Sarah Silverman: Jesus Is Magic

Sarah Silverman is subtle, provocative, and disturbing. Her guileless, deadpan parody of profane ideas is like a naive child faithfully repeating something horrifying that she overheard her parents whisper. Reviewers who compare her to Andrew Dice Clay don't understand her comedy. Clay pandered to his audience's bigotry without irony, telling his audience what they wanted to believe but were afraid to say themselves.

A more apt comparison would be to Carroll O'Connor: a gifted writer, comedian, and actor. Sarah Silverman presents a persona that makes people squirm; she creates a dissonance between her apparent lack of anger or malice and her socially unacceptable material. To accuse her of racism, sexism, homophobia, internalized anti-Semitism, or going for cheap shock is to miss the point. Holy cows make the best hamburger, but it's easy to choke on if you're laughing.

Silverman forces audiences to confront their own gut reactions about unacceptable ideas without providing anyone easy to blame. She is a polite, educated, attractive young woman. To hear her say things we refuse to believe polite, educated, attractive young women think or would even admit is disturbing.

The Anti-Defamation League, the National Organization of Women, NAACP, and the Human Rights Campaign won't laud her as a transgressive comedian who forces audiences to confront their own unacknowledged bigotry. Sarah Silverman is not a social crusader; she is a comedian who tickles your funny bone with a sharp spear. She could preface all her material with, "Can you believe there are idiots who think, '(assume character, insert content),'" to avoid controversy. Gutted by incorporated disclaimers, her comedy would lose its ability to induce awkward guilt in her audience. The power of her comedy is its ravaging of social beliefs that we are all supposed to share.

No comedy is universal, but hers is biting, subversive, disturbing, and fascinating. Instead of laughing at her content, you laugh at the attitudes she portrays and worry if you should find them funny. You either miss the irony of her comedy or you have to appreciate her genius as an actor, writer, comic, and social critic.

I don't care that Sarah Silverman dates a painfully unfunny slob like Jimmy Kimmel or that she often says offensive things just for the sake of being offensive. Ever since her short stint on "Saturday Night Live", I knew she was a brilliant comedienne. Part of her appeal is her natural good looks and charming nature. She seems sweet and innocent, but what comes out of her mouth is often filthy and offensive. She delivers it straight with a style that is both perky and deadpan. She has a contradictory self-deprecating confidence that makes her rather unique in the world of stand-up comedy.

There's some misguided musical numbers and "skits" that are never quite as funny as they are conceptually. It's the stand-up bit that had me rolling in the aisles. Sarah pokes fun at everything from AIDS to the Holocaust to 9/11 and she wears her badge of political incorrectness with pride. In terms of her racial humor, she's more than just the white Jewish female version of Dave Chappelle, she's downright hilarious, and her unique delivery is what makes the off-color jokes go down so smooth. The film is brief at 72 minutes, so be sure to stay for the credits as they contain some funny bits.

I've seen Sarah Silverman in plenty of films and TV appearances, but this is my first time seeing her stand-up act in its entirety. Altogether, I enjoyed the film. I'm sure this won't appeal to all tastes, especially if you're easily offended. I wouldn't say Sarah is nearly as good as George Carlin or Richard Pryor or other classic envelope-pushing comedians, but she is good and definitely has a unique comic style (not something I say about many comedians nowadays). I like the way she delivers her profane, offensive humor in such a mundane fashion. I think it makes the jokes even funnier. The flaw in her comedy, in my opinion, is that despite her significant intelligence and wit, Sarah does have a silly, absurd side. Some of the musical numbers definitely bordered on the silly side. Altogether, the film is hit-or-miss, thankfully with more hits. And of course, Sarah is quite easy on the eyes, which is part of the fun of seeing her in a starring role.

I walked into the theatre fully expecting and eagerly anticipating the type of offensive, edgy humor Silverman is known for. And while there were certainly some great jokes (and songs!) that had me bursting out laughing, the rest of the movie only raised a smirk and an occasional chuckle. The ending felt particularly flat.

Some jokes just weren't creative enough to be funny, and I'm guessing Silverman hoped the shock value alone would get laughs. When you're sitting in a packed theatre and a "funny" joke/moment comes up, and you can only hear one or two people discernibly laughing - sorry, those are pity laughs. And there seemed to be quite a few points in the movie where this occurred.

So while I was walking out of the theatre thinking of several funny lines, as a whole Silverman's stand-up was so-so. I've laughed much harder and longer at other comedians' routines.

Sarah Silverman--with her gummy smile, coltish stance, and clear voice which bubbles up from deep within her chest--wants to come on like a huggable shock comedienne, yet she's more performance artist than stand-up personality. Cleverly and carefully (one may say 'precisely') dropping taboo words into her stories, Silverman gets laughs by pretending to lead the audience in one direction and then undercutting those expectations with a surprising low-keyed zinger. Silverman doesn't overwork a punchline--which are often nestled in the context of her stories anyhow--although she returns to older topics too often. Also, she relies far too much on pseudo-cute facial expressions and aw-shucks body language to soften the blows of her words, though the topics (9/11, the Holocaust, AIDS, vaginal sex versus anal sex) are tiptoed through in a facetious yet frisky manner. The fantasy edits, imagining Sarah in different manners of celebrity, work well, better than the purposefully-wooden prologue and epilogue with friends. Still, one expects to laugh more with such touchy material. Silverman is so laid-back and blasé, it's clear to viewers she is giving them a made-up creation. Other shock comics manage to make audiences feel as if they are hearing something true, but this personality that Silverman is displaying (playful, naughty, grounded, unaffected) is unabashedly artificial. This is entirely deliberate on Silverman's part, yet is tends to render her act phony: smoke and mirrors prodding at the national funny bone. *1/2 from ****