The Simpsons Movie
Directed by David Silverman
After years of anticipating the great TV series “The Simpsons” on the big screen, The Simpsons Movie arrives with a subtle visual highpoint: We see Homer resolved to save his family, walking through uncharted territory but in the shadow of a pair of gargantuan boobs. This graphic symbolism is cute and clever (De Chirico meets Maxim magazine). The Simpsons Movie finally appears just when movie wit—ever since Borat—seems to be unappreciated.
Consider that so far this year, three of the funniest, most humane and politically topical comedies—Norbit, Delta Farce, I Now Pronounce You Chuck & Larry—have all opened to hostile reviews. It seems that after Borat, critics have forgotten what comedy is and settled for seeing their own small-minded (“liberal”) prejudices celebrated in cruel, snarky jokes. If a comedy does not flatter one’s personal biases or extol the white, heterosexual status quo like Knocked Up, it gets punished for representing subculture virtues. It’s ironic that “The Simpsons” is too readily celebrated for its cultish smarts when its greatest achievement is raising the level of prime-time, mainstream TV discourse. Though enjoyed in the seclusion of every home, “The Simpsons” entertains the larger audience that doesn’t want to be condescended to. It’s one of the few pop culture items to encourage belief that the great popular audience is a thinking audience. (Note the Springfield church congregation is as multiracial as the show’s Nielsen demographics.)The best prospect of The Simpsons Movie is that it will return communal intelligence to moviegoing.
This feature-length movie isn’t the intensified delight of the best “Simpsons” TV episodes; but its expanded storyline allows for bigger eye-pleasing compositions and a storyline that develops rather past the intro/plot-shift TV format. The same production team—James L. Brooks, Matt Groening, Al Jean, Mike Scully and Richard Sakai—use their familiar irreverence toward TV and religion to trigger hometown Springfield being quarantined under a glass dome as part of an Environmental Protection Agency plot. Both religious and political prophecy (Grandpa has an epiphany and Lisa touts an ecology doc titled An Irritating Truth) are mocked to set up Bart’s id-satisfying mischief and Homer’s endearing stupidity.
Seen larger than life, Homer clearly is one of the great concepts of modern pop culture. Unlike Tony Soprano’s cruelty or Borat’s nasty derision, Homer is never vicious. He is a man of appetites whose harmless selfishness is immediately identifiable as a common primitive trait. Media wonks and critics envy Tony Soprano’s cudgel or Borat’s disdain. But Homer’s naive resistance to sophistication reflects everyone’s innocent good will.
The Simpsons Movie lacks the timely inspiration that makes the TV show as good as journalism, such as the recent “Yokel Chords” episode—an ingenious parody of The Sound of Music that rebuked the political sarcasm of Borat. “Yokel Chords” exposed the class and partisan bias that have poisoned recent satire; this movie makes do with just being bright, charming and funny. Although favorite characters are left out of the fun, some of the best gags compliment this year’s most underappreciated comic gems: When Lenny is apologized to for being called black, he shrugs. “That’s alright. I get that all the time (pace Norbit). Ralph Wiggums witnesses something that makes him declare “I like men now” (pace Chuck and Larry). And Krusty the Clown promotes his Krusty Burger franchise, promising “If you can find a greasier sandwich, you’re in Mexico” (pace Delta Farce).
Humor can be based in nonsense, but recent film criticism of humor is no longer based in sense. The Simpsons Movie offers a respite from this insanity. Indeed, The Simpsons Movie really does make you laugh in the shadow of boobs.
