Albert Brooks: Defending My Life

STREAMING REVIEW:

HBO/Max;
Documentary;
Not rated.
Featuring Albert Brooks, Rob Reiner, Jon Stewart, Sharon Stone, David Letterman, James L. Brooks, Brian Williams, Neil Degrasse Tyson, Sarah Silverman, Larry David, Cliff Einstein, Judd Apatow.

“Do you know what time it is?” my old man wauled, the force of his footsteps as he bounded towards the living room causing the shoulders of the dining room chairs to clack together.

It was coming up on 11 p.m., and the reason for Larry’s rude awakening was the fit of uncontrollable laughter that had suddenly overpowered me. “What’s so goddamn funny?” he demanded. “Albert Brooks,” I replied while pointing to the couch. “Sit down and watch.”

The comedian’s legendary “Danny and Dave” routine, in which the overconfident ventriloquist unashamedly moved his lips, was re-created in Looking for Comedy in the Muslim World, but does anyone remember Al and Buddy? Albert jury-rigged a face to the back of a Fisher Price Speak and Spell and a new ventriloquist act was born. Johnny Carson never stopped laughing. Neither did dad. A snippet from this singularly monumental father and son bonding moment and more can be found on HBO’s Albert Brooks: Defending My Life, now streaming on Max.

For director Rob Reiner, the task couldn’t have been simpler: a few days spent in Matteo’s Restaurant interviewing a lifelong friend in simple reverse angles. Reiner got to leave the restaurant to conduct interviews. Albert didn’t. For die-hards, there isn’t much new to uncover, although this is the first time I’ve heard Albert discuss his father’s passing. Harry Einstein, a comedian who went by the name “Parkyakarkus,” died famously in the middle of the Friars Club Roast of Lucille Ball and Desi Arnaz. Then there’s the subject of his birth name, Albert Einstein. The fourth son in the family reasoned it took his father so long to name a child Albert because he wanted to make sure that the theory of relativity wouldn’t be proven wrong. Brian Williams surmised his parents named him Albert because they wanted him to spend the rest of his life getting beaten up for his lunch money.

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I have spent the greater portion of my adult life defending the comic (and at times cosmic) genius of Albert Brooks. The reasons why most Americans shun spastic Jerry Lewis and gamy Howard Stern are fairly obvious: Detractors either dislike them or they despise them. Certainly Albert didn’t provoke the same spirit of disregard. From the start, he was branded an “acquired taste.” Didn’t they catch-on to his conceptual slant on “The Ed Sullivan Show”? What about “The Albert Brooks Famous School for Comedians,” the perpetually too-hip-for-the-room swipe at showbiz sycophancy that first aired on PBS’s “Great American Dream Machine.” I find it almost impossible to put into words the effect this eight-minute short had on me. Only a crazed original could have left such an indelible brand simply by spoofing artless industrial films. I was at that point in my upbringing where I was beginning to seriously question the merits of many of the fleeting showbiz funnymen whom I grew up blindly accepting as icons. Were Allen and Rossi really that funny? “Hello, Dere.” Okay, I chuckled the first few times. The same goes for Wayne and Shuster. I used to wait for those two Canadian cutups to appear on the Sullivan Show. The W.C. Fields Box Set Vol. 2 has a television “documentary” on the Lord of the Grampian Hills that’s hosted by W & S. I defy you to get through it.

Albert saw (through) them all. He inverted the “serious” Jerry Lewis and played it for laughs. I didn’t know it at the time, but long before “SCTV” alum Dave Thomas “owned” Bob Hope, Albert was helping to interpret the violently insane thought transmissions emanating from Toluca Lake. Before Albert, I’d just as soon stare at a blank wall than watch a Bob “For Texaco” Hope special. Mind you, this was long before I embraced his collaborations with director Frank Tashlin and some of Hope’s stronger pre-TV vehicles (The Lemon Drop Kid, Son of Paleface, The Big Broadcast of 1938). I found nothing funny about the man and it took several years before I realized just how funny the fact that he wasn’t funny was. I can’t tell you how many hours of Hope’s TV work I have in my collection. Hope was probably the single finest example of showbiz royalty flying on auto-pilot to ever scan an idiot card. Once I tapped into this, I couldn’t stop taping, darlin’.

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Though Brooks was originally considered the West Coast’s answer to Woody Allen, the latter’s name is fleetingly mentioned by Larry David. One need only do a side-by-side comparison of Modern Romance and Annie Hall to understand which film packs more honesty, structural integrity, and sheer visual storytelling. Albert is now, always has been, and always will be Woody’s cinematic superior. Woody’s recurring themes are all cerebral, and visually speaking, the major difference between the “early, funny films” and his later dramas can be traced to the director’s ability to eventually afford imposing cinematographers. Without the collaboration of a quality DP, Small Time Crooks, Allen’s comedic nadir, shows zero structural or visual advancement over Take the Money and Run, his 1968 directorial debut. In Woody’s defense, not all great comedic directors are formally faultless (Preston Sturges and Frank Capra come to mind) and therefore should be studied for their ability to draw on laughter as a means of chipping away at societal pretense.

Woody Allen may not be the big, bad Jewish intellectual middle-America perceives him to be, but he is definitely an above-average thinker with a devastating sense of humor. Woody’s my cranky celluloid Rabbi and I am always eager and curious to hear his observations on the modern world. Alas, film comedy must first and foremost be judged on formal presentation, not laugh quotient. Aside from being one of the funniest men alive, Albert Brooks is also a master visual storyteller. As with all great comics he is constantly aware of his body placement in the frame. His timing is impeccable; no one cuts a comedy quite like Albert. When it comes to using film as a means of comedic expression, Albert is closer in style and spirit to Keaton and Tati than Woody is to Chaplin.

The one film in Albert’s canon that goes largely overlooked is Looking for Comedy in the Muslim World. The premise was pure genius: In order to bring about peace through understanding, Albert is asked by the government to travel to Pakistan and compile a report on what makes the locals laugh. It’s the greatest Bob Hope vehicle that Hope didn’t live to star in. Albert presents a self-eviscerating overview of his career and no one is more aware of their ‘Q’ rating (the measure of a celebrity’s name recognition) than Albert. Hindus might not place the face, but everyone knows the voice of Nemo’s father! Albert took comedy seriously enough to actually attempt a breakdown of just what makes us laugh. You didn’t see it. Nobody saw it. The title terrified distributors and exhibitors. The moral of the story turned out to be: Don’t release a film with the word “Muslim” in the title that soon after 9/11. Sony Pictures Classics refused to release it. At a time when movie comedy was defined by wedding crashers and 40-year-old virgins, Albert and Warner Independent’s stab at bringing logic back to laughter was a resounding flop at the box office.

Jon Stewart called him the first alternative comic. According to Brian Williams, “It is about time for a Hollywood reassessment of the gift to moving pictures and television that Albert Brooks is.” As much as one enjoys watching the carousel of clips and listening to friends lavish praise, there’s no happy ending to this story. I’d rather be watching an Albert Brooks film than a film about Albert Brooks. The greatest cinematic tragedy in my lifetime is not the conversion to digital, nor is it studios’ dependence on comic books to do most of the heavy lifting. The awful truth is, we’re coming up on 20 years since Albert Brooks stepped behind a camera.

Documentary ‘Albert Brooks: Defending My Live’ Headed to HBO and Max Nov. 11

The HBO original documentary Albert Brooks: Defending My Live, directed by Rob Reiner (When Harry Met Sally, The Princess Bride), debuts Nov. 11 on HBO and the streaming service Max.
 
The film chronicles the career of Albert Brooks, who since the late 1960s has been a major force in American comedy with his smart, sometimes absurdist, and truly unique sense of humor. From stand-up, to acting, to writing and directing short films, to his seven original motion pictures, including Modern Romance, Lost in America, Mother and more, Brooks has paved the way for future generations and remains a comedic force in a league of his own. With testimonials from some of the brightest comedy talents and serious thinkers, as well as family and friends, the documentary chronicles Brooks’ very early work all the way to present day. In this deep and personal conversation, Reiner and Brooks explore the origins and evolution of Brooks’ career, the impetus for his creativity, and the impact he has had on the world of comedy. 

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Attesting to Brooks’ influence in the comedy and entertainment world are celebrity figures including Chris Rock, Conan O’Brien, Wanda Sykes, Jon Stewart, Ben Stiller, Steven Spielberg, Sarah Silverman, David Letterman, Larry David, Jonah Hill, Judd Apatow, Sharon Stone, Brian Williams, Anthony Jeselnik, Tiffany Haddish, Alana Haim, Nikki Glaser, James L. Brooks and Neil deGrasse Tyson.

 

Sony Releasing ‘Stand By Me’ on 4K Blu-ray Aug. 27

Sony Pictures Home Entertainment will release the 1986 coming-of-age movie Stand By Me on 4K Ultra HD Blu-ray Disc Aug. 27.

Directed by Rob Reiner and based on a Stephen King short story, the film stars Wil Wheaton, River Phoenix, Corey Feldman and Jerry O’Connell as a group of friends searching for a dead body in the woods. The cast also includes Kiefer Sutherland.

Newly scanned from the original camera negative in 4K and presented with high dynamic range, Stand By Me also includes a new Dolby Atmos immersive audio mix and both the original theatrical mono audio and the 5.1 remix.

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In addition to the archival special features on the combo pack’s standard Blu-ray disc — including a reunion commentary, director’s commentary and making-of featurette — the 4K disc includes never-before-seen deleted and alternate scenes.

Shout! Factory Celebrating 30th Anniversary of ‘When Harry Met Sally’ With Special-Edition Blu-ray Jan. 8

Shout! Factory will release a 30th anniversary collector’s edition of the iconic romantic comedy When Harry Met Sally on Blu-ray Jan. 8.

The release features a new transfer restored from a 4K scan of the original camera negative, and includes a new bonus interview with director Rob Reiner and star Billy Crystal.

The Blu-ray is being released through the Shout Select imprint, which focuses on special editions of classic and cult-favorite films.

The film stars Crystal and Meg Ryan as buddies who deal with the question of whether sex will ruin a perfect friendship between a man and a woman. The cast also includes Carrie Fisher and Bruno Kirby.

The When Harry Met Sally: 30th Anniversary Edition Blu-ray also includes legacy bonus content from earlier Blu-rays such as a Reiner audio commentary; a commentary with Reiner, Crystal and screenwriter Nora Ephron; the “How Harry Met Sally” Documentary; deleted scenes; a Harry Connick Jr. music video; the theatrical trailer; and additional vintage featurettes.

‘LBJ’ Director Rob Reiner to Be Honored by AAFCA

Veteran actor, writer and director Rob Reiner — who most recently directed LBJ due from Sony Pictures Home Entertainment and Electric Entertainment on digital and disc Feb. 6 — will receive the inaugural Stanley Kramer Award for Social Justice from the African American Film Critics Association (AAFCA).

The award recognizes him for his career-long activism and support for progressive politics. The director, whose LBJ earned AAFCA’s Seal of Approval, will be presented his award at the 9th AAFCA Awards, scheduled for Feb. 7 at the Taglyan Complex in Hollywood.

“Even as an actor, Rob Reiner made a statement. In the years he spent on ‘All in the Family,’ he was the liberal voice countering Archie Bunker’s extremely conservative one,” said Gil Robertson, president of AAFCA, in a statement.

Much like Kramer, as a director, writer and producer, Reiner, has craftily used the art form as a springboard of political activism that has resonated far beyond Hollywood, noted a Sony release. His films have spearheaded progressive dialogue on a variety of critical societal issues, be they gender roles and attitudes in When Harry Met Sally or race and justice in Ghosts of Mississippi.

The AAFCA honored Kramer at its 2017 ceremony and decided to create the AAFCA Stanley Kramer Award for Social Justice to encourage and applaud filmmakers like Kramer for infusing their films with a sense of purpose and social responsibility.

“Film served as an important vehicle to explore and examine social issues for Kramer,” Robertson said in a statement. “Our hope is that, through this awareness, it will inspire other filmmakers to continue making those statements.”

Reiner’s LBJ takes a look at President Lyndon Baines Johnson (Woody Harrelson), covering the immediate aftermath of John F. Kennedy’s assassination and the passage of the historic Civil Rights Act of 1964. The film also stars Michael Stahl-David, Richard Jenkins, Bill Pullman, Jeffrey Donovan and Jennifer Jason Leigh.