Forman Provides "Best of" Kaufman in Biopic

For those Oberlin students who were not old enough to remember watching Saturday Night Live reruns from the late '70s, the name Andy Kaufman might not hold much weight, except to devoted R.E.M. fans. With Jim Carrey's dramatic interpretation of Kaufman's life in Man on the Moon, suddenly Kaufman's legend is as explosive as it once was.

Milos Forman's directorial aim did nothing to abate Kaufman's explosiveness, often displaying the late comedian at his most rambunctious: his run-in with film studio security, the ridiculous inter-gender wrestling matches and his on-screen feud with the wrestler Jerry Lawler. Through all of these antics Kaufman stands as the pure comedian, preferring to be misunderstood by millions in favor of completely original stunts, much to the dismay of manager George Shapiro (Danny DeVito)

Though Man on the Moon features strong performances by both DeVito and Courtney Love as Kaufman's accomodating and generous girlfriend, the film at times drifts off into the "greatest hits" mode, leading the viewer on a trail of Kaufman's most exaggerated stunts. But even this seemingly negative technique works in the film's favor, as it casts a capricious air to Kaufman's definition of comedy.

The film speeds through Kaufman's life, beginning with the young comedian leading a sing-along for his younger sister. The director fast-forwards 20 years and the audience watches as Kaufman attempts to lead a bunch of disinterested barflies through a round of "And the cow goes moo, and the bird goes tweet..." Needless to say, the inexperienced comedian faced a variety of obstacles on his path to Taxi and SNL glory, especially one tight-fisted bar owner who did not appreciate Kaufman's novel act. Forman leaps ahead to another comedy club, this one the site of Kaufman's "discovery" by Shapiro.

Here, Forman presents Kaufman's audience in the most fickle of terms: one day they're stunned, the next they're bowled over by Kaufman's energetic Elvis impersonation. While the director allows Kaufman to proffer his artistic ideals to Shapiro, Forman simultaneously allows the comedian to be driven by success like anyone else. When Kaufman realizes that he has a chance to make millions of people laugh along with him, he does not shy away from this opportunity.

Once again, Forman uses his cinematic fast-forward liberally, skipping to the Taxi audience's complete and utter devotion to Kaufman's loveable "foreign-man" character, Latka Gravas. As further episodes of Taxi are unveiled, success rains upon Kaufman, filling him with an undeniable urge to rid himself of his fame. When Kaufman laments his seeming one-sided character, he comes to a startling realization: he must accept fame on its own terms. Bound to ABC for a multi-year contract, Kaufman sees his artistic vision in more limited terms.

It seems only natural that the comedian take to more non-traditional comedic venues: the professional wrestling circuit.

Man on the Moon does not succeed simply because of Kaufman's extravagant brand of comedy. Not content to let Kaufman be limited by his purely theatrical misogynistic stunts, Kaufman allows his spiritual side to shine through. He shows a deep interest in spiritual enlightenment. Unfortunately, the director only allows the audience to appreciate Kaufman's altruistic compassion late in his life. By that point, the director expects the audience to be sufficiently moved that Kaufman's very attempt at compassion should be laudable.

Unpredictably, this bold move works and even the most hardened Kaufman-hater will be moved.

For all its drawbacks, Man on the Moon is still an entertaining film, alternatively thrilling and hopeful. R.E.M. provides fitting music for this often misunderstood comedian, speaking to the audience in a way Forman could not present. The laughs abound in Man on the Moon but when the audience stops laughing they might not have a better understanding of who Andy Kaufman really was.