If you were in charge of marketing the film, you'd have no hesitation before deciding to advertise
Forgetting Sarah Marshall as the latest from producer Judd Apatow. Which is why it's a bit ironic that this film would be better if we were somehow able to completely forget that Apatow's earlier films existed.
Sure,
Forgetting Sarah Marshall was written by first-timer Jason Segel, but this film (along with
Superbad, the recent
Pineapple Express, and the upcoming
Zack and Miri Make a Porno) is unmistakably part of the Apatow franchise. It centers around a positively Apatowian slacker-star; it features numerous references to cannabis; and, while it does cash in quite a bit on gross-out humor, it does so without checking its brain at the door.
Writer Jason Segel, recognizable as one of Seth Rogen's stoner friends in
Knocked Up, also serves as the star of this film, a musican named Peter Bretter. The movie begins with Sarah Marshall (Kristen Bell), the star of a prime-time crime procedural drama called "CrimeScene: Scene of the Crime," breaking up with Peter, who does the music for the same show. Peter's pain is magnified by the fact that Marshall is now dating Aldous Snow (Russell Brand), a vaguely Liam Gallagher-esque British rocker. The pain is further compounded when Peter takes a Hawaiian vacation to ease his pain, and ends up at the same hotel that Sarah and Alduous are staying at.
The movie cashes in on the pathos of Peter's impossibly bad trip for awhile, until he starts falling for the hotel's hospitality director, Rachel (Mila Kunis). Then there's the excitement of new love, the confused and complicated mixture of feelings for lovers old and new, the inevitable misunderstanding, and, finally, the satisfying resolution.
Forgetting Sarah Marshall is helped quite a bit by the loving attention it devotes to its smaller roles, most notably the suddenly ubiquitous Jack McBrayer as a sexually confused honeymooner. It's also helped by the fact that it avoids making any character entirely into a villain. Sure, Sarah Marshall cheated on her boyfriend, but it's not like he was being an ideal boyfriend at the time. Sure, Aldous--as the new boyfriend--is kind of a tool. But he's also--as Peter admits--kind of cool.
Forgetting Sarah Marshall is hurt by the fact that it seems about 30 minutes longer than it needs to be. And by the fact that it's kind of, well, forgettable. But why is it forgettable? Well, that'll require us to glance back at the recent history of comedy.
When you do look back, there's actually a pretty predictable pattern with comedy franchises. There's the Discovery, the Crowning Achievement, and then the Gradual Decline. For example:
The Farrelly brothers announced themselves to the watching world with
Dumb & Dumber, established themselves as a lucrative comedic force with
There's Something About Mary, and then released a few more movies that ranged from decent to abysmal, none of which could come close to matching the success of
Mary.
While Will Ferrell made his reputation on
Saturday Night Live, he got "discovered" by the greater public by being the funniest thing in
Zoolander. He was then given a vehicle that was distinctively his in
Anchorman, and has yet to match the success of that vehicle.
Even a more highbrow comedic director like Wes Anderson fits this model: He announced himself with
Rushmore, had his financial crowning achievement with
The Royal Tenenbaums, and hasn't had any movie do as well since.
So it shouldn't come as any surprise that the Judd Apatow franchise is falling into the same pattern. He was "discovered" after
40-Year-Old Virgin, crowned after
Knocked Up, and is now enjoying a very slow decline.
So what really hurts
Forgetting Sarah Marshall is the same things that hurt all the other comedic franchises listed above. What makes any comedy sparkle is the element of freshness, of surprise -- the ability of a comedic mastermind to make you see something in a way that you've never seen it before. But the Faustian trade-off of the Crowning Achievement is that once you've been crowned, you're known. And your perspective--which was once fresh, unique, surprising--is now, well, mainstream.
That's not necessarily a death knell; comedic franchises can go on to have long and successful Gradual Declines (as Adam Sandler has proved). But it's nearly impossible to recreate the success and excitement that comes with the Crowning Achievement.
So for better or for worse,
Forgetting Sarah Marshall is sort of what you'd expect. It offers that same Apatow sensibility that you already know, which is both its benefit and its curse. In the end, it's not an embarrassment, but neither is it a triumph. In short, it's about a
5.
Iconic lines:
"When life gives you lemons, just say 'F*ck the lemons,' and bail."
"You have Christ between your thighs... only with a shorter beard."
Aldous, in a music video, holds up a sign that reads "Sodomize Intolerance."