A Groin Slapper
You Dont Mess With the Zohan Directed by Dennis Dugan
Jokes arent merely delivered in You Dont Mess With the Zohan, theyre tossed at the audience in careless, childish, exuberant abundancevirtually thrown away. That means nothing sticks beyond the notion of Adam Sandler as Zohan, a super-efficient commando in Israels Mossad. Not even Zohans pacifism (There are other things I can do besides war) makes much impression; its a momentary shtick that sets up gags rather than character motivation.
Zohan is something of a let down for Sandler who recently has made bold, successful choices in the movies Spanglish, The Click, Reign Over Me, I Now Pronounce You Chuck and Larry, where comedy revealed a recognizable deep longing and sadnessyet never turned mawkish. The respective subjects of those moviesclass, desire, suffering, sexual identitystill figure in Zohan. But this time, the story (co-written by Sandler, Robert Smigel and the dreaded Judd Apatow) never focuses; it goes wild on the transparent possibilities of creating a Jewish superhero. In fact, an echt ethnic hero whose identity springs from a sense of Israeli national pride that probably hasnt been seen on screen since Kirk Douglas played Mickey Marcus (the American who became Israels first general) in Melville Shavelsons 1966 film Cast a Giant Shadow.
The first shadow in Zohan is cast by the exaggerated crotch bulge of Sandlers Speedo, first seen as he struts along Tel Avivs beach promenade. Satirizing phallic prowess doesnt disguise the wish to assert it. Sandler, whose first expression of ethnic pride came in the singular animated Hanukah movie, Eight Crazy Nights, counters the usual timid Jewish-comic persona. Zohan, known as a counter-terrorist able to unarm and foot-slap his Palestinian adversaries, can also perform amazingly athletic featsincluding grilling and plating fish with his groin. When Zohan gets to America and practices hairstyling, his sexual stamina enables him to satisfy long queues of customers with extra erotic service. Zohans not merely a superhero, hes the Anti-Nebbish.
Sandlers been able to circumvent the Woody Allen ethnic stereotype by developing impressive characterizations, extending typical Saturday Night Live comic bravado to frequently express a soulful being. (Critics ignored Sandlers intuitive Bob Dylan-channeling in Reign Over Me only to fall for Cate Blanchetts ludicrous drag-king impersonation.) Its funny and inspired that Sandler introduces Zohan with the tanned, bushy-haired sexiness of biblical-movie heroes. And this is spoofed by mocking ethnic excess (Zohan and his father submit everything to hummus dip), which skirts ethnic narcissism. The Z in Zohan not only challenges the cultural significance of Woody Allens Zelig but also plainly counteracts the offense of Sasha Baron Cohens Borat. (Sandler has deeper acting gifts; he portrays Zohans frustration with the kind of imaginative intensity Cohen only had in his Talledega Nights role.)
As an actor-artist, Sandler looks to resolve the issues of self-esteem and masculinity that often lead to comic self-deprecation or the insanity of a self-loathing project like Henry Beans The Believer. The significance of identity as a common human issue persists despite the unfair drubbing Sandler took for the brave I Now Pronounce You Chuck and Larry (thats why Zohan continues the struggle when even his parents misunderstand his ambition: Youre a fagela?)
While recognizing Palestine-Israeli conflict (John Turturro plays Zohans Palestinian nemesis/counterpart, The Phantom, who taunts, You think you can oppress my people, land-grabber!), theres an undeniable political undercurrent to Sandlers ethnic heroicizing in Zohan. The film is not unbiased yet stays mostly pacifistic: Zohan deflects bombs then hands out government restoration business cards; he catches rocks thrown by Palestinian kids and carves them into toys. Resolutionof a kindoccurs when Zohan arrives in the United States, where Old World antagonisms get tossed into the free-market melting pot. But this is where the movies sense of ethnic identity fizzles and becomes namby-pamby. The urban life of daily cutthroat capitalism gets reduced to a WASP real estate developer and the noisy bickering of Middle-Eastern hustlersfrom cab drivers and newsstand operators to gray-market electronics merchants. This global silliness features some good bits (Lainie Kazan as a lusty mom) and lame bits (Mel Gibson-mockery that sinks beneath Sandlers message and trivializes it).
Yet, Zohans effort at brotherhood is still overshadowed by several, more credible examinations of ethnic rivalry: 1) Sandler cant erase the profound moral crisis of the Mossad drama in Spielbergs Munich, even though the music score here poignantly evokes that films anguish in a montage of failed immigrant dreams; 2) Eytan Foxs The Bubble gave a richer sense of Israeli-Palestine ethnic complexity; and 3) many of Zohans ideas were initiated by Jonathan Kesselmans more coherent 2003 satire, The Hebrew Hammer.
After those movies, even the best parts of Zohan are not insightful or funny enough. The films good humor and goodwill almost converge during a hacky-sack tournamentwith its globally unifying disco half-time. But this is messed up too. Instead of achieving disco epiphany, the game starts with the national anthem sung by the buoyantly sexy bi-racial pop singer Mariah Carey. Zohan had signaled his secret desires in Israel by wearing various Mariah Carey T-shirts, but her mis-scheduled cameo simply reveals the films poorly organized ideas. In Zohan, Sandler, his co-writers and director Dennis Dugan keep tossing away jokes and throwing away significance.