Antichrist

Even before the Dogma ’95 manifesto and his banishment from Cannes in 2011, Lars von Trier was the leading enfant terrible of the film world. After learning his third film, 1991's Europa, had won three awards at Cannes but had not been given the coveted Palme d'Or, von Trier flipped-off the judges and stormed out of the awards ceremony. At the 2009 festival he also famously said "I am the best film director in the world.” There was a time that I might have agreed with von Trier's self-aggrandizing assessment. The “Europa Trilogy” included not only the wonderful Europa but his masterpiece Element of Crime and the underrated Epidemic. This creative burst also included the made-for-television movie Medea and his fantastic Danish television series The Kingdom. In roughly 10 years von Trier produced enough quality work for an entire career.

Although his films since that period have not quite been on the same level, von Trier's experimentation has always been interesting and extremely admirable in a world where film is often looked at as product and not art. As his public statements and actions make clear, von Trier does not shy away from controversy and often he seems to be courting it on purpose. He has been criticized for being a misogynist (Breaking the Waves, Antichrist) insensitive to mental disabilities (Idiots) anti-American (Dogville, Manderlay) and a Nazi (the 2011 press conference that led to his Cannes exile). Whether he is acting like a petulant child just trying to shock the establishment or is raising difficult subjects in order to bring them into the realm of public discourse is debatable. It doesn't matter to me either way because artists should provoke and sometimes disturb audiences and, whatever his motives, von Trier’s films are original and provocative.

Antichrist apparently started with von Trier’s idea to make a horror film, although this is by no means a conventional horror movie. A moving, slow-motion prologue in stunning black-and-white shows a child’s accidental death crosscut with scenes of his parents making love in the next room. Part one of the film, titled “Grief”, documents how the couple copes with their loss and guilt. Willem Dafoe plays the father, a therapist attempting to hold himself together while his wife, Charlotte Gainsbourg, is coming completely apart. (The characters are unnamed in the film so I will use the actors’ names.) 

Dafoe is not happy with the psychiatric treatment his wife is receiving and takes her out of the hospital so he can treat her himself. Dafoe’s therapy style is filled with new age platitudes like “whatever the mind can conceive and believe you can achieve.” His therapeutic methods seem shallow and inappropriate in the face of such a devastating loss. Dafoe is cold and emotionless while Gainsbourg is consumed by her grief and unable to function. After the couple struggle through much pain and anguish in the first section of the film, the husband convinces his wife to retreat to their isolated rural cabin in an effort to help her face her fears.

Part two, titled “Pain”, takes the couple across a literal and metaphorical bridge to Eden, the name of their cabin. This Eden will soon transform from an idyllic escape into a bloody battleground. In Antichrist nature is not renewing or cleansing but instead ominous and frightening. The couples’ time at the cabin is filled with images of decay and death. A baby bird falls out of a tree and is covered in ants, a doe has a half-born/dead fawn hanging out of her body, and Dafoe has a vision of a blood soaked fox who tells him “chaos reigns.” It is clear that for these people, as Gainsbourg herself says, “nature is Satan’s church.”   

Part three, titled “Despair”, and Part four, titled “The Three Beggars”, begins to delve into the topic of humanity’s long history of misogyny. It is revealed that Gainsbourg and her child had previously spent countless hours in this cabin while she worked on her master’s thesis, titled “Gynocide”. From the concept of original sin through witch trials to modern times, society has often defined femininity as monstrous. Now, after studying the barbaric acts against women through the centuries, she has started to embrace the idea that women are inherently evil. In its excruciating climax, Antichrist lives up to von Trier’s initial desire to create a horror film with brutal and surreal scenes of sex and violence. Far from the current exploitative horror trend of “torture porn”, this is real and visceral sexual violence that will leave you cringing. Gainsbourg and Dafoe proceed to inflict their inner pain upon each other and nowhere have I seen both the connection and dichotomy between sex and death so brutally enacted as it is here.

Antichrist will certainly shock and disturb viewers and those who do not like von Trier will find plenty of ammunition in this film to bludgeon him with once again. This film is not for the faint of heart and certainly not going to appeal to many casual viewers. However, underneath the graphic and exploitative elements of this film there is substance and Antichrist is the work of an artist struggling to make sense of life, love, grief and death in a very original style. Available from the fabulous Criterion Collection on both DVD and Blu-Ray.

Black Moon

This Louis Malle film has, until recently, been almost impossible to see since its theatrical debut in 1975. A surreal fantasy film, Black Moon is an atypical entry in Malle’s oeuvre and has never been released in the U.S. on either DVD or VHS. Because of its intriquing premise and unusual position in Malle’s filmography Black Moon has always been on my personal list of desired "lost" films. A year or two back TCM screened this rare title in a late night timeslot. Now, thanks to the Criterion Collection, after almost 40 years of obscurity it is finally available on both DVD and Blu-Ray.

Black Moon is an adult Alice In Wonderland story focusing on an adolescent girl’s bizarre exploits in odd and unknown surroundings. As such, it fits into a sort of sub-genre of European ‘70s cinema that uses the tale of Alice as a template for female escapades in strange fantasy worlds. The minor masterpieces of this sub-genre are Roman Polanski’s What? (1972) and a little-known Czech film from 1970 called Valerie and Her Week of Wonders. (Also somewhat of a “lost” film, What? has never been released on home video in the U.S. but is available on the grey market thanks to an Italian DVD release. Valerie is available on DVD thanks to the wonderful Facets Video.)

Black moon is a little used astronomical term for a month when there are two dark cycles of the moon. In myth this second dark period, the black moon, is a time of heighted magical and spiritual activity. The moon also has deep connections to women in ancient lore, including Luna the Roman goddess of the moon. Both aspects of the title are key components of the film.

The story takes place in the near future where a literal war is raging between men and women. A young girl (thinly disguised as a boy) races in a car down a pastoral road. She witnesses several wartime atrocities on both sides of the gender conflict and, soon after her femininity is revealed, she runs wildly on foot through the countryside and passes out on the grass. Upon waking, she sees what appears to be a small unicorn, but before she can get a closer look it is gone and a woman rides by on a black stallion. The girl follows after the stallion and shortly comes upon an idyllic looking farmhouse. 

At this point the film’s tenuous connection to any form of narrative trajectory is completely severed and the girl enters Malle’s surrealistic Wonderland. Outside the farmhouse, a group of naked children playfully chase an enormous pig. Inside the house, even more absurdities abound with a pig in a high chair at the kitchen table, an old woman lying in bed talking to a rat, obtuse messages coming through a radio transmitter, and ants crawling over a piece of cheese. Instead of a potion with a tag saying “Drink Me”, our young Alice sees an abnormally large and temptingly refreshing glass of milk in the middle of the kitchen table. It is almost out of her reach but she is just able to grab it and quench her thirst.

Trying to find a method to the madness of this film is a difficult task, but given the title and the constant allusions to motherhood and sexuality one of the obvious themes is the fear or trepidation a young girl may feel when transforming from adolescence into womanhood. The old woman mocks the girl for having “no bosom” and later laughs when her panties fall down revealing even more intimate areas. In a scene perhaps foreshadowed when the girl thirstily gulps the large glass of milk, she later breastfeeds the old woman when the woman goes into an infantile state and throws a temper tantrum. She also rocks her with a comforting lullaby demonstrating a bizarre acceptance of her maternal instincts.

Her sexuality awakening, the girl meets the gardener who is a strong and virile looking young man. They are able to communicate their thoughts to each other without speech. This is an idealized female view of a romantic relationship. Man and woman completely in synch – a soul mate. Though he is the strong, masculine silent type they are able to connect even without speech.

Phallic imagery is also present throughout, with a snake making several appearances and advances upon the heroine. First he slithers towards the girl as she looks through a dresser drawer and she recoils from him in surprise or fear. Later, when she is sleeping on a bed, the serpent slithers slowly up her leg and beneath her skirt.

Black Moon also uses the familiar image of the unicorn, but turns this imagery upside down. Traditionally, the unicorn is a symbol of chastity and purity and they are often connected with young girls in lore and literature. Legends say they will run away from every human except for innocent or virginal young girls. The unicorn constantly runs away from the girl, which suggests that she is not pure or no longer a virgin. However, this unicorn is not like the unicorns pictured in storybooks. He is a small, dirty brown pony instead of a proud white horse. When the girl finally does corner the unicorn she finds out he talks and that he is not at all fond of her. “What is it you want anyway - chasing after me? You are mean” he says. Offended, she can only disparage him for not being a real unicorn. “Unicorns are slim and white,” she says. Is the girl already a woman and no longer innocent and pure or is the unicorn not a true unicorn? The unicorn appears again in one of the memorable closing scenes when it becomes apparent that the girl is about to breastfeed him. Malle tastefully (perhaps too much so) chooses to leave this scene to the viewer’s imagination.

This film is rich in more imagery and imagination than covered here and there are numerous layers of symbolism and alternative thematic explanations possible. The vivid imagery and beautiful cinematography from the legendary Sven Nykvist keep this surreal fantasy fresh even after repeat viewings. Black Moon deserves its place next to the other classics of this sub-genre and is highly recommended. Available from Criterion on Blu-Ray and DVD.

The Rum Diary

The Rum Diary is a labor of love for star Johnny Depp. He also produced this film and dedicated it to his friend, author Hunter S. Thompson. The two Louisville, Kentucky natives became close when Depp was hanging with Thompson in preparation for Fear And Loathing In Las Vegas. The Rum Diary is the first book Thompson wrote but it wasn't published until long after he became famous. When the book was finally published I approached it with some trepidation. A heralded author's unpublished early books are usually unpublished for a good reason, but that was not the case with The Rum Diary. This book fit well into Thompson's literary canon and while it isn’t his best work you can clearly see the seeds of his style sprouting in his first novel.

Depp chose Bruce Robinson to adapt and direct the film and he is an ideal choice. Robinson made the legendary, Thompson-esque Withnail & I as well as How To Get Ahead In Advertising. Since then he has been largely absent from the film world. Robinson’s adaptation has retained the humor and wit of Thompson’s novel while bringing many of the books best episodes and dialogue to raucous life on the screen.

Depp plays Paul Kemp, a fictionalized version of the young Thompson. A budding journalist with a rough attitude and a penchant for booze, Kemp has just arrived in 1960s San Juan, Puerto Rico for job at an English-language newspaper. After an unconventional job interview with the publisher - when asked how much he drinks, Kemp answers “The high end of social” - Kemp begins his expat misadventures.

Filmed on location, cinematographer Dariusz Wolski's camera shows the beauty of San Juan’s beaches, water and palm trees along with the grittiness of the living conditions for the island’s poorest inhabitants. The movie looks gorgeous and, despite what decadent action may take place, is a picture postcard for Puerto Rico. The art department also shines in recreating the 1960s with period island fashions, sets and shiny American automobiles.

Beyond this beautiful surface the film is a story of how Kemp is pulled between the temptation of easy money and beautiful women and the idealism of exposing the truth about corruption and the exploitation of Puerto Rico. Kemp is seduced by Sanderson, a slick PR man for local developers who wants to use Kemp to push his agenda through stories in the newspaper. Even more of a lure for Kemp than the money is Sanderson’s sexy girlfriend, Chenault. Chenault is an unattainable tease who stays frustratingly outside of Kemp’s grasp.

Along the way he meets other down-and-out newspaper men and some certifiable lunatics that add humor and eccentricity to the story. Fellow journalist Sala becomes his closest ally and in the film’s funniest moment they have to race drunkenly in their car to get away from angry locals only to speed directly into the police. This scene and its aftermath is pleasantly reminiscent of the classic drunk driving and sobriety test scenes in Robinson’s Withnail & I

Throughout it all, Kemp seems more of an observer than a participant in this story. Unlike the Thompson character in Fear & Loathing In Las Vegas who was the wild whirlwind of the storm, Kemp is the calm eye of the hurricane as the storm swirls around him. Like Thompson at the time he wrote this novel, Kemp is a young writer watching the world and attempting to find his own voice within that world. Depp proves just as adept at playing the observer Kemp as he was playing the manic character in Fear & Loathing. In each portrayal Depp uses his spot-on imitation of Thompson’s mumble to perfect comedic effect.

Of course, if you are a fan of Thompson’s writing you know that Kemp will choose to take on authority and battle for truth rather than take the money and run. The craziness ratchets up as Kemp and his crew attempt to fight the system by finding a way to publish the truth about the corruption in Puerto Rico. Although they fail in the end, Kemp has found his voice and chosen the path he will follow in life. He is casting his lot with idealism and truth over cynicism and greed. In the long run, this single battle isn’t important because the young Kemp has chosen to use his talents to fight the long war. It doesn’t hurt that he also gets the girl.

Robinson’s script and Depp’s brilliant portrayal make The Rum Diary a fitting memorial to Thompson. The humor and the sun drenched, rum soaked local add a unique flavor to the age old tale of a young, rebellious artist coming of age. Available on Blu-Ray, DVD and multiple streaming services.

O Lucky Man!

Lindsay Anderson's semi-sequel to the brilliant If.... is a satiracle poke in the eye of capitalism. O Lucky Man! (1973) takes the piss out of all the Horatio Alger, Protestant work ethic fables that are foisted upon the public as examples of how to become successful. The film's style often has more in common with Monty Python than with If... but the satire does have many of the same sharp edges of Anderson's previous film.

The great Malcolm McDowell once again plays the anti-hero Mick Travis. Here, Mick is a bright-eyed and energetic young sales trainee at a coffee company. Mick is confident that if he works hard at his profession he will be successful. O Lucky Man! is the picaresque tale of Mick's adventures on a very bumpy road to attain that success. Each episode of the film presents him with more challenges that may or may not erode his optimism, although the audience surely leaves with little faith in society and humanity. The film as a whole brings to my mind what Anderson once suggested for his epitaph: "Surrounded by fucking idiots."

The episodic structure of the film allows Anderson to satirize different aspects of society along Mick's journey. His travels provide ample opportunity to mock the absurdities of the chauvenistic, good old chap business culture, corrupt law enforcement, government control and conspiracies, and the military industrial complex. However, this episodic nature is also the film's major weakness. While each scene is played with a wit and it's satirical marks are deserving of ridicule, there is no central story or narrative to keep the audience involved in the film. If Anderson were as gifted a comedian as the previously mentioned Monty Python troupe, the humor and satire would be enough to keep us moving along on Mick's adventures. Sadly, the satire, while enjoyable and trenchant, is not funny enough to hold an entire 2-plus hour movie together.

For all the troubles visited on Mick in his climb up the ladder of success, he seems to retain his faith in the capitalist system. He eventually meets an aristocrat and ingratiates himself into becoming his assistant. Even this turns out badly as the aristocrat is in the midst of an illegal arms deal and when the police break in on the meeting, Mick is made to be the fall guy and sent to prison. This provides Anderson with an opportunity to satirize the British penal system and its efforts at rehabilitation. Mick leaves with perhaps less optimism about finding financial success, but with a strong faith in humanity. Of course, even his new found humanism is put to the test when he attempts to help some of London's needy citizens and finds himself the victim of their theivery and wrath. The only thing that saves Mick is wandering into a casting call for a movie - one being filmed by Lindsay Anderson that looks very familiar.

Perhaps the most enjoyable element of the film for me was watching the young Malcolm McDowell in top form. Always a personal favorite and one of the best actors of the 60s and 70s, McDowell owns every scene in this film. Although he shares scenes with some giants of the British stage and screen (Ralph Richardson and Helen Mirren to name just two) McDowell is the character that you care about and that carries the film. His rougish charm and youthful energy bring what could be a cardboard character to life. It is enjoyable to see that same devilish look in Mick Travis' eyes that we saw from McDowell as the "reformed" Alex at the end of A Clockwork Orange. In fact, for me Mick Travis from If... and, to a lesser extent, O Lucky Man! is the character of Alex transplanted from the near-future to contemporary times.

Acting as a sort of Greek chorus, Alan Price (of "The Animals") provides vintage '70s pop music that makes an ironic commentary on the film's action. O Lucky Man! is very much a product of the early '70s, not only with Price's songs but with its loose, episodic structure, unapologetic socialism, and wild, careening cinematic style. As a slice of early '70s nostalgia and a stinging social commentary it is enjoyable, but as a cohesive piece of cinema it is much less successful. Still worth a viewing particularly if you have never seen this hard to find film. It should be mandatory viewing as part of any MBA degree in order to provide a little dose of reality and honesty to the pro-business ciriculum. Available as a 2-disc special edition DVD from Warner Brothers.

The Debt

The Debt, a remake of a 2007 Israeli film Ha-Hov, is what I call an “arthouse thriller” or even a classical thriller. This film has intrigue and tension as well as thought provoking ideas, well crafted characters and an intelligent script. Modern or mainstream thrillers offer thrills and action but there is nothing going on beneath the surface of the roller coaster ride. Once the thrill is over you can move on without a second thought. The Debt leaves you with questions and thoughts that linger long after the tension is released.

The film moves between Israel in 1997 and East Berlin in 1965. The daughter of two Mossad agents has just released a book detailing the heroic exploits of her famous parents who brought a Nazi war criminal to justice in 1965. Rachel Singer and her ex-husband Stephan Gold, along with another agent, David Peretz, went undercover to East Berlin in 1965 to bring Dr. Bernhardt, a Nazi fugitive known as the Surgeon of Birkenau, back to Israel to stand trial. They kidnap this evil, Mengele-like doctor but their escape goes awry and they eventually have to kill him before returning to Israel as heroes.

At least that is the official story, the truth may be somewhat more complicated. Soon after the book launch party a morose David commits suicide and Stephan approaches Rachel with the news that an elderly man in a Ukrainian old-age home is babbling that he is Dr. Bernhardt. Although long retired, Rachel reluctantly agrees to accept a new assignment from the now wheelchair bound Stephan.

From here the action moves via flashback to 1965 East Berlin and the undercover operation carried out by the three Mossad agents. This is where the movie really excels, capturing the tension and drama of their secret mission behind the iron curtain. There is sexual tension between the men when Rachel arrives at their small apartment, as well as personality conflicts that arise from being in a small apartment under stressful circumstances.

All the actors excel, but the character of Rachel is clearly they center of the movie and Helen Mirren and Jessica Chastain bring both the old and young Rachel to brilliant life.  Rachel has the job of posing as a patient to visit Dr. Bernhardt who is working with an alias as a fertility doctor. The scenes of her submitting to an examination by a man responsible for such horrific atrocities is excruciating and you  can feel her pain as he probes her physically and mentally. What might be innocent physician conversation takes on menacing tones and Rachel begins to wonder if he is suspicious of her and testing to see if she is a Mossad agent.  Rachel must eventually use one of her visits to subdue Bernhardt so David and Stephan can pose as paramedics to take him away.

The kidnapping and the attempted escape are full of suspense and tension as the agents must race against the clock and time their crossing out of East Berlin perfectly. It does not go perfectly and they become trapped in their small apartment with their repugnant hostage. The tensions ratchet up even more as they now must care for the monstrous Nazi while he plays mind games and spouts vicious anti-Semitic taunts.

The agents must grapple with moral questions and contemplate their justification to kill another human as well as the political ramifications of their actions. The group’s idealism is tested and they must navigate the ethical and emotional consequences of what they are doing as well as their own feelings of isolation and claustrophobia. It was easier when the mission was moving fast and they did not have time for contemplation. Now, trapped in East Berlin waiting for a new escape plan they must make tough choices. Dr. Bernhardt seems to be a man who deserves death but not only would that make them judge and executioner, it would also deny Israel the chance to have a public trial and show the world the horrific crimes he committed.

The choices they make in that East Berlin apartment in 1965 have both personal and political consequences that reverberate through their lives and the lives of their families and fellow Israeli’s for decades. After detailing what happened on that fateful mission, the film returns to 1997 and continues to build to a gripping conclusion. To tell you more would spoil the surprises.

The Debt is an intelligent, suspenseful drama that weaves its morality tale within an espionage and action framework.  It is a shame films like this can only muster a lukewarm reception from audiences that seem to be divided between arthouse snobs and action knuckleheads. The Debt deserves more attention and hopefully it will find an audience on home video. It is available on Blu-Ray, DVD and various on-demand services.

Fellini's Roma

Federico Fellini has created some of the most enduring cinematic classics of all time. The best Fellini movies are filled with magic and move within a dreamlike realm or flow like visual memories. Like memories, they often do not have a structured narrative and concrete character development but instead string together related events and impressions of interesting people and places. Watching these movies is like listening to fantastical, impressionistic stories told by a friend or relative who has lived the type of life we can only imagine. In Roma, Fellini actually narrates the film and thus is literally telling the audience this tale.

Roma is Fellini's love letter to the city where he came of age both professionally and personally. It is loosely structured around a fictional Fellini and his relationship with and impressions of this incredible city throughout various stages of his life. The first scenes show how Fellini became captivated by the thought of Rome as schoolboy in a small provincial town. Later, as a young man, Fellini arrives in Rome and is immediately drawn into the vibrant and colorful life of the city. The family with whom Fellini is renting a room welcomes him to their evening dinner at a local cafe. It is a wonderful scene showing a raucous and enjoyable gathering of the locals at the outdoor restaurant laughing, yelling, eating and drinking wine. It is an affectionate scene of a communal way of life that disappeared in the U.S. decades ago but that I still saw vestiges of during my short time in Italy. The Italian dinner is an evening social event and here it is displayed in all its loud, hand-gesturing glory.

Roma moves back-and-forth in time, juxtaposing scenes of Roman life in the then-current 1970s with other periods during Fellini’s lifetime in Fascist and post-Fascist Italy. This non-linear style emphasizes that Rome is a modern city that is still very closely tied to its historic past. In Rome, every day life transpires in the shadow of the ruins of the Coliseum. The nostalgic Rome Fellini remembers from the ‘30s and ‘40s is contrasted with scenes of him working on a movie about Rome in the ‘70s. The filmmakers show hippies hanging out in the park and the older generation complaining about how the city has changed. The film crew also has to navigate the endless traffic jams that fill the modern Roman streets. The closing scene of the film is also a surreal combination of modern and ancient Rome. Fellini’s camera moves through the dim nighttime streets of Rome basking in the timeless beauty of the city. Suddenly, this reverie is interrupted by an army of motorcyclists roaring through the streets. Although loud and fast, the cyclists bring their own type of otherworldly beauty to the scene with their headlights shining amongst the monuments and buildings of classical Rome.

Of course, no portrait of Italian or Roman life would be complete without mentioning the Catholic Church. Fellini does so in his typically subversive and humorous way by presenting an elaborate church fashion show. Again juxtaposing two opposites of Roman life, the fashion industry and the Catholic Church, Fellini has fun with roller-skating priests modeling the latest fashion in robes and nuns displaying large, elaborate habits. This scene seems more gently farcical than profane even while it is clearly mocking the excesses and absurdities of both the church and high-fashion culture.

The scene that best epitomizes the mingling of past and present in Roman life takes place during the construction of subway tunnels under the city. The drilling crew suddenly breaks through a wall into a buried villa from ancient Rome. Filled with frescoes and statues and other signs of ancient Roman life, the villa is eerily lit by the workers lights as they wander through the damp remains of Romans from 2,000 years ago. To everyone’s dismay, the workers helplessly watch as the frescoes begin to quickly deteriorate after being exposed to the air. It is as if they cannot survive once exposed to the modern world. This does not seem to be a condemnation of the modern world but rather a warning to be protective and respectful of the past while moving forward.

Throughout the film, Fellini shows affection for all aspects of Rome. As he narrates this character study of the city, Fellini is not like the old curmudgeon complaining about the changes. He is simply showing Rome through his unique perspective - in its beauty and its faults, in its history and its modern evolution. Roma is like a postcard from Fellini inviting everyone to experience the Eternal City. As Fellini himself once said: “Rome is the most wonderful movie set in the world.”

Life's Too Short

Over the last decade, Ricky Gervais and Stephen Merchant have created some of television's funniest and most poignant situation comedies. Their first hit BBC series, The Office, premiered in 2001 and was followed shortly by the equally hilarious BBC/HBO coproduction Extras. Their newest BBC/HBO coproduction, Life's Too Short will debut on HBO in February after completing its run on the BBC in December. While Life's Too Short does not quite equal the comedic excellence of those earlier classics, Gervais and Merchant again present an emotional and funny, quality sit-com of the type that only seems possible in the U.S. on HBO.

Life's Too Short centers on the fictional daily life of the real U.K. character-actor Warwick Davis. Davis is a dwarf who has made his living playing ewoks, leprechauns and other minor characters, with the exception of his one starring role as the title character in the box office failure Willow. This is a source of irritation to Davis, who wishes he was recognized as a star despite the fact that in all of his successful roles he has been hidden beneath masks and makeup. Like The Office, LTS is filmed as a mock-documentary about Davis and his travails as a struggling actor and impresario. In addition to acting, Davis runs a talent agency called Dwarves For Hire. As the series begins, we also learn that Davis is going through a divorce and dealing with a huge tax bill due to the failings of his incompetent accountant.

As with all of Gervais and Merchant's comedies, the humor doesn't arise as much from the situations as it does from the characters. Davis, like David Brent in The Office and Andy Millman in Extras, is endearing and sympathetic despite being outwardly pompous and arrogant. The brilliance of Gervais’ and Merchant's writing is that they are able to create real characters and not just comedic caricatures that are only on screen for a quick laugh. Davis’ character is trying desperately to compensate for his height and subsequent feelings of inadequacy. Although he behaves egotistically one can see that buried beneath the veneer of confidence there is a man with a good heart and low self-esteem. He is trying hard to keep his dignity but this is a difficult task in a world where Davis cannot even reach high enough to ring a doorbell and must deal with condescending behavior from a maitre d’, store clerks and even complete strangers.

Although driven by strong characters, the series is filled with memorable comedic situations. Davis appears at a Star Wars convention, throws a “celebrity” house warming party, runs an unconventional campaign to be chairman of the Society of People of Short Stature and attends a celebrity charity auction. Like Curb Your Enthusiasm, much of the humor derives from Davis creating embarrassing public moments in these situations. Unlike Larry David, Davis does not consider himself a “social assassin” and you can sense his unease during the awkward moments. LTS is also able to skillfully mix slapstick humor into many scenes and Davis proves himself as both a physical comedian and a comic actor.

Gervais and Merchant appear as themselves in the series, as do a number of A-list actors. Johnny Depp has one of the best cameos making light of his penchant for method acting. In preparation for a role as Rumpelstiltskin, Depp hires Davis so he can observe how a dwarf moves and their scenes together are hilarious. This also gives Gervais a chance to mock himself by having Depp rip into him for his Golden Globes monologue. Other cameos include great comic appearances by Liam Neeson, Helena Bonham Carter, and Sting.

Life’s Too Short is a very funny show filled with endearing characters and memorable comic moments. It does not reach the heights that Gervais and Merchant achieved with their previous work, but those shows may have set the bar too high to ever reach again. If you are not familiar with the original and best (only) version of The Office or with Extras, I encourage you to watch those no matter what you think of this series. Life’s Too Short begins a run of 7 enjoyable episodes on HBO in February.