Lenny

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+

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.

To be honest I don't think the rest of the film quite deserves 8 stars, but Dustin Hoffman's performance as Lenny Bruce is so extraordinary that it lifts the movie up to that rating.

Made in a fairly familiar quasi-documentary style, 'Lenny' begins with 'present day' (i.e. 1974) interviews with the surviving characters from Lenny's life, cut with flashbacks to his 1950's beginnings as a 'traditional' comic, and 'late' live performances in his post-drug-bust days. As the film progresses and the narrative catches up with the interviews, the gaps between these segments 'close'. Clever use is made of some of Lenny's material, cutting from keywords or phrases in his bits, to events in his life with inspired or correlated to them.

All the same there is something a little dry and disappointing in the film's structure: almost as if it could have used a more conventional, linear narrative, like Milos Forman's tribute to Andy Kauffman, 'Man on the Moon' would use to such great effect 25 years later.

Ironically though, such a structure might have deprived of us of seeing more of Hoffman doing Lenny's bits 'live' on stage - and for me these were the highlights, which I wish had lasted longer, rather than flashing back to some past event after 30 seconds. As a big Lenny Bruce fan, I can only say that Hoffman's portrayal is almost supernatural. It's like he's channeling the guy. He has his mannerisms and improvisational style down perfectly. You would swear you were seeing these improvisations for the first time if you hadn't heard them already. In fact, Hoffman possibly even improves on Lenny's delivery in one small respect. Lenny had a penchant for the 'conversation' that would erupt in the middle of one of his bits, between two or more characters. Hoffman probably puts a bit more distinction between the characters than Lenny often did (quite often they would all just sound like Lenny, which was part of the magic, but never mind.) Over 30 years on, it's quite amazing to me that this film has become a relative obscurity in Dustin Hoffman's filmography. Frankly, though Hoffman has blown me away on various occasions, I don't ever remember being more blown away than this. And if you were to pick easy people to imitate, I doubt Lenny Bruce on stage would be high on many people's lists.

The film as a whole is good, but to witness Hoffman channeling Bruce, it's a must-see.

... because I watched this yesterday for the first time in years, and I was less impressed than I was when I saw it in the early 80s. That's probably because I've been binging on The Marvelous Mrs. Maisel and thus have seen Luke Kirby's interpretation. Allowed to be spread out over several seasons, episodes, and situations, I just feel it is a more complete performance. But I digress.

Lenny starts out trying to do bits like any other comic of the day - the early 50s, and he fails at it. He then starts to do more commentary on the human condition as stand-up, and that's where he hits his mark. Especially at a time of great societal change like the late 50s/early 60s. Today, that's the stuff of pretty much all stand-up comics, so it's hard to appreciate just how ground-breaking it was at the time. It's like trying to appreciate how ground-breaking "Citizen Kane" was in 1941. It's still an interesting film, but it's just impossible to appreciate it as next-level filmmaking like it was at the time.

My big takeaway was that director Bob Fosse really knows how to tell a story with editing. There are sequences in all of his movies where I would say, 'Wow,' just to an editing choice. Lenny impressed me the most in that regard. As for Valerie Perrine as Lenny's wife - I think that had she been up for Best Supporting Actress Oscar instead of Best Actress, she would have won that category. She was striking as a woman who went along with the choices that her husband made for the both of them with not much if any input from her, and later got blamed by him and society for that matter for going along with those choices. In that regard, she was a more conventional wife of the 1950s than you would think.

When I first put this movie in I thought I knew what to expect. I expected a good movie with a great actor in Dustin Hoffman. Well, as soon as it started and there is Hoffman's first dialogue through the credits, I was blown away. It was as if Lenny was starring in the film. I couldn't believe what I was seeing and hearing. Hoffman and Valerie Perrine gave excellent performances. It is almost inconceivable to imagine the preparation and training that Hoffman must have gone through to get Lenny down. I don't know who beat out Hoffman for the best actor award in 1974, but I can't imagine it being a more convincing performance than this.

And the use of black and white was great. The movie did give Lenny the appreciation that he deserved, mainly by showing his troubled personal life and his troubles with the law. The movie portrayed the trouble and basically harassment that Lenny went through when he voiced his observations of society, which were true, but weren't quite ready to be heard yet. The only fault (if at all) of the film is that it didn't quite show Lenny's genius in what he did. It definitely showed his potential but not quite his brilliance. But this might be because it was a biography of sorts of his life which included his personal and public life. I suppose if the movie just focused on his comedic talents; than his genius would have been obvious, but that wasn't the focus of the film. All in all this is an excellent movie in what it attempted to do. It accomplished what it set out to do and that's what counts.