Another essay I wrote for a Comedy Film class, Spring 2008.
Film:
Oscar (1991)
Gangster
Angelo “Snaps” Provolone (Sylvester Stallone) promises his dying father that he will go “straight”
and enter the legitimate business world. The task proves difficult. His
employees have a hard time transforming from thugs to bakers, butlers, and
chauffeurs. His wife, Sophia (Ornella Muti), complains
that it embarrasses her when the chauffeur leaves the car running at the
curb—like a getaway car—while she is shopping. Visual contrasts and clever lines create rapid-fire comedy in Oscar.
There
are numerous contrasts in the film. For
instance, it is humorous to see the various henchmen dressed in suits, but
performing household tasks. Aldo (Peter Riegert), the
butler, wears a brown plaid suit, a brown derby hat, and smokes a cigar. Not the typical version of a butler. Other “tough guys” are in the kitchen wearing
white aprons over their suits, looking out of place as they perform their
domestic tasks surrounded by fresh vegetables and canned goods. Upstairs, Connie (Chazz Palminteri) (yet another contrast—a
gangster named Connie) reads the color funny papers as he guards a door. The tasks and attire of the men provide
visual incongruity, adding to the humor of the film.
Provolone's daughter, Lisa (Marisa Tomei), lounges in an extremely feminine bedroom decorated in floral wallpaper, lots of
pink, plenty of frills and lace, dotted with dolls and stuffed animals, yet she
wears a peignoir with garters, smokes a cigarette in a long cigarette wand, and
reads Lady Chatterley’s Lover. Her dark hair has tight curls purposely placed around her face. She is a contrast to her surroundings. When her father enters the room, he adds
another contrast—a gangster surrounded by frou-frou.
Another scene in Lisa's bedroom has
hilarious contrast. Upon hearing his
boss yell, Connie runs into the room toting a pistol. He is not supposed to be “packing” since they
are going straight, so “Snaps” orders him to reveal his weaponry. Connie pulls out a switchblade and places it
next to the fine silver brush, comb, and tray on Lisa’s dresser. He continues to pull out various tools of the
trade: an ice pick, brass knuckles, billy-club, knife, a bottle of poison, an
iron pipe, meat hook, sling shot, flail, a
ticking bomb, and finally a small derringer. The incongruity of all those weapons hidden in his suit is great comedy,
and the visual contrast of the weapons piled on the feminine dresser adds to
the humor. “It’s like disarming
Germany,” Provolone mutters.
Funny
dialogue adds great comic flare to the film. “The dialogue can let us know the climate is comic—because it either is
funny or is delivered in a funny, incongruous, mechanical, or some other
unnatural way” (Mast 10). Consider this
scene: “Snaps” convinces Anthony (Vincent Spano) that the Finucci brothers (Harry Shearer and Martin Ferrero) are
“vicious contract killers” when they are actually easy-going tailors. Anthony plays a tune on the piano and soon
the Finuccis join him. Panicked, he asks
them what they want. They ask him to please tell “Signor Provolone” that they are in a hurry, they “gotta do another guy at
11:00.” Anthony assumes, of course, that
they are talking about killing someone when they are actually talking about
fitting someone for a suit. Anthony
asks, “You do more than one a day?” They
assure him that sometimes they do six to eight a day, “It’s a cutthroat
business.” With pride, they show him a
newspaper clipping of a murdered man. The
intent is to show off the wonderful suit—their work of art—that the deceased is
wearing. Anthony assumes they are
showing off their contract job. The
Finuccis continue, “Maybe someday we do you too, huh? And when we get through with you nobody gonna
recognize you.”
The dialogue is
fantastic as the mistaken identity and mix up in messages during that scene has
the Finuccis show off their tailoring work with pride, yet sets fear into
Anthony, previously threatened by Provolone.
Another
witty dialogue takes place between Angelo, his wife Sophia, and Father
Clemente (Don Ameche). Angelo experiences numerous
interruptions during a fitting for a new suit. Each interruption brings more confusion and twists to the plot. There is much confusion about who is marrying
whom. Father Clemente heard their
daughter Lisa will marry Bruce Underwood (a wealthy associate) but Sophia
explains that Lisa will marry a nice Italian boy by the name of Anthony
Rossano. Angelo breaks the news that
Lisa will not be marrying Anthony but will marry Dr. Poole (Tim Curry) instead. Sophia is shocked and confused. Angelo says he does not have time to explain
because he needs to call Nora, their ex-maid, who has quit to marry Bruce
Underwood. Sophia demands, “When did
that happen?” Angelo shouts, “I don’t
know! Somewhere between my vest and my
pants.”
The
visual contrasts, along with the snappy dialogue, in Oscar are top notch and help to create a successful comic
confusion. The viewer must keep track of
who is who and what is what and which valise is which, and can relate to
Connie’s dilemma when asked to leave the room: “Do I have to Boss? Every time I
leave I fall behind.”
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