Over the last few years, director Judd Apatow has made a name for himself in the world of comedy. Introducing audiences to actors such as Seth Rogen, Katherine Heigl, Steve Carell and Jonah Hill, Apatow has found ways to politely slip in some hard-R language and sexual references while still amassing universal laughter and appeal. In Funny People, Apatow is back at it again; though this time, he uses a clever blend of serious drama and witty dialogue to bring a wholesome, realistic story to the big screen.
Adam Sandler, who returns to his roots for the first time in over a decade, portrays George Simmons, a stand-up comedian who has just been informed that he is dying. Suddenly, the once happy-go-lucky funny man must muster the courage and strength to overlook his dying body and give fans the jokes that they have come to expect.
Sex jokes are a constant occurrence, as with any Judd Apatow film. However, the character development and emotions that come from Sandler and his co-stars Seth Rogen and Leslie Mann help give the film depth and heart. You don't laugh out loud throughout the entire film because there are actual dramatic segments; ones that make you think about life, death and the time in between. But before you can get too serious, some witty comment is permitted, cutting the tension and allowing for a run of slanderous terms at which you can't help but smile.
Seth Rogen, fresh off his horrendous performance in Jody Hill's soon-to-be Razzie nominated feature Observe and Report, gives a strong return as George's new joke writer, Ira. Emotional and innocent, Ira has no problem talking the talk; however, when asked to start walking, he shies away form the unknown. It is a character unlike anything Rogen has played before, bringing a sense of freshness to the screen that is a true rarity in comedies.
As the film progresses and we begin to understand the troubled past of our lead protagonist, Leslie Mann enters the picture as George's long lost love. Only present for the last half of the feature, Mann (who is actually married to Apatow) must make the most of her time, brining the perfect blend of hotness and comedic relief to a testosterone-filled movie. Her presence is necessary, especially in terms of the story and cycle of George; however, her acting style helps bring life into a film that was quickly fading on the budding relationship of two straight men.
Still, the best part of the film hasn't been revealed. Sure, the acting was impressive, the story the perfect blend of drama and comedy, but the true spark lied within the seams of what you didn't expect - the cameos. An encounter between Ray Romano and Eminem takes the cake as possibly the best scene in the entire film; however, the cameos are endless during the feature as two actors from NBC's 'Parks and Recreation' help give the film a hysterically awkward tone. The only disappointing aspect is that no female opted to serve as George's star-seeking lay. I mean, surely someone out there can take a joke and wanted to fill the role - right?
Either way, as George gets news of his unexpected recovery and attempts to work his way back into his ex's life, chaos quickly take over. As quickly as the personal transformation occurred, the entire process takes it into reverse, sending the infamous stand-up mastermind further down the dark hole of disaster than he ever imagined. It is at this point, some two hours into the feature, that we finally get to see the true George Simmons. His attitude towards life, himself and those around him speak the words that he otherwise cannot express, and within the cluster of unspoken words, the film's true heroine is born.
In the end, Funny People is an interesting tale; one that works hard to blend a series of stories around a clan of intelligent and funny actors. Sandler and Rogen share an undeniable chemistry; while Leslie Mann does her job as the film's leading lady. But in the end, it is Apatow who fully transforms his image, raising the stakes and content of his features and promoting himself from college to grad school filmmaker. His perception and characterization is dead on as he opens the hearts of all who watch on, giving them a comedy that will strike a chord in terms of heartwarming emotion and painful side-grasping laughter.
