Sandler grows up in ‘Funny People’

I caught up with Judd Apatow’s “Funny People” last night, and the knee-jerk reaction was that the writer/director was close…oh so close.  The film isn’t a failure but is an intriguing miss nonetheless, a reminder that while Apatow seems quite qualified to tell a story with these particular layers, he might have better served the project by giving it a few more years to marinate.

The stand-out element of the film is definitely Adam Sandler’s performance.  The actor takes on a character whose arc is curiously flat but brings a fleshed out sense of reality that, frankly, seems to be coming from the same deep, dark places of experience that Mickey Rourke must have plumbed for “The Wrestler.”

In taking a trip down Sandler movie memory lane, MSNBC’s Dave White seems to think that notion of remaining true to who Sandler is represents a good reason why the film, and the performance, works in the face of attempt after attempt at working against the grain of the actor’s personal truth.

Here’s a taste:

Every one of [Sandler’s recent] films tried to compromise who he is. If the first few Sandler-starring films (“Billy Madison,” “Happy Gilmore,” “The Waterboy”) were territory markers of a person who defiantly refused to grow up, the guy who thought there was no filmic moment that couldn’t be improved with some doodee jokes. Many of the latter star vehicles tried to package him as guys he just wasn’t meant to be: romantic lead, generous spirit, thoughtful husband, mercenary creep, fake-gay, or smartest man in prison.

Think of those early Sandler movies like Madonna songs. Everybody likes the disposable fun of “Lucky Star” and “Into the Groove.” But who likes “American Life?” The minute you try to pretend you’ve got something more important to say, that’s when you risk falling on your face. Or, in Sandler’s case, into a pile of freshly delivered feces from some wacky zoo animal…

And now comes the Apatow movie Sandler didn’t ruin with funny voices. One that actually mocks him for those funny voices. One where he’s the tool who never really grew up. He just got rich and famous and more unhappy. And it’s more rueful and dark and as close to the misery that underlines almost all comedy as you could ask from a guy who starred in “Little Nicky.”

Check out the rest at MSNBC.

I’d say Sandler is guaranteed a Golden Globe nomination, but with Universal’s suddenly focused awards slate, that could indeed extend to Oscar consideration as well.  Truth be told, supporting work from Leslie Mann and especially Eric Bana ought to be in the hunt as well, but Sandler brought his “A” game here and deserves the push he’ll no doubt receive from the studio.