Everyone likes Ghostbusters. It’s one of those rare comedies that has held up through the years and never gets old no matter how many times you see it. There is a reason for that. Just as interesting, much of what makes this movie so enduring almost didn’t happen. Ghostbusters should be dubbed the “Accidental Movie.”** spoiler alert **
The Critics Blow Another OneGhostbusters was generally well received by the critics, though they considered it light fare. Said the New York Times, “Its jokes, characters and story line are as wispy as the ghosts themselves, and a good deal less substantial.” Newsweek called it “summer nonsense.” And The New Yorker said that besides Murray, “nobody else has much in the way of material, and since there’s almost no give-and-take among the three men, Murray’s lines fall on dead air.” Yet, despite these assertions of vapidity, Ghostbusters struck a chord with the public. It spent seven weeks at number one and eventually became the highest grossing comedy of the 1980s. Even today, it is often ranked on “best of” lists. AFI ranks it as the 28th best comedy of all time. IGN named it the greatest comedy ever. Entertainment Weekly voted it the funniest movie of the past 25 years.
The Secret To Comedic Endurance
So what gives Ghostbusters its staying power? The answer is simple, though not intuitively obvious. What makes a comedy successful over the passage of time and repeated viewings is not the jokes, but the strength of the story and the relationship of the characters. Indeed, many of the best comedies could have been written as dramas, with the humor edited in later.The Ancient Greeks, who invented comedy as a written form, did not think of comedies as particularly funny. To them, a comedy was simply a story with a happy ending. Today, a comedy must provoke laughter. But there are many ways to get laughter and modern comedies come in many forms. Some are stand up routines, some are slap stick. Some are parodies or satire and some can best be described as simply not-dramas. Most of the comedies with staying power fall into the last category for the following reasons:
Humor is fleeting and difficult to achieve, because humor is based on emotion. To get another person laughing, you need to find a way to activate the correct emotional state. Sometimes that can be done by telling jokes. Sometimes it requires the surprise of slapstick. Some prefer intellectual humor, while others enjoy seeing discomfort. What one person finds funny, another may find insulting or boring. Thus, finding the right trigger to bring on the emotional state of humor is very difficult. Moreover, what we find funny changes as we age. Further, because humor is often based on shock or surprise, e.g. revealing the unexpected, it loses its impact the more it is seen. Thus, not only is it difficult to accurately target the funny bone, but it gets harder and harder with each passing viewing to keep hitting that funny bone.
Consequently, the more a comedy relies on pure humor, e.g. jokes, to attract an audience, the more difficult it will be for the film to gain any longevity because the jokes will get stale, leaving nothing else worth watching. This is particularly true where the humor is referential to current events or then-existing social norms. Cartoons, stand-up routines, and parodies typically fall victim to this, as do gross-out films and films that are little more than disguised sketch comedy.
But the "not-drama" comedy can avoid this fate becaue that form of comedy treats the story and the characters as paramount, and only interjects humor carefully where appropriate to serve the story. Because this type of comedy relies on the story and the relationships of the characters to attract the audience, rather than the jokes, the audience can still enjoy the movie just as much as they did initially, even long after they have stopped laughing at the jokes.
Ghostbusters Is A Story/Character Based “Comedy”Ghostbusters is such a comedy: It is driven by the plot and the characters, not the humor. In fact, if you remove one or two lines from a handful of scenes, cut out a few seconds of recognizable comedic acting (like the slapstick manner in which they flee the ghost librarian), and change the Stay Puft Marshmallow man and the green slimer into something more menacing, Ghostbusters becomes a drama or even a horror movie.
Indeed, all the elements are there for Ghostbusters to be an effective dramatic movie about four men who hunt ghosts for a living. It is only through the addition of a handful of humorous lines, the inclusion of brief moments of easily recognizable comedic acting, and the choice to add a level of ridiculousness to the final confrontation that the drama disappears seamlessly into a comedy. And since we enjoy the movie because we like the story, because we like the relationships built by the characters, and because we enjoy the world they have created for us, rather than because we are waiting to see a series of jokes executed by the actors, we can re-watch this movie over and over.
And if you think this isn’t a dramatic movie first and foremost, consider the scene where the Ghostbusters are called to the Mayor’s office, where they confront Peck. With the exception of Bill Murray, nothing in that scene tells you this movie is a comedy. The scene is heavy and dark, and the characters act just as they would if they were in a drama. Even when Murray smarts off, the other characters don’t react in any of the traditional comedic styles, they react in a realistic manner, just as one would react to someone who has told the truth, but in an insulting way. Thus, the humor is delivered, but the dramatic tension of the scene is maintained. In other words, you get to laugh, but you never lose your place in the story.
Ghostbusters also deals with some very heavy, i.e. “dramatic”, themes, the types of themes that can’t be handled in a pure comedy. Specifically, consider the discussion between Ernie Hudson and Dan Aykroyd regarding God, Jesus and Revelations. No jokes are made during that discussion and the issues aren’t raised as set ups for future jokes. This is a true dramatic moment, which gives the viewer context for the multitude of ghosts suddenly appearing. If this scene was transferred directly, without change, into a John Carpenter movie, this would be considered the payoff scene that sets up the terror about to be unleashed, no one would recognize it as coming from a comedy.
Even the effects are often much scarier than one would expect for a comedy, and the soundtrack is scored as a drama, a concept that gained notoriety after John Landis asked Elmer Bernstein to score Animal House as if it were a drama. Bernstein scored Ghostbusters as well.
The Character Relationships Are More Dramatic Than Comedic
The character relationships also are more like a drama than a comedy. In a more joke driven comedy, like Beer Fest, the characters must all have unusual traits that come into play to make various scenes work throughout the movie. Their reactions are exactly what is needed to make each joke work.In Ghostbusters, by comparison, the characters act realistically, i.e. as they should when confronted with events around them. The humor is then woven into the dialog, as appropriate, rather than having the scene built for the humor. And what this does, is it allows us to respond to the characters on an emotional level, something you cannot normally do in a humor-driven movie.
For example, we feel comfortable and welcomed by the ease of the relationship between Ramis and Aykroyd, and by Aykroyd’s childish innocence. We feel inspired by Ernie Hudson’s discussion of faith. We long for the slowly developing romance between Murray and Weaver to pay off. And we pull for the oblivious, but good-natured Rick Moranis. These are the types of responses you don’t get in a more joke-based movie. Ask yourself, which character in Airplane makes you feel welcomed or inspired? Do you really care about the romance between Striker and Elaine?
The Accidental MovieThis is why Ghostbusters has been so successful, because it is first and foremost the story of five or six characters, who happen to be involved in the business of hunting ghosts. It is that story and the relationship of the characters that keep viewers coming back, the jokes are secondary.
Thus, it is interesting to learn that the things that make Ghostbusters tick almost weren’t part of the movie. For example, as just noted, the realism of the story is what connects us to the movie. But the original concept for the movie was not very realistic. Aykroyd’s original concept called for the Ghostbusters to act as a sort of SWAT team, traveling through time in a flying car to fight ghosts. But because this would have been too expensive to shoot, Reitman brought in Harold Ramis to re-write the script and bring it into modern times. If CGI had existed at that point, Ghostbusters would have been a very different movie.
Further, when the movie was originally written, Aykroyd wanted John Belushi instead of Bill Murray, Eddie Murphy instead of Ernie Hudson, and John Candy in place of Rick Moranis. Belushi died, opening the door for Murray, and, frankly, probably saving the film. Murray and Belushi are hardly interchangeable, and I have never seen evidence that Belushi could carry off the leading man role that Murray delivered so perfectly in Ghostbusters. Indeed, compare the “romance” between Belushi and Carrie Fisher in The Blues Brothers against Murray’s romance of Weaver, and you can see how a key element of the film would have changed.
Similarly, replacing the understated and dignified Hudson with the scene stealing Murphy (who rejected this project to shoot Beverly Hills Cop) would have killed the triangular dynamics established by the writers between the three original Ghostbusters. Likewise, John Candy, who was to play a straight-laced conservative neighbor of Weavers', cannot deliver the “little guy” character that Moranis so brilliantly gave the audience. Moranis' character was vital because he put a heart into the possession scenes, and he humanized what was happening. Candy's more outlandish style would have yielded very different results. Fortunately for us, Candy refused to commit, and in stepped Moranis.
Ramis also did not originally intend to play Dr. Spengler, until they could not find anyone better. And many of the names considered, like Christopher Walken or John Lithgow, again would have seriously changed the chemistry that became so important to the film. Have you ever seen a movie in which you felt Walken was someone you wanted to befriend?
Any of these changes could have dramatically changed the tenor and feel of this film. Thus, ironically, much of what has given Ghostbusters its longevity could well be considered an accident. Fascinating.
