Film Friday: Galaxy Quest (1999)

Galaxy Quest is not the greatest movie of all time. Nor is it the greatest comedy of all time. But it is a very enjoyable movie, and it’s a great parody. Why? Because Galaxy Quest follows two golden rules for making an effective, memorable, and long-lasting parody: the film stands on its own merits without relying on the material it’s parodying, and it respects its subject matter.

** spoiler alert **

The Plot

Galaxy Quest’s plot is rather ingenious. A group of aliens (the Thermians) from a world where untruths of any kind (including fiction) are nonexistent, come to Earth to get the help of a group of actors. The Thermians think the actors are space heroes because they’ve been receiving old broadcasts of a science fiction show starring the actors, and they don’t realize these shows are fake. . . a point brought home brilliantly when the Thermians express sympathy for the plight of Gilligan and the castaways. For their part, the actors are a washed up group of never-has-beens who now appear at science fiction conventions to make a living. They agree to go with the Thermians because they mistakenly think this is an acting gig. Once in space, they discover a spaceship that looks and functions just like the ship they “crewed” in the television series. Only, this time, the bad guys are real. What could go wrong?

Standing On Its Own Merits

The key to an effective parody is making sure the film stands on its own merits. This is because many people won’t be familiar enough with the original material to get the nuances of the parody, and because of watchability. If a movie doesn’t tell an effective story, then it’s not enjoyable. And parodies that offer nothing more than a collection of gags strung together with a plot that copies what they’re parodying (like Meet the Spartans) feel lazy and derivative and give the audience little to enjoy except the punchlines. It’s one step above doing the parody as a stand up routine.

Galaxy Quest stands on its own merits. Indeed, even if you never heard of Star Trek before seeing Galaxy Quest, you still could enjoy this film because it deals with themes with which we can relate. Jason Nesmith (Tim Allen) plays Commander Taggart. He’s self-absorbed and obnoxious, and he thinks his fake rank matters. Who hasn’t met this guy? Alexander Dane (Alan Rickman) plays Dr. Lazarus, the ship’s second in command. He’s saddled with a character who has a catchphrase everyone constantly wants him to repeat: “by Grabthar’s hammer. . . you shall be avenged.” He desperately wants to be remembered for something else, but that isn’t going to happen. Gwen DeMarco (Sigourney Weaver) plays Lt. Tawny Madison, whose role was blatant sex symbol. You’ve also got the child actor who grew old, though people expect him to still be a kid, and the guy who never really belonged but has been wedged into the group (“Guy” -- played by Sam Rockwell (Moon)). These characters give us a group of petty, jealous, former friends who are stuck together working science fiction conventions, where they meet fans they've come to despise. We can relate to these themes, even if we’ve never seen William Shatner or Leonard Nimoy or a single episode of Star Trek, because we’ve all shared their pain or known people like them. . . people who are trapped in the past.

Moreover, despite the constant references to Star Trek, nothing in the story requires you to know anything from the show to get the jokes. For example, you don’t need to know the Thermians are based on the episode “By Any Other Name” from the original Star Trek to laugh your rear off when the device that makes them appear human fails just as Fred Kwan (Tony Shalhoub) is making out with one of them, or that James Kirk always lost his shirt in fights to laugh when the actors roll their eyes when Taggert loses his shirt. These are funny moments in and of themselves and don’t require us to connect dots to the prior show. Also, as the story progresses, the actors put aside their squabbling and realize why they used to like and respect each other. Their cynicism vanishes and gets replaced with honor, self-sacrifice and love. These are classic themes of redemption that we all understand and which draw us in without needing any knowledge of the prior material.

Since the premise is strong, the acting is appropriate, the writing is funny, and the themes are things that make us happy and to which we can relate, and none of this requires any knowledge of the parodied material, Galaxy Quest wins us over on its own merit. Compare that with Meet the Spartans or Epic Movie where half the scenes require you to specifically remember the original material for the joke to work.

Good Natured and Respectful

The second thing Galaxy Quest does right is to remain good natured and respectful of its subject matter. This is important with parodies because parodies walk a fine line between fair and unfair humor. Humans have a strong sense of right and wrong when it comes to humor and they don’t think it’s funny to laugh at misfortune, cruelty, or traits that cannot be helped. Parody plays dangerously close to this line. And too often, parody devolves into snideness or ridicule and what starts as tweaking the original for its indulgences, morphs into condescension, nastiness, hypocrisy, and petty attacks.

When Star Trek went off the air the cast set about ripping each other apart for the next thirty years. There were nasty books, cast members who wouldn’t speak to each other, Nimoy declaring Spock dead, an allegation of rape against a producer, and a whole host of nastiness that absolutely tarnished the image of these people, people we wanted to see as a tight group of friends. This is the stuff of parody and Galaxy Quest couldn’t ignore it because it’s become part of Star Trek lore. But exploiting this nastiness would cause the audience to feel revulsion rather than humor. Likewise, if Galaxy Quest played into the nasty stereotype of Star Trek convention attendees, as fat creepy losers, then it would cause outrage rather than humor.

Galaxy Quest solved this dilemma brilliantly by remembering why fans love Star Trek: because it offers a hopeful vision of the future where we’ve overcome the very problems being parodied. Galaxy Quest used this vision to inform its story, (1) by redeeming the actors by having them overcome their animosities and salvaging their friendships, (2) by redeeming the show itself by using the same mistakes, bad special effects, and bad logic that we laugh at throughout the film to save the Thermians at the end of the film, and (3) by redeeming the nerds at the convention by having Justin Long, the one person who truly believed in the show, be the one person who could save the day (he also isn't the typical pathetic Hollywood nerd). In effect, after poking fun at the show’s indulgences, the film tells us these indulgences are ok after all, that we were right to like the show, and that nerds can be pretty cool people.

Galaxy Quest even carries this redemption theme into how we view the Thermians. When we are first confronted with the question of what would happen if a society with no concept of untruth or fiction ran into us, we laugh at their naïveté. This is the same thing The Invention of Lying did. But unlike Lying, which condescends until the final credits, Galaxy Quest eventually tells us there's something kind of nice about a world without lies -- a view the film reinforces when the squabbling cynical actors finally overcome their own flaws by becoming more open and truthful.

Conclusion

So what we have in Galaxy Quest is a movie which stands on its own merits rather than trying to ride the coattails of the original, and a movie which pokes fun at all the problems associated with Star Trek, but does so in a way that never feels unfair or cruel and which never insults you for being a fan. That’s a pretty good parody. Plus, it’s just a fun film.

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Film Friday: Bob Roberts (1992)

In the spirit of the upcoming election, I thought I’d do something you never thought I would. . . I’m going to recommend a movie written by, staring, and directed by Tim Robbins. This is another one of those richly ironic films where an über-leftist tries to expose the “evil right wing” and ends up exposing his own side. It’s also a very entertaining film.

** spoiler alert **

Bob Roberts is the fictional story of Bob Roberts, a candidate for the United States Senate in Pennsylvania. It’s told in a documentary style, but remains very film-quality. Roberts (Tim Robbins) and his mysterious campaign manager (Alan Rickman) manipulate the press, slander their opponent, enter into shady deals, encourage cult-like followers, and dodge an obsessed “journalist” (Giancarlo Esposito) who investigates the truth about Roberts’ mysterious dealings. That truth appears to be that Roberts is a Manchurian candidate of military contractors and the C.I.A., who are secretly funding his campaign. No dirty trick is too low for this campaign.

So why in the world would I recommend this film? Well, for one thing, it really is quite a good film. It’s well shot, well paced, and all around entertaining. For another, the film boomerangs on its leftist intent. Here are some examples:

First, while Roberts is the evil right winger cliché that haunts the dreams of leftists like Robbins, Roberts actually comes across as one of those likeable villains you find yourself cheering on -- just like the generation of kids who wanted to be Gordon Gekko after Wall Street. It's hard not to like Roberts because he's friendly, witty, and is unfairly put upon by the other side. For example, Roberts keeps saying things like: “stay off crack. . . it’s a ghetto drug.” If you understand the anguish the left has regarding the disparity between how cocaine and crack are sentenced, and how they blame that disparity on racism, then you’re supposed to see this statement as evidence of racism and you’re supposed to be appalled. But that's too deep in the pond of leftist paranoia for most people and anyone not steeped in hard-left victimology will simply see this line as funny and/or absurd.

Secondly, the folk music is great. Roberts is a folk singer and he uses his music as part of his campaign. The music is intended to be pure satire, as Roberts sings lines like “be a clean living man with a rope in your hand” (implying you should act like a vigilante). But most people will find themselves having a high degree of sympathy with the lyrics of his songs. In fact, Robbins became so concerned about this that he refused to release the soundtrack for fear that Republican candidates would start using his songs -- just as Ronald Reagan turned Bruce Springsteen’s anti-American rant “Born in the USA” into a pro-American anthem.

Third, this film highlights the nastiest side of liberalism in the most unflattering ways. For example, in one scene, it shows the intolerance of liberals when Roberts appears on a fake Saturday Night Live show (the parody of SNL is actually spot on, with poorly-written unfunny scripts, bad acting, and mindless characters). The actors (including John Cusack) throw tantrums about Roberts showing up, treat him rudely, and finally try to sabotage the show to deny him any publicity. While Robbins no doubt thought the audience would see these characters as noble for standing up to power, they actually come across as mean, petty, and intolerant. . . exactly the kind of vile, intolerant, hateful types we've seen parading through Hollywood for years now. Moreover, their hate is made impotent in the film because nothing they try seems to be able to stop Bob.

Fourth, this film is rich in irony. While Robbins means this film as an indictment of the American right, the things he accuses the right of doing are all out of the playbook of the left. For example, it is hilarious to see Robbins complain about secret military funding of right-wing Bob, when the past 20 years have shown that liberals are the creatures of big business, the military industrial complex, and foreign money. He accuses right-wing Bob of planting a fake sex scandal to embarrass his opponent, something Democrats specialize in (like all the October surprises, e.g. the fake Bush Sr. affair, CBS making up Bush Jr.'s military record, etc.). It’s also hilarious to see a brainwashed cult-like group of followers (including a young Jack Black) begin following Bob around, when the only thing approaching this in real politics has been the legion of Kool-Aid drunk liberals that wept whenever Obama spoke.

In some ways, this film is also quite prescient. For example, it foretells the much nastier style of campaigning that has become a Democratic specialty -- secret dirty money, image over substance, a hard-left flank that tries to suppress its opponents by any means including violence, faked scandals, loads of hate, etc. It also foretells the shift from a mainstream media to a more fringe media. In fact, Bugs Raplin (Esposito), the crazed journalist, is a lot like the paranoid weirdoes who would soon begin to inhabit places like Huffington Post, where they too complain that the MSM won’t cover the "real" truth because they’re beholden to secret corporate interests.

At first blush, this film sounds like something you wouldn’t want to see if you’re not a flaming leftist, but it really is worth watching. Robbins’ attempt to slander the right backfires in almost every scene and his story telling ability is undeniable. The story has clever twists and turns, the acting is perfect, and the characters are likeable. Moreover, unlike most leftist films, this one doesn’t preach because it assumes that you will pick up the meaning from the words and deeds and motivations of the characters, and that you will naturally agree with Robbins. . . hence, no need to preach.

Sadly for Robbins, he never realized that the window he thought was letting him peer down into the dark side of conservatives was actually a mirror. Good for us though.

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