Director: Martin Scorsese.

Screenplay: Paul D. Zimmerman.

Starring: Robert DeNiro, Jerry Lewis, Sandra Bernhard, Diahnne Abbott, Ed Herlihy, Tony Randall, Shelley Hack, Fred de Cordova, Margot Winkler, Lou Brown, Ellen Foley, Martin Scorsese, Charles Scorsese, Mardik Martin, Chuck Low, Catherine Scorsese, Victor Borge, George Kapp.

“Better to be king for a night than schmuck for a lifetime“.

Although now regarded as one of cinema’s very best actor/director collaborations, “The King of Comedy” was reportedly such an unsettling experience that Martin Scorsese and Robert DeNiro would not work together again for several years. This was in part because of the bitter material of the script and the whole experience being so emotionally gruelling. If this is the case, then it certainly doesn’t show on screen. Scorsese delivers some of his most unsung work in a style that you normally wouldn’t associate with him. The same goes for DeNiro. In recent times, he has been delivering subpar comedic work but it’s often forgotten how strong and sharp his comic timing is in this underrated gem.

Rupert Pupkin (Robert DeNiro) is an aspiring comic who genuinely believes he has what it takes to become a comedy legend. In his determination to make it, he stalks the famous talk show host Jerry Langford (Jerry Lewis) for advice. Langford grows increasing tired which results in Pupkin kidnapping and holding him hostage in order to get his coveted chance of TV stardom.

I viewed this back-to-back with “Taxi Driver” and in many senses it can be seen as the perfect companion piece. DeNiro’s embodiment of Rupert Pupkin is as memorable as his Travis Bickle and he’s just as much of a social misfit. Bickle had little to say and was seemingly lacking in confidence while Pupkin is overconfident and says too much. Pupkin could easily be seen as a parody of Bickle; both so alike yet through the skill and nuance of DeNiro’s acting, so very different. When you compare both performances there’s no mistaking why DeNiro is regarded as one of the screen legends. Added to which, Pupkin is a far cry from DeNiro’s brutal portrayal of Jake LaMotta in “Raging Bull” and there’s only a couple of years between them. That being said, his performance here is just as unsettling as any of his more grittier, menacing roles. Once again, it’s a marvellous transformation from this exemplary actor. His performance here is simply a chameleon-like, masterclass in how to fully embrace a role. As fantastic as DeNiro is, however, it would be grossly unfair to dismiss the work of Jerry Lewis. Gone is his comedic histrionics from which was he synonymous for and in their place is a smoulderingly serious and arrogant display of a put-upon celebrity who has no time for his fan base. DeNiro and Lewis could easily have swapped roles and the film would have been just as effective but it’s the against-type casting that really adds another level to the film’s power and enjoyment.

As for the the subject matter itself, the film is actually more relevant today than it was upon it’s release. We’ve had films that have dealt with similar themes of a media-frenzied public: Peter Weir’s “The Truman Show” being a notable one in it’s reflection of reality television and the morality standpoint of such a form of vouyeristic entertainment.

That aside, Scorsese and screenwriter Paul D. Zimmerman deserve the utmost credit in being ahead of their time here. Made in 1981, the glorification of celebrities was not as intense as we are experiencing now which adds a deeper relevance to the film 30 years down the line. It wasn’t greatly received upon it’s release but in hindsight, this is an astutely captured and hugely ambitious satire that’s one of the most underrated movies in Scorsese’s canon. Once again, his daring originality pays-off. Many were surprised with his ability to capture humour most recently in ” The Wolf Of Wall Street” but when you look back this (and “After Hours” in 1985), it’s apparent that he always had that ability. Despite initially coming across as a lighter comedy with hilarious and cringeworthy moments, Scorsese’s work here is actually very dark in humour. Throughout, it has a fine sense for the absurd but there’s no denying that it has a chilling and creepy undercurrent that it refuses to renege on.

Under his scrutinisation, Scorsese so succinctly captures the hidden hazards of fame. He shows how obsession with celebrity is unhealthy and captures it from both ends of the scale; from those who covet it, to those who possess it. Either way, the limelight isn’t always bright. Outstanding work from everyone involved and one of the true gems from the early 80’s that’s often forgotten about.

Mark Walker

Trivia: In the scene where Robert De Niro and Sandra Bernhard argue in the street, three of the ‘street scum’ that mock Bernhard are Mick Jones, Paul Simonon and Joe Strummer – members of the British punk rock band, “The Clash”.