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:

Comments

I mean, I am just a dumb bunny, but, we are good at multiplying.

Zootropolis (2016) (SPOILERS) The key to Zootropolis’ creative success isn’t so much the conceit of its much-vaunted allegory regarding prejudice and equality, or – conversely – the fun to be had riffing on animal stereotypes (simultaneously clever and obvious), or even the appealing central duo voiced by Ginnifier Goodwin (as first rabbit cop Judy Hopps) and Jason Bateman (fox hustler Nick Wilde). Rather, it’s coming armed with that rarity for an animation; a well-sustained plot that doesn’t devolve into overblown set pieces or rest on the easy laurels of musical numbers and montages.

You know, I think you may have the delusion you’re still a police officer.

Heaven’s Prisoners (1996) (SPOILERS) At the time, it seemed Alec Baldwin was struggling desperately to find suitable star vehicles, and the public were having none of it. Such that, come 1997, he was playing second fiddle to Anthony Hopkins and Bruce Willis, and in no time at all had segued to the beefy supporting player we now know so well from numerous indistinguishable roles. That, and inane SNL appearances. But there was a window, post- being replaced by Harrison Ford as Jack Ryan, when he still had sufficient cachet to secure a series of bids for bona fide leading man status. Heaven’s Prisoners is the final such and probably the most interesting, even if it’s somewhat hobbled by having too much, rather than too little, story.

Don’t be ridiculous. Nobody loves a tax inspector. They’re beyond the pale!

Too Many Crooks (1959) (SPOILERS) The sixth of seven collaborations between producer-director Mario Zampi and writer Michael Pertwee, Too Many Crooks scores with a premise later utilised to big box-office effect in Ruthless People (1986). A gang of inept thieves kidnap the wife of absolute cad and bounder Billy Gordon (Terry-Thomas). Unfortunately for them, Gordon, being an absolute cad and bounder, sees it as a golden opportunity, rather enjoying his extra-marital carry ons and keeping all his cash from her, so he refuses to pay up. At which point Lucy Gordon (Brenda De Banzie) takes charge of the criminal crew and turns the tables.

Oh, I love funny exiting lines.

Alfred Hitchcock Ranked: 26-1 The master's top tier ranked from worst to best. You can find 52-27 here .

Well, it must be terribly secret, because I wasn't even aware I was a member.

The Brotherhood of the Bell (1970) (SPOILERS) No, not Joseph P Farrell’s book about the Nazi secret weapons project, but rather a first-rate TV movie in the secret-society ilk of later flicks The Skulls and The Star Chamber . Only less flashy and more cogent. Glenn Ford’s professor discovers the club he joined 22 years earlier is altogether more hardcore than he could have ever imagined – not some student lark – when they call on the services he pledged. David Karp’s adaptation of his novel, The Brotherhood of the Bell is so smart in its twists and turns of plausible deniability, you’d almost believe he had insider knowledge.

Now all we’ve got to do is die.

Without Remorse (2021) (SPOILERS) Without Remorse is an apt description of the unapologetic manner in which Amazon/Paramount have perpetrated this crime upon any audiences foolish enough to think there was any juice left in the Tom Clancy engine. There certainly shouldn’t have been, not after every attempt was made to run it dry in The Sum of All Our Fears and then the stupidly titled Jack Ryan: Shadow Recruit . A solo movie of sometime Ryan chum John Clark’s exploits has been mooted awhile now, and two more inimitable incarnations were previously encountered in the forms of Willem Dafoe and Liev Schreiber. Like Chris Pine in Shadow Recruit , however, diminishing returns find Michael B Jordan receiving the short straw and lead one to the conclusion that, if Jordan is indeed a “star”, he’s having a hell of a job proving it.

A drunken, sodden, pill-popping cat lady.

The Woman in the Window (2021) (SPOILERS) Disney clearly felt The Woman in the Window was so dumpster-bound that they let Netflix snatch it up… where it doesn’t scrub up too badly compared to their standard fare. It seems Tony Gilroy – who must really be making himself unpopular in the filmmaking fraternity, as producers’ favourite fix-it guy - was brought in to write reshoots after Joe Wright’s initial cut went down like a bag of cold, or confused, sick in test screenings. It’s questionable how much he changed, unless Tracy Letts’ adaptation of AJ Finn’s 2018 novel diverged significantly from the source material. Because, as these things go, the final movie sticks fairly closely to the novel’s plot.

They wanted me back for a reason. I need to find out why.

Zack Snyder’s Justice League (2021) (SPOILERS) I wasn’t completely down on Joss Whedon’s Justice League (I had to check to remind myself Snyder retained the director credit), which may be partly why I’m not completely high on Zack Snyder’s. This gargantuan four-hour re-envisioning of Snyder’s original vision is aesthetically of a piece, which means its mercifully absent the jarring clash of Whedon’s sensibility with the Snyderverse’s grimdark. But it also means it doubles down on much that makes Snyder such an acquired taste, particularly when he has story input. The positive here is that Zack Snyder’s Justice League has the luxury of telling the undiluted, uncondensed story Snyder wanted to tell. The negative here is also that Zack Snyder’s Justice League has the luxury of telling the undiluted, uncondensed story Snyder wanted to tell (with some extra sprinkles on top). This is not a Watchmen , where the unexpurgated version was for the most part a feast.

Maybe back in the days of the pioneers a man could go his own way, but today you got to play ball.

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To our glorious defeat.

The Mouse that Roared (1959) (SPOILERS) I’d quite forgotten Peter Sellers essayed multiple roles in a movie satirising the nuclear option prior to Dr. Strangelove . Possibly because, while its premise is memorable, The Mouse that Roared isn’t, very. I was never that impressed, much preferring the sequel that landed (or took off) four years later – sans Sellers – and this revisit confirms that take. The movie appears to pride itself on faux- Passport to Pimlico Ealing eccentricity, but forgets to bring the requisite laughs with that, or the indelible characters. It isn’t objectionable, just faintly dull.

Now In Full Color, with a Happier Ending

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