Word: absurder
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Erlich is hilarious throughout. He’ll say anything to get the girl and introduces himself to the audience in a frenetic, hormone-driven shpiel filled with name-dropping and absurd anecdotes. Without surrendering the humor of the role, Erlich manages to hint at the many levels of a seemingly shallow womanizer...
...track racers to heavy weight junior champions to prima ballerinas. When asked whether those girls merited being labeled as the coolest girls in the country, Madeleine responded, “I didn’t merit being one of the coolest girls in America. It’s an absurd proposition in the first place...
...goes without saying that Amélie has a firm grasp of the absurd. We meet Amélie Poulain (Audrey Tautou) through a voiced-over recap of her likes and dislikes; the former category includes dipping her hand in barrels of grain and cracking the fine crust of a crème brûlée with a teaspoon. Home-schooled by neurotic, hugging-averse parents, she grows up painfully shy and enclosed in her own fantasy world. Unfortunately, her adult life doesn’t seem much better. She works as a waitress in a quintessentially Parisian...
...souvenir shops that attract them. Of course, there’s the obligatory accordion soundtrack, but it serves well to keep the mood light and link some otherwise disjointed scenes. That’s not to say that all of Jeunet’s choices are judicious; the charmingly absurd often lapses into the offensively cutesy. Most of the special effects (e.g. the visible, three-dimensional beating of Amélie’s heart) are a bit too Ally McBeal for the film’s own good, not to mention the “X-Files?...
...treatise) Marlowe, Shakespeare, Moliere, Ben Jonson and Shaw, along with many others. Even this light-hearted romp, though, must end. As the title of the book suggests, the book concludes on a grim note, charging that comedy perished with the advent of what Segal calls the Theater of the Absurd, which was characterized by the decay of language and theme of the meaninglessness of existence. Most of the final chapter is devoted to an analysis of Samuel Beckett’s Waiting for Godot, which, Segal argues, marked, “the end of the life cycle of genre?...