by Thomas Willett
August 9, 2012
Throughout the history of TV sitcoms, there have been a few shows that pushed the envelope by dissecting taboo subjects involving race, sex, or ethics. While some become nothing but cult favorites, there are those that earn themselves a movie. Shows like South Park and Da Ali G Show managed to expand their universe without worrying about censorship. It is often the easiest ways for audiences to discover the show without dedicating time to a whole series. However, with this freedom often comes the loss of what made the shows great: subtlety and brevity. The Danish comedy Klown is the latest to join this pantheon and hopefully make a splash in America. Does it work as a gateway for a new audience, or is the humor lost in translation?
The story revolves around nebbish Frank (Frank Hvam), who discovers that he has impregnated his wife Mia (Mia Lyhne). The problem is that everyone finds Frank to be irresponsible and not fit for fatherhood. This sends him on a quest to prove his manliness and ability to raise children. He does this by kidnapping his 12-year-old nephew named Bo (Marcuz Jess Petersen), and joining his friend Casper (Casper Christensen) on a kayaking trip designed to have sex with strangers. If this isn’t weird enough, Bo and Frank begin bonding over Bo’s anatomical shortcomings.
The movie manages to strike a bizarre balance between male bonding and twisted humor that seems borderline pedophilia. This is not to say that every character is this way. It is only Frank with clueless sincerity that doesn’t know personal limits. Casper is clueless, but only in the sense that he tries to flirt with everyone to avoid conflict. While a lot of the humor is subtle jabs, it is Frank that manages to provide a disturbing fascination with Bo’s body that causes the film to feel uncomfortable, almost to the point of losing the humor. The only redeeming factor is that Frank’s delusional dedication may be ill-advised, but sometimes rather sweet.
This isn’t new territory for Hvam and Christensen, who co-wrote with director Mikkel Norgaard. During the show’s six seasons, they dissected every taboo into awkward comedy that earned it comparisons to Curb Your Enthusiasm. The difference between a 25-minute episode and this movie is that the episodes were more structured. While they were allowed to be raunchy, the episodes weren’t as graphic as the disturbing finale. The movie often feels like drawn out gags meant to gross out the audience. After a while, the shock goes away and the charm disappears. It manages to never lose pathos for the characters, but it feels secondary to the hit and miss jokes.
Overall, it is a typical raunchy comedy. There are funny moments, but being juvenile holds it back from being greater. However, the general theme of masculinity is handled in an intriguing way where, despite awkward relationships, there is a sense that these characters mature into responsible yet dysfunctional men. It may involve way too much sex, drugs, and overall negligence, but it happens in shockingly original ways. Look past the idea that Frank is a quasi-pedophile, and there is a decent father-son allegory to be taken from this.
Klown is an ambitious effort that manages to be bold and different. However, this also keeps it from appealing to wider audiences. Those that like their humor shocking will have plenty to enjoy, though it may get uncomfortable after a while. As a TV adaptation, it is true in nature, though a little too ribald. It lacks subtlety and restraint. Hopefully that won’t stop anyone from experiencing the show when Drafthouse Films releases the complete series stateside. It may not be perfect, but it is competent enough to compete against the American counterparts.
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