The Simpsons Movie
OK, before we get to the movie, I gotta go all Comic Book Guy on its’ ass. During the end credits you’ll notice little gags thrown in by the writers as a treat for the viewers. At one point we see the family onscreen shooting off little jokes, including hearing what Marge says is “Maggie’s First Word.” Should one of us tell Marge that it’s Maggie’s second word, actually; her first was uttered- in her empty room- at the end of “Lisa’s First Word” (season 4, episode 10). Any true-blue “Simpsons” fan knows that. (I wonder if they got Elizabeth Taylor to utter this one, as well…no, it’s series regular Nancy Cartwright.) Of course, that’s just what the film’s 11 writers want us to do throughout the film’s fast and frisky 87 minutes. You know they’re gonna bring it up on the commentary for the film. And if not, well, maybe they can let the fan’s get in on the tracks for the film so we can point these things out…
I wouldn’t call myself a true-blue “Simpsons” fan, however, so much as a born-again one. I “found ‘The Simpsons'” again back in 1999 when co-creator Matt Groening unleashed his second distinctly-animated and wickedly-funny creation (the soon-to-be-reborn on Comedy Central “Futurama”) on the television landscape. And the newborn obsession continued with the debut of America’s first family of animation on DVD in 2001, which ramped up the geek quotient with not only the show’s brilliant episodes (even if they had less-than-brilliant animation coming out of the “Tracey Ullman” days) with commentaries by the creators that are many times just as entertaining as the episodes themselves.
What was most remarkable about the experience of rediscovering the show through DVD is a) how many episodes I’d remembered so vividly watching the first time around, and b) how well the episodes had held up over the years. The look was just as innovative (if not as polished as it would become), the voice acting just as engaging (even if the voices weren’t quite solidified yet), and the writing was just as fresh as pointed as it felt in the early ’90s. As the seasons grew more and more plentiful on DVD, it became clear that “The Simpsons”- as conceived by Groening, Oscar-winner James L. Brooks (“As Good as It Gets,” “Broadcast News”), and Sam Simon- was more than just a colorful and entertaining primetime comic strip; it was a weekly commentary on modern times, and how to navigate through them (even if you aren’t yellow-skinned, neckless, and have an overbite). The bible may not have any answers, as Homer states at one point in the film, but “The Simpsons” provides enough of them (or at least enough steps in the right direction) to fill a chalkboard, and I’ll be more than happy to spread Groening and co.’s “good word,” as it were (my two pre-movie “Simpsons” screening nights being examples of my devotion). After 18 seasons and 400 episodes (not including two years of shorts on “The Tracy Ullman Show”), they’ve certainly given me enough material to work with.
But unlike many evangelical types, whose devotion typically allows little room for dissent, I’m willing to hear the other side out, and acknowledge that, indeed, the show- though still entertaining- is showing signs of tiring after so long. The characters and universe are just as prime for social commentary as ever, but the writing seems, well, not stale so much as just not as lively as it once was. It’s hard to imagine the show going more than two years further (which would put it at an even 20 years as a series), but I’d probably even be saying that if the show were still riding some level of creative highpoint. To give you an idea as to what that is for me, here is my personal list of 10 favorite “Simpsons” episodes (subject, as all lists are, to future change):
1. “Moaning Lisa” (Season 1, Episode 6): An early display of the film’s humor and heart, as Lisa is depressed for reasons she can’t explain and Homer gets walloped by Bart in video boxing, I recorded solo commentary for this episode which is available for download by clicking the title.
2. “Treehouse of Horror” (Season 2, Episode 3): Even if it didn’t have three solid segments and the introduction of Kang and Kodos, the first of the show’s trademark Halloween episodes would be this high for their brilliant retelling of Poe’s “The Raven” alone.
3. “El Viaje Misterioso de Nuestro Homer” (Season 8, Episode 9): The show often takes off into surrealism, but rarely with such heart and imagination as when Homer swallows a hallucinagenic chili pepper, and a coyote spirit guide (voiced by the late Johnny Cash) makes him question whether Marge is, in fact, his soulmate.
4. “Bart Sells His Soul” (Season 7, Episode 4): As I’ve gotten older, my tastes lead me back- more often- not to the funniest episodes but the most heartfelt, as when Bart sells his soul to Millhouse for $5, leading him on an intellectual quest that makes him realize just how precious and important the soul is in even the brattiest kids.
5. “Cape Feare” (Season 5, Episode 2): If someone cites any other episode with the murderous Sideshow Bob (the always malevolent Kelsey Grammer) as their favorite with the character, they’re probably lying- this was an all-time classic by the third rake to Bob’s face.
6. “Life on the Fast Lane” (Season 1, Episode 9): The first major guest appearance by the great Albert Brooks, as his suave French bowling instructor tries to tempt Marge away from Homer. More evidence of Brooks’ comic genuis below…
7. “Three Men and a Comic Book” (Season 2, Episode 21): An example of the show lifting from just the right movies- this episode is funnier when you realize the end is a parody of the classic Bogart-Huston film “The Treasure of the Sierra Madre.” It’s even funnier if you’ve actually seen “Madre,” and know how loving the parody is done.
8. “Natural Born Kissers” (Season 9, Episode 25): It should be as uncomfortable as walking in on your own parents doing it, but Homer and Marge discovering how much of a turn on almost getting caught is to their love life is, in fact, one of the funniest conceits in the show’s history. Plus, not for nothing, even in her 30s, Marge is quite a hottie, nknk. 😉 Homer on the other hand, we’ve seen far too much of him over the years…
9. “You Only Move Twice” (Season 8, Episode 2): More brilliant Albert Brooks, as his Hank Scorpio lurs Homer away from the Nuclear Power Plant (and Springfield) to the employee-friendly Globex. He’s not a bad guy…even if he is bent on world domination in that endearing, Bond villain sort of way…
10. “Homer the Heretic” (Season 4, Episode 3): Homer has that realization all lapsed churchgoers have at one point- some Sundays, going to church just ain’t worth the trouble of getting out of bed. Maybe he’s goes a little too far in trying out his own religion, but he does seem to learn one thing by the end. (“Oh, I know, the Lord is Vengeful! (Homer gets on knees.) Oh, Smiteful One! Show me who to Smite and They Shall Be Smotten!!”)
To be fair, “The Simpsons Movie” can’t quite compare with these episodes, all the product of writers, directors, actors, and artists at the peak of their powers, but that’s no reason to dismiss it as a cashgrab. (Or to dismiss it period. Perhaps the greatest compliment the filmmakers show the TV show is to not try and top it, but just tell a story worthy of “The Simpsons” name.) A movie for money’s sake would have come out years ago and seemed slapped together. Sure, the financial windfall is always a reason to bring popular TV shows to the big screen, but the length of time it took for Groening and co. to bring it to the big screen (and who they brought in to do so) shows a desire to do it right over doing it for maximum box-office potential.
Mission accomplished, in this film’s mind. “The Simpsons Movie” proves to be an epically funny entry in “The Simpsons” canon. Some of the story beats may have been seen before (Homer falling in love with a potential dinner item, Bart taking a daredevil run on his skateboard, Lisa finding a like-minded love, Marge being tired of Homer’s selfishness, Maggie being silently smart, and the family finding a way to save the day), but after 400 episodes, are we shocked by this? What’s important is that the writers and animators find a way to make them fresh to die hards and work in a story that could only be told on the big screen…
…which is why it was so surprising to hear Matt Groening sum up the story so simply on “The Daily Show”- “Homer falls in love with a pig…and the rest of it just wrote itself.” An obvious comedy writer answer, but I’ll be damned if Groening and fellow “Simpsons” writers of ol’- James L. Brooks, Al Jean (current showrunner), Mike Scully (past showrunner), Mike Reiss (past showrunner with Jean), David Mirkin (also a past showrunner), John Swartzwelder (always elusive on commentaries), George Meyer, Jon Vitti, Ian Maxtone Graham, and Matt Selman- don’t manage to make a story worthy of cinemascope widescreen telling out of it. To go into details beyond that would include giving away some of the film’s great gags (like the trailers, unfortunately, have, though some come out of nowhere to entertain completely), except to say that Homer screws up with the family pig, leading to possibly the “beginning of the end” for Springfield (finally revealed as bordering Ohio, Nevada, Maine and Kentucky, to give you die-hards a sense of the magnitude of major revelations in the film). The writer’s aren’t afraid of going the extra mile with not only the easiest jokes (anyone notice how President Schwartzenegger not only acts like his real-life “Governator” counterpart, but also out actual sitting president?), but also the silliest jokes (Bart’s nude skateboarding scene reveals his doodle of a, um, doodle), as well as the stupidest jokes (Homer’s now-classic “Spider-Pig” bit results in some inspired musical reverberations by composer Hans Zimmer- not as odd a choice when considering his past association with Brooks on “As Good As It Gets” and “Spanglish”- whose work brings to mind that of theme composer Danny Elfman and series composer Alf Clausen without one-upping them).
In fact, they’ve never been afraid to go that extra mile for a joke, which is part of the show’s appeal. And it’s how they’ve counterbalanced that with the more sophisticated references to contemporary culture, be they verbal or thematic, which is when the show is at its’ most dangerous as a form of social satire. But while the film’s subject is fundamentally a timely pro-environment message (with the great Albert Brooks- as always, credited as “A. Brooks”- delightfully malevolent as a gung ho ideologue head of the E.P.A., and the speaker of my single favorite line in the film), it’s much less than just an “issue” movie for the writers; comparisons to “Airplane!”- where joke after joke gets tossed out (meaning if one crashes, the next one’s not far away)- wouldn’t be terribly out of the question.
As for the story…I suppose it’s important to the movie. At the very least, it’s more important as a thread to string the jokes along with, as well as providing showcases for the six actors who are regulars on the show and are responsible for at least 30-40 characters in the movie between them (rewatch the show; many episodes operate along the same lines). For regular utility actors Hank Azaria (“The Birdcage”) and Harry Shearer (“This is Spinal Tap”), only Shearer’s religious goodie two-shoes Ned Flanders has a substantial role in the film, as Bart starts to wonder whether Homer is a good enough father for him, though Azaria’s Chief Wiggum, Moe, and Comic Book Guy get in a couple of good moments. Suffice to say, fans of the vast supporting cast will be disappointed by the short shrift given to many of their faves (how Mr. Burns and Smithers only have, like, two scenes is beyond me, ditto how Patty and Selma failed to make the cut).
Really, this is a film focused on the family; the lack of screentime for the secondary characters is disappointing, but it’s easier to focus on them in a 22-minute episode than in an 80-minute feature film even if they don’t have a part to play in the family’s story arc. Taken on these terms, I couldn’t have hoped for a better “Simpsons” movie out of the gate. And the actors couldn’t have hoped for a better showcase, with the writers writing to each character’s strengths and staying true to their personalities. As she has so many times before, brainy little Lisa (voiced with all the exasperation and child-like sweetness we’ve come to expect from the 8 year-old by Yeardley Smith) is once again the most reasonable Simpson, even if she gets flustered by the sight of the Irish musician/pro-environment lad Colin. The ever-mischevious Bart (voiced, as Nelson and other boys in Springfield are, by the endearingly devious Nancy Cartwright) is always game for a good laugh at Homer’s expense, though when his streaking skateboard dare gets foiled, it allows Homer the last laugh. And I bought Bart’s arc with Flanders, even if- in the end- you know Homer’s gonna get back on his good side in that “only Homer” type of way. (And even if the whole arc goes against an idea even co-writer Vitti has gone on record as questioning- the notion that anyone could be a better father for Bart than Homer always felt wrong, though they make it plausible here.)
Julie Kavner continues to embody Marge’s unyielding devotion (and unyielding exasperation) with Homer with her characteristic warmth and feeling, which makes the film’s most emotional moments- both in their pain and joy- resonate with what’s always been the show’s secret weapon- the disarming humanity of James L. Brooks (seriously, it’s hard to hold the tears back during Marge’s big speech to Homer).
And yet, in the end, it all comes down to Homer, voiced with ever-enduring stupidity by the great Dan Castellaneta, who also voices Mayor Quimby, Grampa, Krusty, Itchy, and others, but as always, Homer is his crown jewel performance. It’s hard to imagine, in all of popular culture, a character more universally lovable than Homer. Much has been written about the character’s zig-zag intelligence over the seasons- so much so that to try and discuss it here would be overkill and repetitive. But a look back at the show’s many years, and to just call the character stupid might give a newbie to the show the wrong impression of our Homer. He may fall in love with a pig or lobster at the drop of a hat, but at the end of the day he’s capable of showing the same affection to his family (as he says in the movie, “I’ve really come to like you guys.”), even if he has to take the long way to get there. He might take too long at Moe’s to get Lisa’s saxaphone reed to her in time for a recital, or fail to pick up Bart from soccer practice, but all that is forgotten when he is helping Lisa’s crusade to expose the truth about Jebediah Springfield or bringing in Bart to help him bootleg alcohol to a Prohibition-seized Springfield. He may cause near-meltdowns at the power plant, make a drunken ass out of himself at a dinner party, or wish neverending torment on ever-forgiving neighbor Flanders (culminating in the classic Halloween episode moment when Bart says, “Dad, you shot the Zombie Flanders,” prompting Homer’s response of, “He was a zombie?”), but whether by luck, rash impulsiveness, or guilt, he’ll find a way to make things right, be it with his 300-pound body stopping a reactor leak, throwing back the infamous fish General Sherman after an epic battle, or by leading all of Springfield’s left-handed citizens to Flanders’ in-danger-of-closing Leftorium for a Capra-esque ending (literally, since it’s just a parody of “It’s a Wonderful Life,” anyway). His IQ may be lower than the average American’s, but when all is said and done, he’s probably the best embodiment of the Founding Fathers’ ideals for every American’s right to life, liberty, and the pursuit of happiness any art form has given us. Yes, I just said this about the man who once inadverdently jumped Springfield Gorge, only to fall in a horribly bloody crash, only to have it happen again when the ambulence carrying him away crashes into a tree. And the movie does nothing to prove me otherwise.
I suppose I should get back to the movie at some point before wrapping this up, shouldn’t I? How I’ve gone this far without discussing the animation is beyond me, but this thing’s become something of a tribute to the show on top of being a review of the movie, so you’ll forgive me for the tangents I’ve run off on here. Really, discussing the animation at this point is almost akin to discussing it in a Pixar film; what stands out isn’t how consistant the quality has been from film to film (or season to season, or from the small screen to the big screen, in this case), but in how the animators have found new challenges to undertake with each project. To that end, “Movie” producers Groening, Brooks, Jean, Scully and Richard Sakai have brought in David Silverman to helm the film (luring him away from Pixar- where he worked on “Monsters Inc.”- for the gig); fans know how his association with the show goes back to the “Ullman” shorts and many of the classic early episodes, and they’ll immediately recognize his handiwork in the film’s quicksilver style. In the leap, Silverman shoots in the expanded Cinemascope format of “Star Wars” and “Lord of the Rings.” It’s an important choice for two reasons: 1) for the epic look it allows us of Springfield- which has grown so expansive and diverse over the years- and “The Simpsons'” universe, and 2) as a tribute to just how bold Silverman and the show’s directors (including fellow “Ullman” alum Wes Archer and Rich Moore, as well as early series directors Jim Reardon, Mark Kirkland, and “Incredibles” Oscar-winner Brad Bird) were right out of the gate. True, it’s always been difficult- if not impossible- for TV animators to do the sort of “Rings” like crowd scenes we’ve seen often on the big screen in recent years, but for Silverman and his animators- who’ve been overanimating crowds in the background for years, according to Groening on the commentaries (always commenting how “Dumbo” had the crowd blacked out; this is always a compliment to the animators)- it’s not so big a leap when you look back at “Bart the Daredevil” or “The Telltale Head.” The action scenes such as Bart and Homer trying to get rid of a ticking bomb or the surrealism of Homer’s psychadelic spiritual journey by way of Inuit throatsinging are easier to pull off when you’ve already managed the scope of a scene like the final firefight at Hank Scorpio’s Globex in “You Only Move Twice” or Homer’s chili-pepper hallucination in “El Viaje Misterioso de Nuestro Homer.” And I would be remiss without mentioning the very special- and spectacularly hilarious- “Itchy & Scratchy” that opens the film, one of the best these writers and animators have ever concocted. Few transitions from the small screen to the big screen have seemed so effortless; it’s not that shocking to figure that many “Simpsons” directors- including Silverman- have been scouted by Pixar and the like to work on features or different shows.
If I’ve made “The Simpsons Movie” seem too good to be true, it’s not. No one’s going to go all Comic Book Guy and declare it the “Best…Movie…Ever” (though it does have minimal competition this year for the year’s best comedy- only “Hot Fuzz” and “Knocked Up” have made me laugh as hard- or animated film, where only Brad Bird’s “Ratatouille” tops it). Nor is it close to being the “Worst…Movie…Ever,” either. It’s simply a big-screen farce as smart as it is stupid, as sly as it is silly, and as safe as its’ predecessor was sacreligious in its’ heyday (which culminated around the 7th or 8th seasons). One thing that can be said about the movie is that it’s the best “Simpsons” movie ever made. Or, as Homer might say, “the best ‘Simpsons’ movie ever made so far.”
