Lenny

The life of late stand-up comedian Lenny Bruce (played by Oscar-nominee Dustin Hoffman) is the focus of "Lenny", a dark and disturbing staircase of horrors from director Bob Fosse (Oscar-nominated). In the late-1950s and early-1960s the titled character defied convention by getting in front of nightclub crowds and saying anything and everything that was on his mind. He cursed profusely, talked about the U.S. government, made fun of taboo subjects (homosexuality, drug use, etc.) and basically upset every group and racial minority you can think of. Through the film Hoffman has strange views on every topic that dominated the time period and marries a club stripper (Valerie Perrine in her Oscar-nominated role) that has an intense drug abuse problem herself. The film is told in stunning flashbacks that are displayed in a documentary style by those who knew the comedian best (Lenny Bruce apparently overdosed on drugs intentionally to kill himself). Filmed entirely in black-and-white, "Lenny" is a terrifying story about how freedom is not always an option in certain circles. The film is full of intense sexual situations, drug abuse and constant adult language. Younger audiences have no business viewing this production, but all those of a mature age should give "Lenny" a try. The film stands very strong with the other big films of 1974 ("The Godfather, Part II" and "Chinatown" most notably). 5 stars out of 5.

A tribute to ground-breaking comedian Lenny Bruce and - another - absolutely breathtaking performance by Dustin Hoffman (and, as is typical for that period of filmmaking, pretty much everyone of the cast).

When seventies cinema was good, it was really, really good, and it is, at least acting-wise, only rarely rivaled in contemporary productions. As a character study and also as a snap shot of an era, 'Lenny' is essential viewing. 8 stars out of 10.

In case you're interested in more underrated masterpieces, here's some of my favorites:

imdb.com/list/ls070242495

As long as I can remember, I've been a massive fan of stand-up comedy. I think that these days there are very few comedians who are worth their weight, but the joy of watching the few who are is almost unparalleled. It's no secret that Lenny Bruce changed the face of stand-up, becoming a pioneer for such contemporaries as Louis C.K. and Bill Burr, my two favorite comedians. Bruce came into a world that was scared to speak the truth, scared to laugh at the absurdity of human behavior and he held up a mirror to the world and said, "Look at yourself, aren't you ridiculous?".

For it's time, the idea of doing this was shocking and wildly controversial. People saw him as vulgar and offensive, when he was really just speaking the truth that people were afraid to here. He evolved the game and it's only fair that an actor like Dustin Hoffman, a fellow pioneer of his career field, was selected to portray Bruce in this stark and honest biographic tale. My general stance towards Hollywood biopics is that I'm strongly against them, believing that to condense the life of a human being into a two or three hour film is impossible, but the script here by Julian Barry, adapting from his own play, does a strong job of taking the important parts of Bruce's life and leaving the rest behind.

Unfortunately it does fall into a lazy trap of this genre, using a structure that functions around post-death interviews with those closest to Bruce in order to tell the story of his rise and fall. What's interesting though is that it doesn't play it straight in the sense of going back and forth between post-death and the chronological rise of Bruce; it does do this, but it also throws in another period, Bruce's last routine on stage. This adds an interesting twist onto this worn out structure and makes watching his rise even more intriguing to witness.

We see him on stage, miraculously portrayed by Hoffman, with a full beard, exhausted expression and a wild, kinetic energy; a refusal to give up and sit down, an almost desperate need to get out all of the words he needs to say before he is stopped again. Bruce is almost a protester here, grabbing his microphone and shouting towards anyone who will listen to understand the crimes against humanity that are being permitted every day. Seeing him in this state makes it even more interesting to see where he began, as we now must wonder what happens to turn the nebbish and soft Bruce we meet in his earliest time period into the biting and confident man he will later become.

Bob Fosse directs it all with his own unique flare, and some razor-sharp editing keeps things feeling fresh and as kinetic as the man the whole thing is based around. I also want to mention the cinematography, which is honestly some of the best I've ever come across. It's presented in black and white, which was a wonderful idea to match Bruce's style as a performer, and the way that the shots are composed and lit is a visual orgasm in every way. This is one of those films that I wanted to pause every five seconds just to marvel at the way it was shot, but I couldn't allow myself to step away from seeing more of Bruce.

Everyone in the cast and crew do marvelous work here, but there's no denying that the film belongs to one man and that man is Dustin Hoffman. His performance is one of titanic proportions here, a slow-burn of pure genius, bringing Bruce along that evolutionary path to the man we know he will one day become. Lenny Bruce goes through many stages before he becomes the comedic icon that we initially see, and Hoffman plays them all with an absorbed authenticity that is purely magical. Looking back in time we see when he first meets his future wife Honey, and the utter bliss and childish joy on his face would be beautiful if it wasn't so heartbreaking knowing what he will eventually become.

It's in the later stages that Hoffman truly lifts off though, when Bruce is in and out of prison and struggling with a drug addiction. Bruce becomes a bastion for free speech and social commentary, but more the film presents him as something more human than that; a flawed creature who for all of his evolutionary changes to media was also a very broken man within himself. There is a scene where Bruce does a routine wearing nothing but a raincoat and one sock, while he's riding high on drugs, that might just be the finest piece of acting I've seen my entire life.

The scene is about ten minutes long, but it feels like it lasts an eternity. Normally this would be a complaint, but here it couldn't be a stronger compliment, as Hoffman takes us through this horrific state that the man is in at the time. With his lapses in silence, his rambling dialogues and his stop and start speech patterns, it's like watching a train wreck that you can't stare away from and you just keep hoping will be over soon. You want it to stop but you know that you aren't going to look away until it does.

This colossal feat of acting would be impressive on it's own, but the fact that Hoffman does all of it in one take makes it something truly out of this world. It's a performance that stands at the very top of the all-time greats, in a film that is as brutally honest towards Lenny Bruce as he was towards the rest of the world.

This biopic about shock comedian Lenny Bruce was Bob Fosse's followup to his well-received 1972 film "Cabaret." I'm pretty sure that "Lenny" was a financial bomb, and I'm not surprised. It's a relentlessly depressing and ugly film, despite the stylish polish Fosse gives it. Anyone who has seen Fosse's last film, "Star 80," knows just how nihilistic this director could be, and "Lenny" shows evidence of that.

It is a fascinating film though, in its own way. Fosse uses a documentary-like approach, complete with black and white photography and a narrative device in which we see Bruce's long-suffering love (played heartbreakingly by Valerie Perrine, Lex Luthor's bikini-clad girlfriend in "Superman" [1978]) telling Bruce's story to a filmmaker while the actual events themselves are played out as flashbacks. Fosse was fond of this confessional type of storytelling and would use it again in "All That Jazz" (1979). Dustin Hoffman is simply sensational as Bruce; he utterly disappears into this caustic character until no trace of Hoffman the actor is left. Technically, everything about the film is highly accomplished, but it's so desolately grim as to be off putting.

Grade: B+

Lenny Bruce loved words. The most common misconception is that he did not. Today, Bruce is best known for revolutionizing the face of stand-up – paving the way for such future talents as George Carlin and Bill Hicks – but not many people are actually familiar with his comedy, and that's a shame, because there was a lot more to it than just swearing.

He was infamously arrested over a dozen or so times for speaking offensively in comedy clubs, and eventually began to represent himself in court. He never gained respect when he was alive, and so he died a frustrated, misunderstood soul who was simply far too ahead of his time.

The masses didn't get him. His racial jokes and political satire was misinterpreted and taken at face value. His sermons ridiculing religion drew hate from conservative Americans.

But Bruce enjoyed toying with words, and bending the typical perception of what they symbolized – he cherished the impact they had on people. When Bruce said a certain four-letter expletive, it wasn't to purposely offend people – it was to help liberate their ways of thinking. Words were an entryway - once he could knock people off-balance, he was free to go for the throat. He used foul language in the same way as he used words dealing with religion, homosexuals, politics and the world – he used them to make a point. And it's a shame his point didn't resonate until after his death.

The makers of "Lenny" understood Bruce, though. They also understood his flaws as a human being, and the result is an unflinchingly honest biopic that paints a dark, staunch portrait of a troubled man. Dustin Hoffman presents Lenny as an alternately despicable and heroic figure, and there is a spark in his eyes throughout the early scenes of the movie that eventually gives way to desperation later in the picture. Hoffman is so convincing we forget we are watching an actor. He entirely embodies himself within Lenny Bruce, adapting all of the comic's tics and habits.

The movie is told from the perspective of those who knew Bruce – his wife, Honey (Valerie Perrine), his aunt, and his manager. The narrative cuts back and forth between scenes with Lenny and interview segments, which we see through the eyes of an off-screen interviewer (whose voice is none other than the movie's director, Bob Fosse).

"Lenny" is an uncomfortable film, and it is not by any means perfect. The matter-of-fact narrative is a bit alienating and prevents us from getting entirely close to Bruce – but that may very well have been the point. A more heartfelt biography of the performer perhaps would have restricted Fosse and screenwriter Julian Barry from divulging into Lenny's more seedy character traits – such as when he coerces his unwilling wife into a threesome with another woman, later ridiculing her for doing so; or when he goes on stage completely drugged out of his mind and makes a fool of himself. If they had allowed audiences to empathize with Bruce to a greater degree, truth may have been sacrificed along the way. And although the narrative is rather cold, it's also unique – sometimes refreshingly so.

Despite imperfections, "Lenny" is one of the better motion pictures of the 1970s – and perhaps one of the movies that best capture the essence of cinema from a time when the mainstream and art-house were coexistent.

It is a typical 1970s production insofar as that it is grim, bleak and more depressing than any production you would have seen on the screen a decade earlier – but it's an admirable feat. Fosse has a close grip on the direction and Hoffman and Perrine are both absolutely superb, bringing to life two very tortured souls who temporarily found solace in each other, before finding their relationship put to the test by drug abuse and self-loathing.

Lenny died from a heroin overdose in 1966. In 2003 he was granted a posthumous pardon by New York State for his most notable arrest in 1964, for an "obscene performance." It's a nice gesture, although one can't help but think it would have only really made a difference 40 years ago.