Sharp and witty ‘Bridesmaids’ shows other chick flicks how it’s done
While it may not be a contemporary comedic masterpiece, “The Hangover” certainly took a defibrillator to the genre in 2009, aggressively attracting a wide range of rabid followers. Despite being confidently promoted as such, Paul Feig’s “Bridemaids” is not a panty-wearing rehash of Todd Phillips’ Vegas-themed buddy comedy. Not in accessible straight humor, anyway.
Feig’s brash ensemble chick flick (a hindering amalgamation, it turns out) does have a handful of very funny moments, but works harder at pulling heart-strings while grooming its lead, Kristen Wiig, for big screen stardom.
“Bridesmaids” is not likely to equally amuse your parents and your co-workers, but it does offer an adrenaline shot to modern female-fronted comedies, a sub-genre previously floundering under the weight of its own flat superficiality. It’s not a quote-laden gem, but it is what the “Sex and the City” movies should have been. Sharp, honest, and not a sparkly embarrassment to all of womankind.
Like fellow former co-workers Tina Fey and Amy Poehler, Wiig has proven herself a comedic powerhouse beyond the gallows of “Saturday Night Live.” “Bridemaids” allows the comedienne to independently thrive beyond her impressions of guilty schoolgirls and pathological one-uppers. She plays Annie, a single, unemployed 30-something with a failed business, horrible roommate, and a newly engaged best pal (Maya Rudolph). Upon being offered maid of honor duties at the big event, Annie attempts to maintain composure and a healthy budget, all while wrangling a motley crew of opinionated bridesmaids. There’s the goodie two-shoes (Ellie Kemper), the restless housewife (Wendi McLendon-Covey), Little Miss Perfect (Rose Byrne), and the portly/inappropriate scene-stealer (Melissa McCarthy, clearly the Zach Galifianakis of the crew).
Produced by Judd Apatow, the comedy has a lot in common with his 2007 production “Superbad.” Both movies milk the comedic strengths of its leads, and feature a rambling, unpredictable conveyor belt of sequences that feel largely improvised. The improv at play tends to urge overlong, skit-like scenes, as riffing eventually starts to roam past awkward and into tiresome. However, even draggy bits are salvageable, as our lead is likable and well-defined.
Not very well-defined is the narrative structure, which starts off as a main character vehicle, segues into a critique of wedding conventions, veers off into a romantic comedy, and finishes with a meditation on friendship between two lifelong gal pals. All of the sub-plots are worth exploring, especially since the supporting characters are so endearing, but the over-zealousness and lack of focus causes a bit of friction in pacing. The bridesmaids are only 40 percent of the action, despite hogging the film’s title.
Also not getting their dues? The supporting male characters, who are like female equivalents in male-dominated comedies – just a bunch of Heather Grahams milling about. As Wiig’s sex buddy, Jon Hamm only gets to make a funny face and act pompously, her new beau, Chris O’Dowd is merely charming and not rife with snappy retorts. Tim Heidecker inexplicably shows up as Maya Rudolph’s groom, wordlessly grinning most of the time. Is the male shunning intentional? I suppose it doesn’t matter if everyone else is shining so brightly.
Of course, Wiig shines the brightest, her awkward inflections are perfect for the role, her comedic timing has never been more appropriate. Like Emma Stone’s turn in “Easy A,” Wiig now has free reign as a leading lady, she’s proven to be more than just a sidekick or sketch performer. And “Bridesmaids” has proven itself to be more than just a girls-only rehash of a guy-centric comedy. It won’t be for everyone, young and old, males and females alike, but it will be hard to one-up.
Carrie Bradshaw take note: humility and cynicism goes a long way. Learn to drop some f-bombs and stop flaunting your wealth. And get some funnier friends.
Aimee O’Connor: May 26, 2011
