“South Park: Bigger, Longer & Uncut” is a movie about
freedom of speech and of expression, about courage in the
face of oppression. But that’s just a lure to get you into
the theater — these days it’s hell to attract an intelligent
audience into a movie rife with fart jokes, fake dicks and
bad language. So, for the record: “South Park: Bigger, Longer & Uncut” is
ultimately so enriching, it could change your life, and will
no doubt become a staple of civics classes for years to
come.
Now about those fake dicks: They’re real! But not really –
they’re photographic images cut out of paper. You see them
when Saddam Hussein, who’s died and become Satan’s lover in
hell, starts waving them around from under the bed-clothes,
threatening poor Beelzebub with all kinds of untold
pleasures of Eros. Let your freak flag fly, we say.
But not even those fake dicks penetrate to the core appeal
of the “South Park” movie, a collaboration between Trey Parker
and Matt Stone, creators of the hugely popular Comedy
Central show. (If a distinction must be made, the fart jokes
are even funnier.)
“South Park: Bigger, Longer & Uncut,” is a
surprisingly cohesive piece of filmmaking — really. It’s
never a good idea to hold out much hope that a half-hour
animated program will translate well to the big screen: The
herky-jerky, minimalist animation of “Beavis and Butt-head”
(entertaining enough in 30-minute wedges spliced with video
footage) proved too slack to sustain a feature-length movie.
Beavis and Butt-head are characters designed to be watched
from a slumped-down position in a chair at home, the kind of
thing you use to numb yourself out after a day of punching
cash-register (or computer) keys — or the kind of thing you
watch if, God forbid, you find yourself wasted in the middle
of the afternoon.
But “Bigger, Longer & Uncut” — even more so than the show
from which it was developed — demands attentiveness. Maybe
it’s more correct to say that it commands it. If you’re
feeling distracted and fuzzy, a song like “Uncle Fucka” (one
of several big musical numbers in “Bigger, Longer & Uncut”) is
just the thing to snap you back into the world of the
living, whether you find the hedonistic abandon of the
lyrics (“You’re an uncle fucka, yes it’s true, no one fucks
uncles quite like you”) offensive or not. The protests of
educators and learned dweebs to the contrary, “South Park” –
both the show and the movie — isn’t slacker entertainment,
the kind of anti-stimulation you seek when you want to close
yourself off from the world. It requires a certain level of
engagement to key into “South Park’s” miniature universe of
anarchy. At its most basic level, it’s about the freedom and
exhilaration of saying whatever you want. People who’ve
programmed themselves to forget how lush and naughty it felt
to say, “Fuck!” for the first time obviously wouldn’t get it.
In “Bigger, Longer & Uncut,” the outrageousness of the
things that come out of the “South Park” characters’ mouths is
amusing for the first half-hour or so. But Parker and Stone
must have known they couldn’t rely on it for the duration,
and they marshaled enough ideas to build the movie out from
there, spinning out a spiral of devious, dizzying little
thrills.
Written by Parker, Stone and Pam Brady, the story,
for all its outlandishness, is worked out better than the
narratives of many allegedly “serious” live-action features.
Stan, Cartman, Kyle and Kenny all sneak into the R-rated
Canadian import film “Asses of Fire,” starring their heroes,
toilet-humor potentates Terrence and Philip. (Refused entry
because they’re too young, they ask a homeless person
to buy their tickets for them — a reflection of Parker and Stone’s adamance about
keeping the movie’s R-rating, thus forcing parents
everywhere to take their kids to see it. It’s a loud-and-clear
raspberry to the Uncle Fuckas on the MPAA ratings board.)
When they return to their third-grade class with an arsenal
of delightful new obscenities, their classmates rush off to
see the movie for themselves. Parents, shocked at their
progeny’s new vocabulary, call a meeting and decide that
it’s not society nor television that’s to blame, but Canada.
At the initiation of Kyle’s mom (who, as anyone who’s ever
watched the show knows, is a big fat bitch), and with the
help of Conan O’Brien, Terrence and Philip are taken hostage
by the United States. Canada retaliates in a most heinous
fashion — I refuse to give away the nature of the initial
attack — and a full-scale war is launched, with Satan and
Saddam Hussein mixing it up as well.
From there, “Bigger, Longer & Uncut” serves up nonstop
action (as well as nonstop bad taste), along with some
animated blood and gore. I’d be lying if I said it didn’t
get all just a bit wearying in the last third: You may start
to feel so overstimulated that you long for a break. But
Parker and Stone have a knack for subtleties, too, and it’s
what saves their work from being completely exhausting.
They’re sharp ironists, but you have to be wide-awake, open
to the images that flash past the corner of your eye, like
the sign on the wall of a classroom that says, “Get high on
pottery.” The dorkiness of well-meaning adults knows no
bounds.
And although the “primitive” animation of South Park is
supposedly a joke, it’s really a secret weapon. The
simplicity of Parker and Stone’s technique is what makes it
so effective. On the big screen, the texture of the
construction paper that’s used to make the characters and
backgrounds jumps right out at you, even more so than on the
TV screen. Anyone familiar with the show knows that each of
the regular characters has his or her own distinguishing
characteristics (Kenny’s snorkel hood, for example). But
here, Parker and Stone also give us a beautifully drawn
lobster-red Satan. His pectorals are stylized curlicues, and
he wears a raggedy fur loincloth and a skull codpiece, as
well as an almost perpetually stricken expression (he isn’t
such a bad Satan after all).
And Parker and Stone are madly inventive when it comes to
details: During the big opening number (in which Stan sings
a paean to his small mountain town, even as he’s getting
pushed off the sidewalk and similarly abused by his fellow
inhabitants), at one point you see a battalion of tiny black
kittens marching up a snowbank. It’s the kind of image to
which the only proper response is “What the …?” It means
nothing in the grand scheme, but it’s a small delight, a
fillip that couldn’t have just plopped down accidentally.
Of course, none of this adequately conveys the important
message of “South Park: Bigger, Longer & Uncut,” but for that
kind of enlightenment, you’ll have to experience the movie
firsthand. Suffice to say that Parker and Stone have a
dream: They envision a nation populated by miniature sailors
on perpetual shore leave. The reality of that dream is a
long way off, but “South Park: Bigger, Longer & Uncut”
brings us one step closer.
Kim Jong Il was one of the most chilling figures of the modern era, with a harrowing human rights record. But of the tyrannical madmen who have died this year, he was also the one who made the oddest pop culture splash. Moammar Gadhafi’s ability to rock a golden muumuu will never be paralleled. But from “30 Rock” to “The Daily Show,” the departed North Korean leader will be missed. Was it those rock star shades? His fondness for olive green? The way he really knew how to throw a tank-rolling, goose-stepping military parade? In a word, yes.
Sure, Saddam Hussein got to play a role in Trey Parker and Matt Stone’s 1999 opus “South Park: Bigger, Longer & Uncut.” But it was Mr. Jong Il who really stole the show in Parker and Stone’s subsequent puppet masterpiece “Team America: World Police.” Kim’s not just a homicidal maniac in a big house — he’s a guy who really, really loves to put on a big show. He’s also a man who can’t quite pronounce “inevitable,” who struggles with the isolation of success, and who, it turns out, is actually a bug from outer space. Now that’s a villain!
What makes the puppet Kim Jong Il such a classic comedic character is that he’s not all that far from the Western perception of the real guy. This, after all, was a man who loved the movies so much he wrote a book on “The Art of Cinema.” He loved them so much he owned thousands of DVDs – “Rambo” and Elizabeth Taylor were allegedly among his faves. He loved them so much that early in his career, he had South Korean filmmaker Shin Sang-ok and his South Korean film director Shin Sang-ok and his actress ex-wife Choi Eun-hee kidnapped to forge the North Korean film industry. The results included the somewhat less subtle than “Triumph of the Will”-rampaging monster masterpiece “Pulgasari.”
Jong Il not only forcibly created entertainment, he inspired it. He became part of a pivotal plotline on “30 Rock” last season, when Jack Donaghy’s wife, Avery Jessup (Elizabeth Banks), wound up abducted by the internationally fearsome “convenience store owner.” It was a crazy sitcom twist – based on the very real imprisonment (and subsequent release) of Current TV’s Euna Lee and Laura Ling in 2009.
Even as he retreated from the spotlight throughout his later years, Kim Jong Il became all the more dominant a force on the Internet. Is there a more elegantly straightforward, satisfyingly amusing Tumblr than Kim Jong-il Looking at Things? There is not. Have you ever seen photos of Stalin smiling merrily at great wheels of cheese? I rest my case.
He was a complicated man. A man who apparently had a penchant for water slides and could golf a 38-under-par round. Would you tell him he couldn’t take that mulligan? What can you say of a person who has been played by both Margaret Cho and Gilbert Gottfried? A man who’s provided more material for “The Daily Show” than anyone not named Jim Cramer? A guy like that doesn’t come along in too many lifetimes. Now that the leader is dead, his legacy on the evening news will no doubt be harrowing. But as Elizabeth Banks tweeted Monday, we are indeed at a pivotal moment in history” — one that leaves joke writers and Tumblr bloggers just a little “sad and ronery.”
Uh, you guyyyyyssss....It's Cartman, Trey Parker and Matt Stone of "South Park."
As I watched Trey Parker and Matt Stone, the creators of Comedy Central’s “South Park,” collect armloads of Tony awards for their satirical musical “The Book of Mormon” Sunday night, a disquieting and thrilling realization popped into my head: These potty-mouthed clowns might very well be America’s greatest and most consistently inventive humorists.
Of course they have competition. There’s “The Daily Show,” for sure, though I’d argue that Jon Stewart’s version is as much a news program as a comedy series. But for audacity, visual flair, musical chops, verbal invention and gut-busting silliness, not to mention consistency of vision over time, I think the “South Park” boys trump all comers — including the creators of “The Simpsons,” a landmark show that started to flag halfway into its endless run, and Seth MacFarlane of “Family Guy,” whose show has its moments but has never quite risen to the heights of conceptually driven insanity that Parker and Stone reach so often. At their best, I’d put Parker and Stone up there with “Monty Python’s Flying Circus,” “SCTV,” Ernie Kovacs, the Marx Brothers, George Carlin and W.C. Fields, all of whom skated along the edge of the surreal and willfully outrageous, doing pirouettes and blowing raspberries at anyone who tried, like yours truly, to call them great and significant.
Their success is all the more remarkable when you consider what true outsiders they were, and to some extent still are. Back in 1992 they were just a couple of students at the University of Colorado who’d produced a goofy little short film titled “The Spirit of Christmas.” Within five years — thanks to help from Fox executive Brian Graden, who gave them $2,000 to turn the short into a “video Christmas card” that he could send to friends and birthed the very first viral video sensation — they’d landed a Comedy Central show, “South Park.”
Their rise was so sudden that there was no reason to think they’d last. Most overnight successes freeze up in the spotlight or reveal themselves as one-trick wonders. Not Parker and Stone. They’re safely ensconced in mainstream culture — almost everything they do is connected to Viacom, the gigantic parent company of “South Park” network Comedy Central — yet they still seem mysteriously and delightfully outside of it. What other American humorists have been so successful within the mainstream over such a long period while routinely landing on news pages (most recently for Comedy Central’s censoring of their jokes about Mohammed) and maintaining an almost punk rock edge?
Sure, some episodes have been sharper and more coherent than others; like a lot of the aforementioned iconic clowns, Parker and Stone practice a type of humor that is by nature hit-and-miss. But over the past few days, I’ve rummaged through prior seasons of “South Park” looking for duds and have found surprisingly few. The stuff that seemed astonishingly vital at the time still does, and the stuff that felt subpar — such as the Season 1 episode with the Ethiopian – has proved better than I remembered, sometimes much better. Even a weak episode is likely to contain a scene or subplot so terrifically unhinged that it makes you dizzy. A “C” effort from these guys is better than a latter-day “A+” effort from “Family Guy” or “The Simpsons.”
And an A+ — such as Season 10′s “Hell on Earth 2006,” wherein Satan decides to rent out the W Hotel in downtown South Park and throw himself a Sweet 16 party — is one for the ages. The Satan stuff (a continuation of the great hell sequences in their 1999 animated feature “Bigger, Longer and Uncut”) is a barbed skewering of skeezy reality show participants’ narcissism, and the audience’s rubbernecking smugness; that by itself might have been enough to sustain a half-hour episode. But Parker and Stone aren’t content to do just enough. They always want to give us more than we expected, to go further, to overwhelm with sheer imaginative excess. So they add a subplot with the boys summoning the spirit of murdered rapper Biggie Smalls by repeating his name into a mirror à la “Candyman,” and yet another subplot that finds mass murderers Ted Bundy, Jeffrey Dahmer and John Wayne Gacy being dispatched from the underworld to pick up a giant cake shaped like a Ferrari and deliver it to Satan’s bash. The “Three Murderers” become the supernatural version of the Three Stooges, squabbling among themselves, getting into wacky high jinks, and beating, stabbing and disemboweling themselves and various innocent bystanders. These bits are breathtaking for all sorts of reasons, one of which is that they explore the connection between comedy and cruelty incisively, but without becoming dry or self-regarding.
Another of Parker and Stone’s admirable qualities is their resistance to political pigeonholing. At some point, representatives of every American party or movement have tried to claim them as standard-bearers, only to get a thumb in the eye soon after. Are the “South Park” guys liberal? Conservative? Republican? Democrat? Libertarian? Pro-choice? Pro-life? Pro-capitalism? Pro-socialism? I suspect they’re mainly anti-complacency, and anti-bullshit.
I’ll never forget watching their 2004 political satire/puppet epic “Team America: World Police” with two different theatrical audiences — one in lower Manhattan, the other in suburban Dallas — and hearing both crowds chortle as Parker and Stone beat up on people or ideals they thought worthless, then squirm when the humorists started butchering their sacred cows.
Parker and Stone fire on targets and settle scores. But their work almost always has a structural integrity that makes it feel more substantial than a rant-of-the-week. For instance, the epic, three-part, 2007 “South Park” episode “Imaginationland” is one of the definitive statements on American pop culture in the age of terrorism and endless foreign war. But it’s not just a finger-wagging editorial about how to behave or not behave, or how to think about the relationship between the American imagination and the media that feeds it. It’s self-contained and self-supporting, a stand-alone piece that has internal logic as rigorous as that of any big budget fantasy film that takes itself seriously.
Parker and Stone have done some of their sharpest and craziest work in the last couple of seasons — for the record, that’s seasons 14 and 15, at which point most TV series are either long-canceled or coasting on the memory of past triumphs. This season’s send-up of the royal wedding — a 12-tiered wedding cake of riffing — was one of the single greatest episodes the show has produced. The goof on the ceremony itself (substituting the “Canadian royal family” for the Brits, with Parker-as-cable-newscaster ending every other observation with a variation of the phrase, “as is tradition”) belongs on a short list of great self-contained surreal set pieces, alongside the “Hail, Freedonia” number from the Marx Brothers’ “Duck Soup” and the duel with the Black Knight in “Monty Python and the Holy Grail.” (You can watch it below at the 1:30 mark.) “People in attendance now gently tossing Captain Crunch as the prince passes by, as is tradition … [The] Canadian prince now dipping his arms into the pudding, as is tradition … The princess will, of course, scrape the pudding off the prince’s arms, symbolizing their union … This is a glorious day for our country, and indeed the world.”
Last week’s half-season finale, “You’re Getting Old” — in which Stan’s 10th birthday afflicts him with cynicism, and prompts arguments between his parents about how one’s taste in pop culture almost inevitably hardens over time — might have made a great series closer if Parker and Stone had decided to hang it up now. But why would they when they’re producing work like this, which makes an unpretentious but true statement on generational tension, aging and nostalgia without turning self-important?
Parker and Stone have managed to seem as though they’re still a couple of wiseacres sitting in the back row of the classroom, goofing off and making trouble, when in fact they’ve spent the past decade-and-a-half winning Tonys and Emmy and Oscar nominations, and diligently assembling a body of work that should be the envy of any animator, stand-up comic or editorial cartoonist. It’s been a remarkable run. And as long as the show stays interesting — and it has; much more so than any of its long-running animated competitors — there’s no reason it shouldn’t continue.
Since I’ve managed to go a whole column without running a clip from “Bigger, Longer and Uncut,” let’s close with one, shall we? All hail Satan. He can dream, too.
Tyler Perry is something of a divisive figure. We’ve already seen Spike Lee decimate Perry in the pair’s ongoing feud, and it’s a well-documented fact that audiences of Tyler’s extremely popular Madea series don’t give a crap what Spike Lee thinks of the “coonery buffoonery.”
Last night, “South Park” gave Perry a long-awaited noogie when he showed up to accept at the school’s comedy awards show. (Called “The Kathy Griffin Awards” – how I wish those really existed.)
Perry continues to pop up throughout the episode, and Token Black (the only African-American “South Park” kid) continues to laugh before stopping himself in self-loathing. Even Obama isn’t exempt from the “South Park” stereotype of every black person loving Perry. “I know it’s embarrassing, but I simply can’t help myself,” says the president.
In this theater publicity image released by Boneau/Bryan-Brown, Andrew Rannells, center, performs with an ensemble cast in "The Book of Mormon" at the Eugene O'Neill Theatre in New York. (AP Photo/Boneau/Bryan-Brown, Joan Marcus)(Credit: AP)
When the Broadway season began last year, a big brash musical about Spider-Man was supposed to muscle its way to multiple Tony Award nominations. Instead, a pair of goofy Mormons may be the ones to beat.
“The Book of Mormon” nabbed a leading 14 Tony Award nominations Tuesday morning, earning the profane musical nods for best musical, best book of a musical, best original score, two leading actor spots and two featured actor nominations.
The musical, about two Mormon missionaries who find more than they bargained for in Africa, was written by Trey Parker and Matt Stone, the creators of “South Park,” and Robert Lopez, co-creator of the Tony Award-winning musical “Avenue Q.” The trio teamed up with Casey Nicholaw, who co-directed with Parker and choreographed.
It has received 12 Drama Desk Award nominations, six Outer Critics Circle Award nominations and a Fred & Adele Astaire Award nomination, which recognizes excellence in dance. The musical is also grossing more than $1 million a week and is selling out — the place “Spider-Man: Turn Off the Dark” was supposed to be before its implosion.
“The Scottsboro Boys,” a searing tale of 1930s injustice framed as a minstrel show, received 12 nominations, including best musical, best book of a musical, best original score as well as a leading actor and two featured actor nods.
Among others who earned nominations were Al Pacino, who played Shylock in “The Merchant of Venice,” Vanessa Redgrave in “Driving Miss Daisy” and Sutton Foster for “Anything Goes.”
“There’s absolutely nothing cookie-cutter about this season,” said Charlotte St. Martin, executive director of the Broadway League, which jointly produces the Tony awards with the American Theatre Wing. “The theme is that there is no theme.”
Of the 42 new productions this season, there were 14 musicals — 12 new ones and two revivals — and 25 plays, a whopping 16 of them brand new. The last time there were 16 new plays produced in a single season was 1986-87.
It is also shaping up to be a lucrative time for Broadway, with total box-office grosses already at more than $987,057,484, or 3.6 percent more than the same time last year. Attendance this season is at over 11.4 million, up 3 percent from this time last year.
The awards will be handed out June 12 at a new location: the Beacon Theatre on the Upper West Side of Manhattan after producers lost their long-term space at Radio City Music Hall. It will be broadcast live by CBS.
In the past decade, Osama bin Laden invaded our sense of safety, but also our pop culture. Here’s a look at the top five most memorable appearances by the slain al-Qaeda terrorist in TV and film, from the irreverent to the bizarre.
1. “Family Guy”: While American audiences found dread in bin Laden’s cryptic video messages, Seth MacFarlane found gag reel opportunity. The show’s famous FCC-baiting episode “PTV” depicted the terrorist in Afghanistan cracking up during a taping of his own terrifying video message. Botching the pronunciation of “Ramadan,” the cartoon bin Laden breaks character to say, “Did I just say Radaman? What is that? Yeah, maybe Dennis Radaman is going to punish you with his crazy hair.” Bin Laden made several appearances on “Family Guy” throughout the years, though many never made it to the screen.
2. “South Park”: The first post-9/11 episode from the Comedy Central show was titled “Osama Bin Laden has Farty Pants” and showed the four boys meeting their Afghani counterparts and getting captured by the head terrorist. In a typical “South Park-ian” twist, the episode was surprisingly pro-America, with Stan saying, “America may have some problems, but it’s our home, our team. If you don’t want to root for your team, then you should get the hell out of the stadium.”
3. “Where in the World is Osama Bin Laden?”: Morgan Spurlock’s satiric Middle East travel documentary didn’t quite capture the zeitgeist like “Super Size Me.” The 2008 film found Spurlock hunting down the terrorist while his wife was pregnant with their child — a reflection of just how futile the search for bin Laden seemed by then. But the film did poorly with critics, earning only a 38 percent approval rating over at Rotten Tomatoes.
4. “Tere Bin Laden”: Better known in the states as “that Bollywood comedy about Bin Laden,” the 2010 satire featured a reporter who lies about having an interview with Bin Laden, shades of Jack Kelley at USA Today.
5. “Postal”: This videogame-to-film adaptation was never going to be known as the best of its kind, and that’s a low bar to jump. However, the 2007 film based on a first-person-shooter game hit new lows when it depicted an Americanized Osama Bin Laden holding hands and skipping around with George W. Bush.
Kim Jong Il in "Team America" 
Uh, you guyyyyyssss....It's Cartman, Trey Parker and Matt Stone of "South Park." 
