He’ll probably kill his family over this.

Seinfeld

2.3: The Busboy

Premise

After George accidentally causes the firing of a restaurant busboy, he attempts to make amends. Elaine has an unwanted would-be boyfriend to stay.

Observational

An early example of mixing things up, as George and Kramer team together to visit the titular character. This also stands out as the first not to have a “Jerry” plot. And it’s an episode Larry David cites as inspiring his most successful structures; two (or more) disparate plotlines that converge in the final stages.

If Jerry is in incidental, somehow he still manages to get many of the best lines; perhaps because he’s even more reactive. This is particularly acute during the diner scene the day after the restaurant incident. Not only is he cheerfully flippant regarding the consequences of the busboy’s firing (“He’ll probably kill his family over this”) but he shows complete indifference towards George’s pangs of guilt (“Maybe I’ll try that pesto”).

There are the usual incidents of small talk (“Where was pesto 10 years ago?” spotting someone with a hair transplant) that probably didn’t make it into one of the improv bits (this time we begin with Jerry riffing on the bills placed in a book at restaurants). But the episode really picks up when Kramer sallies forth from his apartment for the first time to visit Antonio (David Labiosa). George’s nervousness and insecurity is perfectly mirrored by Kramer’s exuberance and unselfconsciousness.

The scene is all the more amusing because Labiosa makes Antonio such a dangerous presence; squat and pugilistic, glowering with anger. Michael Richards is on fire, launching into pigeon-Spanish (“Agua?”) and generally making matters worse for George and Antonio; he leaves the door open allowing the busboy’s cat to run off, then he breaks his lamp (and attempts to “re-fix” the broken ceramic). Then, when Antonio asks who left the door open, he makes eye gestures implicating the hapless George.

Elaine’s plotline is all prelude to a scene of magnificent physical comedy as she attempts to get not-boyfriend Eddie (Doug Ballard) packed and dressed so he meets his flight on time. She’s already detailed to Jerry how she can’t stand him, pretending to be on her period so she doesn’t have to sleep with him, with a misanthropic bent that epitomises the show (“He’s a wonderful guy, but I hate his guts”). Her berserk rampage in a huge nightie, attempting to get Eddie into his trousers and throwing his clothes randomly into his suitcase, is a tour de force (Louise-Dreyfus may tut that she could have done it better, but she’s just being picky).

The dovetailing conclusion occurs off-screen, as the now grateful Antonio (an exploding gas main at the restaurant means that George’s act of selfishness saved his life!) has an altercation with Eddie on the stairs to Jerry’s apartment. Jason Alexander plays George’s fear-then-relief that Antonio doesn’t intend to kill him perfectly, while Kramer’s giddy excitement captures his lack of awareness of the potential repercussions for George (“The busboy’s coming! The busboy’s coming!”) And, of course, George and Elaine must suffer the fall-out from the set-to (George has to look after Antonio’s cat, while Elaine is stuck nursing Eddie back to health).

Quotable

George: I didn’t know he’d get fired.

Elaine: I said I’d never eat here again.

Jerry: I didn’t say anything.

Jerry: Kramer, George wants to know when you want to go look for the cat again.

Kramer: Well, it’s been a week. It’s up to the cat now.

Verdict:

Your Mickey Mouse is one big stupid dope!

Enemy Mine (1985) (SPOILERS) The essential dynamic of Enemy Mine – sworn enemies overcome their differences to become firm friends – was a well-ploughed one when it was made, such that it led to TV Tropes assuming, since edited, that it took its title from an existing phrase (Barry Longyear, author of the 1979 novella, made it up, inspired by the 1961 David Niven film The Best of Enemies ). The Film Yearbook Volume 5 opined that that Wolfgang Petersen’s picture “ lacks the gritty sauciness of Hell in the Pacific”; John Boorman’s WWII film stranded Lee Marvin and Toshiro Mifune on a desert island and had them first duking it out before becoming reluctant bedfellows. Perhaps germanely, both movies were box office flops.

If I do nothing else, I will convince them that Herbert Stempel knows what won the goddam Academy Award for Best goddam Picture of 1955. That’s what I’m going to accomplish.

Quiz Show (1994) (SPOILERS) Quiz Show perfectly encapsulates a certain brand of Best Picture nominee: the staid, respectable, diligent historical episode, a morality tale in response to which the Academy can nod their heads approvingly and discerningly, feeding as it does their own vainglorious self-image about how times and attitudes have changed, in part thanks to their own virtuousness. Robert Redford’s film about the 1950s Twenty-One quiz show scandals is immaculately made, boasts a notable cast and is guided by a strong screenplay from Paul Attanasio (who, on television, had just created the seminal Homicide: Life on the Streets ), but it lacks that something extra that pushes it into truly memorable territory.

Other monks will meet their deaths here. And they too will have blackened fingers. And blackened tongues.

The Name of the Rose (1986) (SPOILERS) Umberto Eco wasn’t awfully impressed by Jean Jacques-Annaud’s adaptation of his novel – or “ palimpsest of Umberto Eco’s novel ” as the opening titles announce – to the extent that he nixed further movie versions of his work. Later, he amended that view, calling it “ a nice movie ”. He also, for balance, labelled The Name of the Rose his worst novel – “ I hate this book and I hope you hate it too ”. Essentially, he was begrudging its renown at the expense of his later “ superior ” novels. I didn’t hate the novel, although I do prefer the movie, probably because I saw it first and it was everything I wanted from a medieval Sherlock Holmes movie set in a monastery and devoted to forbidden books, knowledge and opinions.

You ever heard the saying, “Don’t rob the bank across from the diner that has the best donuts in three counties”?

2 Guns (2013) (SPOILERS) Denzel Washington is such a reliable performer, that it can get a bit boring. You end up knowing every gesture or inflection in advance, whether he’s playing a good guy or a bad guy. And his films are generally at least half decent, so you end up seeing them. Even in Flight (or perhaps especially in Flight ; just watch him chugging down that vodka) where he’s giving it his Oscar-nominatable best, he seems too familiar. I think it may be because he’s an actor who is more effective the less he does. In 2 Guns he’s not doing less, but sometimes it seems like it. That’s because the last person I’d ever expect blows him off the screen; Mark Wahlberg.

Piece by piece, the camel enters the couscous.

The Forgiven (2021) (SPOILERS) By this point, the differences between filmmaker John Michael McDonagh and his younger brother, filmmaker and playwright Martin McDonagh, are fairly clearly established. Both wear badges of irreverence and provocation in their writing, and a willingness to tackle – or take pot-shots – at bigger issues, ones that may find them dangling their toes in hot water. But Martin receives the lion’s share of the critical attention, while John is generally recognised as the slightly lesser light. Sure, some might mistake Seven Psychopaths for a John movie, and Calvary for a Martin one, but there’s a more flagrant sense of attention seeking in John’s work, and concomitantly less substance. The Forgiven is clearly aiming more in the expressly substantial vein of John’s earlier Calvary, but it ultimately bears the same kind of issues in delivery.

Say hello to the Scream Extractor.

Monsters, Inc. (2001) (SPOILERS) I was never the greatest fan of Monsters, Inc. , even before charges began to be levelled regarding its “true” subtext. I didn’t much care for the characters, and I particularly didn’t like the way Pixar’s directors injected their own parenting/ childhood nostalgia into their plots. Something that just seems to go on with their fare ad infinitum. Which means the Pixars I preferred tended to be the Brad Bird ones. You know, the alleged objectivist. Now, though, we learn Pixar has always been about the adrenochrome, so there’s no going back…

Haven’t you ever heard of the healing power of laughter?

Batman (1989) (SPOILERS) There’s Jaws , there’s Star Wars , and then there’s Batman in terms of defining the modern blockbuster. Jaws ’ success was so profound, it changed the way movies were made and marketed. Batman’s marketing was so profound, it changed the way tentpoles would be perceived: as cash cows. Disney tried to reproduce the effect the following year with Dick Tracy , to markedly less enthusiastic response. None of this places Batman in the company of Jaws as a classic movie sold well, far from it. It just so happened to hit the spot. As Tim Burton put it, it was “ more of a cultural phenomenon than a great movie ”. It’s difficult to disagree with his verdict that the finished product (for that is what it is) is “ mainly boring ”. Now, of course, the Burton bat has been usurped by the Nolan incarnation (and soon the Snyder). They have some things in common. Both take the character seriously and favour a sombre tone, which was much more of shock to the

In a few moments, you will have an experience that will seem completely real. It will be the result of your subconscious fears transformed into your conscious awareness.

Brainstorm (1983) (SPOILERS) Might Brainstorm have been the next big thing – a ground-breaking, game-changing cinematic spectacle that had as far reaching consequences as Star Wars (special effects) or Avatar (3D) – if only Douglas Trumbull had been allowed to persevere with his patented “Showscan” process (70mm film photographed and projected at 60 frames per second)? I suspect not; one only has to look at the not-so-far-removed experiment of Ang Lee with Billy Lynn’s Long Halftime Walk , and how that went down like a bag of cold sick, to doubt that any innovation will necessarily catch on (although Trumbull at least had a narrative hinge on which to turn his “more real than real” imagery, whereas Lee’s pretty much boiled down to “because it was there”). Brainstorm ’s story is, though, like its title, possibly too cerebral, too much concerned with the consciousness and touting too little of the cloyingly affirmative that Bruce Rubin inevitably brings to his screenplays. T

No one can be told what the Matrix is. You have to see it for yourself.

The Matrix (1999) (SPOILERS) Twenty years on, and the articles are on the defining nature of The Matrix are piling up, most of them touching on how its world has become a reality, or maybe always was one. At the time, its premise was engaging enough, but it was the sum total of the package that cast a spell – the bullet time, the fashions, the soundtrack, the comic book-as-live-action framing and styling – not to mention it being probably the first movie to embrace and reflect the burgeoning Internet ( Hackers doesn’t really count), and subsequently to really ride the crest of the DVD boom wave. And now? Now it’s still really, really good.

Twenty dwarves took turns doing handstands on the carpet.

Bugsy (1991) (SPOILERS) Bugsy is very much a Warren Beatty vanity project (aren’t they all, even the ones that don’t seem that way on the surface?), to the extent of his playing a title character a decade and a half younger than him. As such, it makes sense that producer Warren’s choice of director wouldn’t be inclined to overshadow star Warren, but the effect is to end up with a movie that, for all its considerable merits (including a script from James Toback chock full of incident), never really feels quite focussed, that it’s destined to lead anywhere, even if we know where it’s going.

Now In Full Color, with a Happier Ending

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