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Maggie Szydlowski
The King of Comedy is a 1982[3] American satirical black comedy film directed by Martin Scorsese and starring Robert De Niro (in his fifth collaboration with Scorsese), Jerry Lewis and Sandra Bernhard.[4] Written by Paul D. Zimmerman, the film focuses on themes such as celebrity worship and American media culture. 20th Century Fox released the film on February 18, 1983, in the United States,[5] though the film was released two months earlier in Iceland.[6]
In the film, an aspiring stand-up comedian is increasingly obsessed with a successful comedian who he met by chance. He dreams of being the veteran comedian's colleague and friend, while the other man intentionally avoids his stalker. The younger comedian has the idea of kidnapping his idol, and blackmailing the television network which employs said idol. The kidnapping earns him the fame which he wanted, which he uses to publish a successful memoir and to film a television special.
Production began in New York on June 1, 1981, to avoid clashing with a forthcoming writers' strike,[7] and opened at the Cannes Film Festival in 1983.[8][9] The film received mostly positive reviews from critics but was a flop at the box office, grossing only $2.5 million against its $19 million budget. It is the first production of Embassy International Pictures, later Regency Enterprises.
Rupert Pupkin is an aspiring yet delusional stand-up comedian trying to launch his career. After meeting Jerry Langford, a successful comedian and talk-show host, Rupert believes his "big break" has finally come. He attempts to book a spot on Langford's show, but is continually rebuffed by his staff, particularly Cathy Long, and finally by Langford himself. Along the way, Rupert indulges in elaborate and obsessive fantasies in which he and Langford are colleagues and friends.
Hoping to impress, Rupert invites a date, Rita, to accompany him when he arrives uninvited at Langford's country home. When Langford returns home to find Rupert and Rita settling in, he angrily tells them to leave. Rupert continues brushing off Langford's dismissals and Rita's urging until Langford finally retorts that he had only told Rupert he could call him so Langford would get rid of him. Bitterly vowing to work "50 times harder", Rupert finally leaves.
Exhausted with rejection, Rupert hatches a kidnapping plot with the help of Masha, a fellow stalker similarly obsessed with Langford. As ransom, Rupert demands that he be given the opening spot on that evening's episode of Langford's show (guest hosted by Tony Randall) and that the show be broadcast in normal fashion. The network's bosses, lawyers and the FBI agree to his demands, with the understanding that Langford will be released once the show airs. Between the taping of the show and the broadcast, Masha has her "dream date" with Langford, who is taped to a chair in her parents' Manhattan townhouse. Langford convinces her to untie him under the guise of seduction, at which time he seizes the gun, only to find it is a toy gun loaded with faulty pellets. He slaps Masha to subdue her and flees downtown, where he angrily sees Rupert's full stand-up routine on a series of television display sets.
Meanwhile, Rupert's act is well received by the studio audience. In his act, he describes his troubled upbringing while simultaneously laughing at his circumstances. Rupert then closes his act by confessing to the audience that he kidnapped Langford to break into show business. As the audience still laughs (thinking it is still a part of his act), Rupert responds by saying: "Tomorrow, you'll know I wasn't kidding and you'll all think I'm crazy. But I figure it this way: better to be king for a night than schmuck for a lifetime." Having shown the broadcast to Rita at her bar, he proudly submits to his arrest as the FBI agents profess distaste for his jokes.
The film ends with a news report of Rupert's crime, his six-year prison sentence and parole after two years, set to a montage of storefronts stocking his "long-awaited" autobiography, King for a Night, which states that Rupert still considers Langford his friend and mentor and that he is currently weighing several "attractive offers," including comedy tours and a film adaptation of his memoirs. Rupert later takes the stage for a television special with a live audience, where an announcer enthusiastically introduces him as the King of Comedy, while Rupert himself prepares to address his audience. The announcer repeats "Ladies and gentlemen, Rupert Pupkin", or similar variations seven times while the audience claps continuously and Rupert smiles, waves and bows at them.
After Raging Bull was completed, Scorsese had thought about retiring from feature films to make documentaries instead because he felt "unsatisfied" and had not found his "inner peace" yet.[11] However, he was keen to do a pet project of his, The Last Temptation of Christ, and wanted De Niro to play Jesus Christ. De Niro was not interested and preferred their next collaboration to be a comedy. He had purchased the rights to a script by film critic Paul D. Zimmerman.[12] Michael Cimino was announced as the director for The King of Comedy on March 7, 1979, but was replaced by Martin Scorsese on November 10, due to production being stalled by Cimino's focus on the editing process of Heaven's Gate.[13][14]
Bob Fosse briefly considered directing the film and suggested Andy Kaufman as Rupert Pupkin, Sandra Bernhard as Masha and Sammy Davis Jr. as Jerry Langford. In the original draft that Fosse read, the Langford character was to be a self-absorbed, hypocritical host of 24-hour TV telethons for charity much like Jerry Lewis's own yearly telethons. Ultimately, Fosse passed on the film in favor of directing Star 80 instead, and the Langford character was switched from a telethon host to a late-night talk show host. Scorsese pondered whether he could face shooting another film, particularly with a looming strike by the Writers Guild of America. Producer Arnon Milchan aimed to keep the project away from Hollywood interference by filming entirely on location in New York, and felt he could deliver it on time with the involvement of a smaller film company.[12]
After a strong critical appreciation for the way in which he had shot Raging Bull, Scorsese felt that The King of Comedy needed a rawer cinematic style which would take its cues from early silent cinema, using more static camera shots and fewer dramatic close-ups. Scorsese has noted that Edwin S. Porter's 1903 film Life of an American Fireman greatly influenced The King of Comedy's visual style.[15] Scorsese shot scenes multiple times, spending a fortnight reshooting to perfect one scene, resulting in a large amount of footage which had to be edited down.[16]
De Niro prepared for the role of Rupert Pupkin by developing a "role reversal" technique, consisting of chasing down his own autograph-hunters, stalking them and asking them many questions. As Scorsese remembered, he even agreed to meet and talk with one of his longtime stalkers:
The guy was waiting for him with his wife, a shy suburban woman who was rather embarrassed by the situation. He wanted to take him to dinner at their house, a two-hour drive from New York. After he had persuaded him to stay in Manhattan, [De Niro] asked him, 'Why are you stalking me? What do you want?' He replied, 'To have dinner with you, have a drink, chat. My mom asked me to say hi.'[17]
De Niro also spent months watching stand-up comedians at work to get the rhythm and timing of their performances right. Fully in phase with his character, he went as far as declining an invitation to dinner from Lewis because he was "supposed to be at his throat and ready to kill him for [his] chance".[18]
In the biography/overview of his work, Scorsese on Scorsese, the director had high praise for Jerry Lewis, stating that during their first conversation before shooting, Lewis was extremely professional and assured him before shooting that there would be no ego clashes or difficulties. Scorsese said he felt Lewis' performance in the film was vastly underrated and deserved more acclaim.[19]In an interview with People magazine, Lewis claimed that Scorsese and De Niro employed method acting tricks during the filming, such as using antisemitic epithets to "pump up Lewis's anger".[20] Lewis described making the film as a pleasurable experience and noted that he got along well with both Scorsese and De Niro. Lewis said he was invited to collaborate on certain aspects of the script dealing with celebrity life. He suggested an ending in which Rupert Pupkin kills Jerry, but was turned down. As a result, Lewis thought that the film, while good, did not have a "finish".[21]
In an interview for the DVD, Scorsese stated that Lewis proposed the brief scene in which Langford, having acquiesced to an old lady's request for an autograph, refuses to speak on the phone to her relative, prompting her to scream at him, "You should only get cancer!" The scene was based on a real incident from Lewis's life, and he directed the actress playing the old lady to get the timing right.[22]
At the time he wrote his script, Paul D. Zimmerman was inspired by a David Susskind show on autograph hunters and an Esquire article on a fanatical Johnny Carson follower.[23] Scorsese first became aware of Zimmerman's script after it was brought to him by Robert De Niro in 1974, but declined the project citing that he felt no personal connection with it.[24] Michael Cimino was attached to direct but his involvement with the script fell through when he left the project to direct Heaven's Gate. Prompted by the alienation he felt from his growing celebrity status,[25] and De Niro's insistence that the film could be made "real fast", and that it would be a "New York movie"[26] Scorsese's interest in the project was rekindled.
Arnon Milchan suggested shooting begin a month earlier than scheduled to avoid possible work stoppage from the DGA strike. Furthermore, Scorsese was not in good health. The film was shot beginning on June 1, 1981, and lasting over a twenty-week period, with Scorsese shooting from 4 pm to 7 pm every day.[30][31]
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