THE HANGOVER

BY CHRISTOPHER HASKELL
MAY 26, 2011

If “The Hangover” taught me one thing (besides not getting roofied in Las Vegas), it is that hype can both make or break a film. This theory is the main reason to see movies right when they come out. Otherwise, positively reviewed films fail to live up to the standards set by their raving audiences. That can also work to a film’s advantage when people voice their dislike towards a movie, thus lowering the expectations.

Hype can take away from what films really are and how audiences would organically react to a movie without outside interference. However, we cannot live in a vacuum and avoid rants and raves. Hype (what you hear about a film before actually seeing it) can play a large part in how you initially perceive a film. But there are those rare occasions when you walk into a movie with absolutely no hype, and it becomes an instant classic. “The Hangover” was one of those films.

Let me also be clear, “The Hangover,” in its first month, was an instant classic. As hype built around it as the funniest comedy ever made, people’s spirits started to drop when it didn’t live up to that hype. In its original run, however, “The Hangover” got splendid reviews and became an instant part of pop culture.

The most significant element going for “The Hangover” was the original storytelling. We have all seen films that start at the end and proceed to take us back through the entire story, dating back as far as “Sunset Boulevard.” “The Hangover” plays with the idea of linear storytelling and skips over the night of the bachelor party. That plot device links the audience with the characters, who blacked out and missed the night, leaving both parties (the characters and the audience) picking up the pieces.

The film’s details are striking, with so many events from the night in question carrying into the adventure. There is a tiger in the bathroom, a baby in the closet, teeth missing out of mouths, a satchel with tons of casino chips inside, and, the element that drives the entire film, the groom-to-be missing.

The film is well cast, one of the main reasons these events are funny. Bradley Cooper as the cocky, grab-life-by-the-balls pretty boy Phil, Ed Helms as the nerdy, “I-just-want-to-go-home” Stu, and Zach Galifianakis as socially awkward, over-the-edge Alan play off each other so well, the entire film and the funniest moments out of the film come from their interactions with one another.

Zach Galifianakis has always been a favorite comedian of mine, so to see him in a significant role causes celebration. Having him along for the journey and being the source of many of the laughs throughout the trip (the satchel, fake jerking off the baby, and his constant child-like wonderment) is unique, and I am glad a film finally captured that off-beat nature of Galifianakis. Not since “Out Cold” has a film been able to highlight the eccentric man behind the beard.

Not only is the leading cast stacked, but the supporting cast is also brilliant. Whether it be the father-in-law-to-be Jeffrey Tambor talking about Chlamydia, the sadistic police officer Rob Riggle having a chubby kid shoot Galifianakis in the face with a taser, or the gorgeous breast-feeding stripper Heather Graham. With so much going on, a well-known, strategically placed cast is the perfect binding for bringing together the film.

The film produces what most people would take for a rough night in Las Vegas. We all hear the stories about Vegas, some good, some bad, but you know that something like “The Hangover” occurs every so often and this is simply one of those tales solidified in a film. The film also plays with expectations, never letting the audience get too comfortable with what is happening.

“The Hangover” is unafraid to go places, which creates the best kind of comedy. It plays the line between hilarity and vulgarity better than any comedy in recent history, and after multiple viewings, the film still holds most of its original appeal. Though the hype may have killed its original glory, the film will always have a special place in my heart and will always be high on my list of best comedy films ever.