Stephen Merchant's "Stuart" embodies awkwardness — both in his physicality and in his bumbling, self-serving behavior. Stuart, in essence, is a gangly, bug-eyed, nerdy hybrid of Michael Scott and Andy Millman, the characters Merchant invented with — and for — longtime creative collaborator Ricky Gervais. Like Lisa Kudrow's Valerie Cherish in THE COMEBACK, Stuart's stressed-out efforts to fit in, to find acceptance provide the audience with delightful moments of skin-crawling discomfort.
It's the comedic equivalent of watching a horror-film ingénue slipping slowly down the creaky basement stairs, flashlight in trembling hand. We know the psychopath lurks in the dark, waiting to slice her to ribbons, but she just keeps descending step-by-step into the abyss. "Don't! Don't!" the voice in our heads repeats. But, it's too late. Our dim-witted starlet is confronted by her worst fears. With HELLO, LADIES (and THE COMEBACK) instead of screaming, we release our built-up tension with peels of laughter. We can't believe these characters keep setting themselves up for emotional disaster and ultimate failure. But, they do. And that's what keeps us tuning in week after week.
A lot of Stephen Merchant fans might be disappointed by the deficit of snarky smarm contained in this movie-length conclusion to the HELLO, LADIES season. I, myself, had to make a major adjustment to get in sync with the film's more tender, understated tone. Gradually, I found myself seeing the bold generosity being exhibited on the screen. Merchant and his collaborators were giving co-star Christine Woods the chance to show the world what she can do. At the end of the day, Ms. Woods more than rises to the occasion. Her performance is exactly what gives this splendid gem its sparkle — as well as its heart.
(Heart? In a Stephen Merchant script? Yes. Please allow me to elaborate.) Although I have most certainly not availed myself of every rom-com 2014 has had to offer, I truly enjoyed this one more than any other I have had the chance to see — studio or indie. That my favorite rom-com of the year is a Stephen Merchant vehicle? That, in and of itself, is difficult to get my head around. The formulaic rom-com genre expects certain things to happen. With a HELLO, LADIES script, the audience assumes that shallow, self-serving Stuart will most certainly muck it up. We certainly don't expect him to learn his lesson, grow from it, and — heaven forbid! —get the girl! I wonder what Ricky Gervais must think of his erstwhile partner's newfound introspection. None of the old Gervais/Merchant characters ever found even the slightest dram of self-awareness. How could they? They were never even aware of their own lack of awareness. Those characters were too busy winking at the audience, "Come on, now. Admit it! You're just as egocentric and self-absorbed as I am. So, let's flaunt our shortcomings and laugh at our mutual foibles." Since the original OFFICE, I've found lots of gut-busting humor in this ultra-cynical POV.
HELLO, LADIES (THE MOVIE) on the other hand, is not gut-busting funny. It provides some extremely humorous moments. Does Stuart make us squirm in our seats with his mewling neediness and crass social blunderings? Sure. That's Stuart. Does Nate Torrence's Wade get us giggling with his unabashed, optimistic enthusiasm? Yes-er-ree, Bob. Is Kyle Mooney's Rory a delightfully naive rube? Boy, howdy, he is.
But, Christine Woods steals the show. And, by providing his co-star with an opportunity to show her evidently limitless range, Merchant has generously unveiled a star to the world. In HELLO, LADIES (THE MOVIE) it's the charming humanity of Woods' Jessica that provides both the best humor and the most poignant pathos. Her understated naturalness is entrancing. Every line she delivers drips with subtext. She's a heartbreaker! I never thought I'd find myself tearing up as the credits rolled at the end of a Stephen Merchant vehicle.
Look out, Jennifer Annison. Thanks to the most unlikely star/writer/director ever, there's a new rom-com ingénue on the scene! Stand up and take notice,Hollywood. Christine Woods is on her way!
It's the comedic equivalent of watching a horror-film ingénue slipping slowly down the creaky basement stairs, flashlight in trembling hand. We know the psychopath lurks in the dark, waiting to slice her to ribbons, but she just keeps descending step-by-step into the abyss. "Don't! Don't!" the voice in our heads repeats. But, it's too late. Our dim-witted starlet is confronted by her worst fears. With HELLO, LADIES (and THE COMEBACK) instead of screaming, we release our built-up tension with peels of laughter. We can't believe these characters keep setting themselves up for emotional disaster and ultimate failure. But, they do. And that's what keeps us tuning in week after week.
A lot of Stephen Merchant fans might be disappointed by the deficit of snarky smarm contained in this movie-length conclusion to the HELLO, LADIES season. I, myself, had to make a major adjustment to get in sync with the film's more tender, understated tone. Gradually, I found myself seeing the bold generosity being exhibited on the screen. Merchant and his collaborators were giving co-star Christine Woods the chance to show the world what she can do. At the end of the day, Ms. Woods more than rises to the occasion. Her performance is exactly what gives this splendid gem its sparkle — as well as its heart.
(Heart? In a Stephen Merchant script? Yes. Please allow me to elaborate.) Although I have most certainly not availed myself of every rom-com 2014 has had to offer, I truly enjoyed this one more than any other I have had the chance to see — studio or indie. That my favorite rom-com of the year is a Stephen Merchant vehicle? That, in and of itself, is difficult to get my head around. The formulaic rom-com genre expects certain things to happen. With a HELLO, LADIES script, the audience assumes that shallow, self-serving Stuart will most certainly muck it up. We certainly don't expect him to learn his lesson, grow from it, and — heaven forbid! —get the girl! I wonder what Ricky Gervais must think of his erstwhile partner's newfound introspection. None of the old Gervais/Merchant characters ever found even the slightest dram of self-awareness. How could they? They were never even aware of their own lack of awareness. Those characters were too busy winking at the audience, "Come on, now. Admit it! You're just as egocentric and self-absorbed as I am. So, let's flaunt our shortcomings and laugh at our mutual foibles." Since the original OFFICE, I've found lots of gut-busting humor in this ultra-cynical POV.
HELLO, LADIES (THE MOVIE) on the other hand, is not gut-busting funny. It provides some extremely humorous moments. Does Stuart make us squirm in our seats with his mewling neediness and crass social blunderings? Sure. That's Stuart. Does Nate Torrence's Wade get us giggling with his unabashed, optimistic enthusiasm? Yes-er-ree, Bob. Is Kyle Mooney's Rory a delightfully naive rube? Boy, howdy, he is.
But, Christine Woods steals the show. And, by providing his co-star with an opportunity to show her evidently limitless range, Merchant has generously unveiled a star to the world. In HELLO, LADIES (THE MOVIE) it's the charming humanity of Woods' Jessica that provides both the best humor and the most poignant pathos. Her understated naturalness is entrancing. Every line she delivers drips with subtext. She's a heartbreaker! I never thought I'd find myself tearing up as the credits rolled at the end of a Stephen Merchant vehicle.
Look out, Jennifer Annison. Thanks to the most unlikely star/writer/director ever, there's a new rom-com ingénue on the scene! Stand up and take notice,Hollywood. Christine Woods is on her way!