roles that established him as an actor of range. Truthfully, though, more recent films like Old Dogs aren't helping maintain his reputation.

Jim Carrey: The Truman Show, Man in the Moon



Like Williams, Jim Carrey's breakthrough roles came mainly in the form of slapstick comedic characters. After rising to stardom with leads in comedies like Ace Ventura: Pet Detective, Dumb and Dumber and Liar, Liar, Carrey explored his subtler side with some decidedly more serious parts. He showed us his range in The Truman Show as an unknowing reality star in a makeshift reality. A year later, he cemented his more serious actor status with the title role in the Andy Kaufman biopic Man in the Moon. Despite critical speculation about potential Academy Award nominations, he was snubbed for both. Either way, he established himself as a more credible, multi-faceted actor.


Betty White and Rue McClanahan on Golden Girls



The original casting preference for The Golden Girls was Rue McClanahan as Rose and Betty White as Blanche, a parallel to the previous roles they had held on The Mary Tyler Moore Show and Maude respectively. Bea Arthur initially was not interested in the role of Dorothy, fearing that the new show would come off as Maude and Vivian meet Sue Ann Nivens. Once they switched the roles, though, the dynamic changed entirely. The casting feels so spot-on that it's hard to even imagine the women in roles others than the ones they accepted.


Fred Savage in the Lifetime Movie No One Would Tell



Kevin Arnold abusing and murdering DJ Tanner? It sounds like a stretch, but that's the way this Lifetime Movie of the Week played out. The made-for-TV movie is pretty cheesy, but it's since developed a cult following in reruns. Undoubtedly the unlikely casting choices accounts for the bulk for its appeal, but it's still a bit unnerving to watch the whole sordid ordeal unfold.


Elizabeth Berkley: Showgirls



Here is an ultimate case of seeking to play against type. In an effort to move away from her squeaky clean family-friendly image as Jessie Spano from Saved by the Bell, Elizabeth Berkley sought to break out of the typecasting box in a very major way. Berkley took on the role of Nomi Malone in the controversial NC-17 rated nudity-filled film Showgirls. The first movie to ever garner the NC-17 rating, Showgirls outlined Nomi's aspiration to rise from a stripper to showgirl on the Vegas dance scene. The movie is comically bad, belying its alleged dramatic themes with tragically poor performances and gratuitous amounts of nudity. The film was nearly universally panned by critics, failing to give Berkley the image boost she craved.


Sylvester Stallone in Stop! Or My Mom will Shoot!



This is one Sly probably wants to strike from his resume--er, IMDB page. It's just plain embarrassing. This comedy debacle costars Stallone and Golden Girls' Estelle Getty as a son and mother duo. Stallone still plays the tough guy cop, but one who the writers intended to be humorously undermined by his bumbling interfering mother. Somewhere along the way, this attempt at humor goes horribly, terribly wrong, leaving us with a remarkably unfunny comedy. The critical response was overwhelmingly poor as well, leaving the film with a notably low 5% positive rating on Rotten Tomatoes.


Arnold Schwarzenegger in Twins, Junior, Kindergarten Cop, and Jingle All the Way



Before Schwarzenegger transitioned from action hero/bodybuilder to California governor, he made a few lighthearted comedies. This man has a real knack for reinventing himself, transitioning easily from Austrian bodybuilder to action film star to comedy actor to politician. It's almost not fair to say he's acting against type; Arnold dictates his own type. Still, there's something uniquely comical about seeing the governor of California saying, "It is not a tumor!"


While not every actor can successfully make the transition from one type to another, it's nice to see him give it his best try. Whether he ends up with an Oscar nomination or is panned by critics for his abysmal out-of-character performance, it's nice to see the change of pace. In some cases, we end up with strong serious performance from actors with a reputation for silliness. In others, an embarrassing foray into the absurd.To be fair, it's much more fun to watch things crash and burn the second way. If you don't believe me, watch ten minutes of Stop! Or My Mom Will Shoot! You'll become a believer.