Whatever Happened to...?

"When a man is not loved, it is no use for him to say that he could be a better fellow - could do anything - I mean, if he were sure of being loved in return."
"Not of the least use in the world for him to say he could be better. Might, could, would - they are contemptible auxiliaries."
"I don't see how a man is to be good for much unless he has some one woman to love him dearly."
"I think the goodness should come before he expects that."
"You know better, Mary. Women don't love men for their goodness."
"Perhaps not. But if they love them, they never think them bad."
"It is hardly fair to say I am bad."
"I said nothing at all about you."
"I shall never be good for anything, Mary, if you will not say that you love me - if you will not promise to marry me - I mean, when I am able to marry."
"If I did love you, I would not marry you; I would certainly not promise ever to marry you."
"I think that is quite wicked, Mary. If you love me, you ought to promise to marry me."
"On the contrary, I think it would be wicked in me to marry you even if I did love you."
"You mean, just as I am, without any means of maintaining a wife. Of course: I am but three-and-twenty."
"In that last point you will alter. But I am not so sure of any other alteration. My father says an idle man ought not to exist, much less be married."

Does anyone ever wonder what happened to wit? What happened to sparkling repartee, breezy responses with arched eyebrows while statuesque women lounge on chaises with men perched on the arms, two fencers with epees of words?

There's an interesting article in the new GQ about how Robert De Niro, by giving us the definitive modern portrayals of the tortured anti-hero, has created a legion of impersonators who equate acting with torturedness; in effect, he killed the old-time movie star, men who got by (and won Oscars, not that they're a true sign of acting prowess; more one's ability at politicking, but that's a story for another time) more on personal, intangible charm rather than angst-ridden scream fests (see: Sean Penn. "Is that my Oscar in there? Is that my Oscar in there?" I haven't even seen Mystic River; I really have no interest because that seems to be a pretty accurate portrayal of the subtext of that scene). I think it's a bit excessive to point to De Niro as the only reason (Montgomery Clift? James Dean? Brando? Pacino? Hoffman? Hackman? Nicholson?), but certainly fair to suggest that he had a lot to do with it. The article mentions Clooney as the only modern-day actor who even comes close to the icons of the golden age (when he's not making self-indulgent pap like Syriana), but I would suggest Will Smith as well, someone the article author completely ignores (we pause here for the requisite thoughts about institutional racism). Tom Cruise was also once there, but not anymore, though he probably maintains the highest box-office clout out of any star in Hollywood.

One wonders when the institutional bias against well-constructed comedy began; remember Bill Murray's comments when he was nominated for acting awards after Lost in Translation, where he talked about how they really needed to remember the dramatic actors, who never got enough attention at awards ceremonies.

I am personally of the opinion that comedy is more difficult than drama, simply because comedy cannot be taught, cannot be learned. Everyone instinctively "gets" drama; things happen to each and every one of us which we can equate to any number of experiences. But (comprehension aside) you either get the timing of a joke or you don't. Perhaps part of the reason why fewer great comedies were made in the 70s and 80s and why audience appreciation for them dimmed was because none of the great stars (Woody Allen aside) were capable of it, not because they were bad actors, but because of their specific limitations as actors, because of places they were unable to go, unable to take their audiences. Yes, it is fake; yes, it is elevated reality; but sometimes don't we all want that? Don't we want to be transported to some happy fluffy land for an hour and a half, where the worst thing men do is make disparaging remarks about their inlaws while the women remind the men that they never wanted to get married in the first place? Isn't that part of the point of entertainment? When did the Oscar become the award for the best crying/screaming/handicapped actor? And if you played some role where you were a mentally handicapped dude who had a crying, screaming fit about his dead child, would that, like, automatically win you the Oscar for the next 10 years?

Holy shit, I just had an awesome idea for a screenplay.