The Other Guys (2010) – The insightful satire

The announcement is made we noisily. But a crash grotesque, absurd, so improbable that it is comically violent. It announces: The Other Guys, other types, it is others, not heroes. These, big mouths, mutts and outrageous heroes, those that offer the show suddenly great deeds and pyrotechnic effects are to sacrifice. Those natural momentum of the narrative would have put at the center of the film, those who had the stuff assumed and guaranteed to bring this true-false buddy movie, fail, miserably, carried too far by the same impulse, in fact, too far . Too far in fiction too far in action: hyperbole condemns them to a tragic end and sends this invincible hero to the bottom of a mound. Moreover, it is here that lies the comic spring, stuffing, this long dive following heavy bodies struggling against fatal gravity defying able to believe that, with the precepts of action movies, the simple natural laws.
This comically violent death is mourning the film. And trauma, which controls the conversion, otherwise the confusion of genres; the passage of the action film in the register of comedy …
Evacuated therefore the real heroes. Up to others, to those who remain, those who stood in the shade of demiurges the NYPD. Those who hide behind their computers to enter and leave police figures and statistics, to get excited about breaches of the Town Planning Code or chafe as to whether to stand for once, in the scope of action and field work. Those who were not and are not intended to be or become heroes. It will be up to them to prove themselves, without anyone having asked them anything. It will be up to them to plug the heroic empty, this gap in the narrative that becomes quickly and skillfully the heart and driving force. New York lost its first line: the reinforcements are called to take over and load. It includes the efforts that will be provided, the risks will be taken, the mistakes that result due to take too big clothes. This idea of ​​the center of the action those who were not there for those who are deprived of precisely this exhibition will be the first confusion, primitive architecture of laughter, on which the film will bet all along its course. And even where the purpose is meant seriously, when the moral of the story emerges in voice to the conclusion, to give value to the anonymous heroes, the “other guys” that we all are in our daily life. Again, this seems unfair enhancement incongruous as it appears in the middle of a series of misunderstandings.
And laughter to inhabit these untenable situations, where the role is played if it can not be assumed. These clowns too long sleeves are all profiles that do not coincide with the pretensions that drive.
This is also a constant in comic McKay as playing with appearances. The sensible is misleading and what is given to see is not really what is. Where laughter is above all a misunderstanding. The burly forties are all childish minds and retarded (Step Brothers, 2008) as well as specific figures on air and copies may be formidable and violent street warriors upon completion Direct (Anchorman, Legend of Ron Burgundy , 2004). Dichotomy between being and appearing: phenomenality characters from movies McKay is the pretext and comic narrative engine, the one who gives rhythm and tone comedy. Here are the other it is, not expected and hoped these heroes. Two losers, at least, it seems. Themselves are universe of contrasts and ambiguities. Mark Wahlberg, square and clenched jaws, one who rushes into action to find the light of his vocation, is only a lovesick ready to chain ends and capers to seduce his girlfriend again. Highlight of against type: demoted, he will find a new vocation balancing dance and regulating road traffic. Will Ferrell in unattractive servant of pusillanimous hides a charm that no woman can resist, which earned him a pimp liabilities and a beautiful woman (Eva Mendes). Add a two-headed police chief (Michael Keaton) that mixes brushes with his second job, as a salesman in a store kitchens and bathrooms. All confused and that becomes laughable, which is understood as the comic motif, it is ultimately the distinctions that emerge, contrasts occurring innocently smooth, without contradiction, essence of absurdity. One slice of normality with which this takes place is not. And divorce is more obvious between appearance and being, the formula is more efficient, laughter provoked.
See comedy closer, and apart from that the pigmented comic flashes, there remains a cumbersome side of the narration. Or at least what can be felt as a burden. The police investigation becomes a blurred background as the characters themselves wandering in search of fame and recognition, become entangled and scatter in confusion. But again, things should not be taken for what they are not. This detective story, improbable investigation is finally the grotesque media on which would-be heroes will make their teeth, an absurd and senseless.
This Kabbalah screenplay is mainly due to the critical discourse that it holds. Madoff, Golden Sachs, Lehman Brothers, Enron models are invoked to make sense of this nonsense inextricable. The police action frantically back the influence peddling runs, plays with the minutes of insider trading and transforms the Federal Reserve in the high-security prison. Shareholders are holders guns and financial investors, bent in their three parts, the AK-47 wielding perched on a combat helicopter. Crimes and offenses, even those who do feel and rhythm of action movies, are exposed on reams of paper and fit on the screens of traders that one death threat as if they were a vital cog in a major criminal conspiracy. There is also confusion, a mixture of genres to comedy that adds a solid reading value. At a time when financial crimes are devoid of legal actions, where each error resulted in the accomplice indulgence of others, speculators, those “other guys” in his shirt sleeves, camouflaged behind computer screens at manipulate economic figures and abstractions become thus the real criminals, like any drug baron guts.
Of course, there is the friendship, the nucleus of buddy movies, especially when they are in their most aped coarse features. Again, a constant emerges, the influence of Apatow for whom the condition is always a history of tension and reunion, of circumstantial breaks and renewal. In Step Brothers and Talladega Nights, friendship is generally a disappointment that do not survive the maladjustments of the protagonists. The actual vehicle and misunderstanding that are suffering that puts a strain on the couple. Ditto for The Other Guys, the duo is asked to disunite, to blame their inappropriate actions. But they will meet, will go beyond the persecution of too normative reality will impose their beliefs, aspirations, perhaps eventually, like the conclusion of Step Brothers, for gain some normalcy and, finally, to fit into the closed frame aspirations. This friendship will be regained back some normality and each, in its respective powers, find the right course of his duty, including police lieutenant, confused his collusion, citing casually TLC titles. Here, the formula of this new cinematic idea of ​​friendship in comedies US fits echoing the genre it parodies, the buddy movie. What makes him less assume its narrative coherence, unlike Step Brothers where she was a journey, a graduation. But it’s still the cruelty of events, to the inability of the characters to act in synchrony with the normality of the world (Wahlberg yelling he beautiful act properly, it fails every time …) d’s responsibility a divorce, a painful and sensible separation, although in these stories, all usually ends well.
The film eventually overthrow moreover, after many detours of as many dead ends. The losers earn stripes, prey on too big tops for them but do so with class and exacerbation of the very people whom they have succeeded. The conclusion reached introducing: those who stood in the shadow adopt the register of those they aspired to become, with reinforcement of explosions and mexican-standoff. The dramatic linchpin action movies, is no longer suffered but tends to be mastered. And if the final is not an excessive explosions and stunts, while chases are with Prius, appearances are deceptive and our –other guys turn out to be the right guys the film McKay expected. And we see things stay in the nonsense they left transpire, like a peacock who takes her top off in the sky.

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