6 Degrees of Seperation
Laugh Like It's 1999! - The Sequel
S. G. Lacey
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There’s nothing better than 1990’s era comedies, especially for late-stage Gen Xers, who spent our formative years watching these hilarious films.
In fact, there’s too much hilarious gold for just one post on this topic. Much like the classic comedies of this epoch, a second release is necessary. Fortunately, with a few hundred worthy candidates still undisclosed, an alternate path of laughter through time has been found.
Below is another list of 7 chronological movies, spanning from 1992 to 1999, with each consecutive pair linked by a key factor. Actors, directors, soundtrack, budget, set location, writers, and production studio are all fair game.
Happy reminiscing as you scan through this mix of classics and duds. In this collection, there’s a joke for everyone.
1992 – February 14th: Aurora, IL
A 30-year-old man living is his parent’s basement. He has explored countless job opportunities without ever finding a long-term pursuit. He has a degenerate friend who is both a hindering crutch, and his only avenue for socialization. His love life is a mess, being stalked by an ex, while struggling to court the woman of his dreams.
This sounds like a modern-day millennial trope. However, the theme played out over 30 years ago.
Considering the era during which this movie takes place, everyone appropriately sports long hair, making it almost indistinguishable to differentiate between guys and gals in the multitude of bar scenes intermixed throughout the proceedings.
Music references abound in this movie, from the clothing, to the posters, to the entertainment. 80’s era classic rock and heavy metal bands dominate the branding. Among the several celebrity cameos includes an actual concert performance by Alice Cooper and his band.
The filming style is truly odd, with various characters often taking breaks from the action to provide descriptive monologues directly into the camera on the various topics. This disjointed approach does add to the amusement of the film, often providing insight on an individual’s thoughts or feelings with regards to what is happening around them.
Another key element of the cinematography is the relentless product placement which Seinfeld would be proud of. Nearly every scene has some well-known good with the name or logo prominently displayed. In fact, there’s even a laughable scene which subtly hints at this blatant marketing sell-out behavior.
The key to this comedy is the acting and engagement between the pair of lead characters, one bold and outgoing, the other shy and germophobic. The trio of lines below from this duo of dolts, who are the stars of this show, literally and figuratively, sums up their randomness and stupidity, which is a key element of the movie’s humorous appeal. Clearly, beyond music, women are a key theme of this film.
“I don’t even own a gun, let alone many guns that would necessitate an entire rack.”
“That bass player’s a babe. She makes me feel kinda funny, like when we used to climb the rope in gym class.”
“Marriage is punishment for shoplifting in some countries.”
Adding to the absurdity is the multiple endings, with the results being reimaged by the lead duo until their ideal world is achieved. This frenetic and foolish ending truly is a “Ballroom Blitz”. “Excellent” is certainly subjective with regards to this cult flick. “Party on!” at your leisure, in the language of your choice, based on this global hit. [REF]
Wayne’s World:
This movie is one of the first skits to make it out of Saturday Night Live’s 3-minute simplicity format to a full-fledged production. It was the second such effort, with the Blues Brothers act being the first. The original Wayne’s World is still the highest grossing of all the SNL feature films ever made.
Predictably, the cleverly named sequel, Wayne’s World 2, hit the box office the next year. May as well capitalize on a captive audience.
The cheesy one liners, exaggerated mannerisms, and childish behavior which continue to personify Mike Myers’ amusing presentation are evident in his first full-length cinematic role. From this humble beginning he has gone on to comedic powerhouse stardom, including a pair of globally known collections, one live action and the other animated.
Here’s a list of the 11 feature movies inspired by Saturday Night Live skits, 8 of which were produced in the 1990’s. With Wayne’s World topping the rankings, this is definitely not an aggregation of epic blockbusters. [REF]
1992 – July 1st: Racine, WI
It’s challenging to turn the tumult of war into an amusing subject. Sure, offerings like M*A*S*H and Tropic Thunder have made light of military pursuits, while wisely staying away from the actual battlefield as much as possible.
This film, set during World War 2, explores another rarely addresses element of wartime. The female perspective, in America as opposed to abroad.
There are a variety of real-world societal themes interspersed in this comedy. A commentary on the pervasive sexism present in the 1940’s. Acceptance of alcoholism amongst injured men in this stressful era. The rise of female power and confidence in the workplace, a phenomenon which was just starting to bud at the time.
The core element of the plot involves a topic which has been the subject of many a film over the years. A family feud between siblings. In this instance, the combatants are a pair of sisters; the older, pretty, more talented, individual constantly tormenting her younger, shorter, often insecure, offspring. A situation which many of us can relate to from our own upbringing.
While generally on good terms, as teammates for most of the movie, there are intermittent spats, which eventually boil over into a full-fledged fight. It doesn’t help that these two siblings served as the lead battery for their squad, a tenuous relationship where petty misunderstandings tend to get amplified.
There’s one quote which personifies and defines this movie, uttered by the drunken, tobacco chewing, male coach who proports to be leading this rambunctious bunch of ladies.
“There’s no crying in baseball.”
However, the more amusing element of this scene occurs seconds later when the umpire throws this inebriated manager out, after being referred to as “a penis with a hat on”. This demonstrative act, paired with the mocking looks and audible clapping of the women as their fake leader exits the dugout, is one of the many subtle comedic moments sprinkled throughout this classic. [REF]
The casting is excellent, selecting a wide range of ladies which combine elements of sweet, sexy, saucy, stubborn, and salty. Like a well-conceived stew, this blend melds perfectly into a brilliant and hilarious screenplay.
This smorgasbord of characters, and their varied interaction both on and off the field, provides some of the funniest elements of the movie. An illiterate girl who is taught to read by perusing smut novels. Constant bickering between a pair of stubborn friends from the Northeast. A sheltered hag, who’s drunken karaoke session leads to a fortuitous marriage.
The outfits in this movie are very accurate to the period, including skirts for the ladies, suits for the guys, goofy hats for both, and of course the pointy, cone-shaped, brassieres of the era. Considering the athletic pursuit of the women in the film, both the dress and undergarments are clearly not the most functional wardrobe option.
As with many sports movies, the action in the film ends climatically. The sisters, now playing on opposite teams in the championship game, battle against each other, both referencing intimate knowledge of their counterpart gleaned through many years of competitive banter in their youth. In underdog fashion, the younger sibling wins out, and all her older idol can do is smirk in appreciation.
A League Of Their Own = Madonna:
This movie was perfectly executed, taking a topic which was generally outside mainstream purview, due to timing and participants, and capturing the era in a favorable, amusing light.
There is a direct, though obscure, link between Wayne’s World and the Rockwood Peaches center fielder, Madonna. Considering Madge’s worldwide celebrity status, she frequently joined Saturday Night Live as a host, musical guest, and cameo performer.
One of her lesser-known skits was with the Wayne’s World duo where, clad in black lingerie, she mingles on a white sheet covered bed with Wayne, while Garth provides commentary and dancing amusement. In this same vein, if you look closely enough, one of the posters in Garth’s well-adorned bedroom is of himself, performing as a second in her “Justify My Love” song, which was part of this original skit. [REF]
Madonna and Tia Carrera, the leading ladies in each of these movies, captured the attention of an entire cohort of young and malleable male viewers. Also, both of these women ended up having musical careers in real life.
1994 – February 4th: Miami, FL
Lead actor in his prime. Check. Absurd but feasible plot. Check. Recognizable supporting cast. Check. Perfectly delivered lines. Check.
That’s before factoring in revenge, mental illness, murder, sex change, car chases, animal abuse, and various other assorted debauchery. Don’t worry, we’re still talking about a well-conceived comedy, not a real-life drama, or an episode of COPS.
This movie utilizes one of the local professional sports teams, football in this case, as a key part of the plot. The initial crime is kidnapping, not just of the star quarterback, but also the team’s beloved mascot. Like any great comedies, the story is simple and plausible, leaving all of the viewer’s mental capacity available to soak in the hilarious acting, from the lead protagonist, as well as the diverse group of shrewdly selected supplemental characters.
Scenes alternate from cringe-worthy to wise-cracks, as the pseudo detective solves the case, using his own unique techniques. Sherlock Holmes may even be able to learn a few things from these methods.
Fortunately, the eccentric central character sticks to saving animals, as opposed to humans. Probably for the better, considering the unorthodox investigation style, plus the penchant for destroying anything around him. Don’t worry, no critters were harmed in the filming of this work.
The protagonist’s persona, just like the underlying comedian, relies heavily on physical acting. Take the quotes below, which while amusing on their own as simple text, are brilliantly amplified by their jovial over-the-top execution in the visual realm.
“Excuse me. I’d like to “ass” you a few questions.”
“Yes, yes, oh yes! Can you feel that buddy? I have exorcised the demons. This house is clean.”
“Goodnight, everybody! You’ve been a wonderful audience! I’ll be here all week. Be sure to tip your waitress.”
“Hmmm, unconscious. Exactly as I planned.”
This movie was also followed by a rapidly executed sequel, with the second plot already being written even as the first offering hit the theatres. With the compelling lead character, and breadth of ancillary plots, the next film essentially wrote itself. This duo of mid-90’s films provide a wealth of quotable wisdom. [REF]
Ace Ventura – Pet Detective = Sports Plot:
If you weren’t able to guess this movie in advance than you may as well just stop reading this post. One of the best comedies, not just of the 1990’s, but all time, this features Jim Carrey at his prime, and in his element.
Amazingly, Carrey cranked out this film, along with The Mask, and Dumb And Dumber, all in 1994, while simultaneously keeping his breakthrough role on the In Living Color TV show. This was a busy, and lucrative, year for Mr. Carrey.
The selection of Geena Davis as the lead actress in A League Of Their Own was both logical and fortuitous. Her athletic prowess in real life helped provide realism to her role as the field general catcher for the Rockford Peaches. In fact, she nearly qualified for the U.S.A. archery team leading up the 2000 Sydney Summer Olympics, finishing 24th out of 300 participants. [REF]
Jim Carrey’s sports skills are decidedly less effective, despite the wild body contortions he displays repeatedly during the original Ace Venture film. Executing a “button-hook pattern, super slo-mo” football catch, in reverse, is pretty impressive.
There’s no shortage of great sports movies launched in the 1990’s. In addition to the pair of films previously discussed, other comedic standouts from the decade are Sandlot, White Men Can’t Jump, The Mighty Ducks, Happy Gilmore, and Cool Runnings, spanning across a wide range of athletic pursuits. This was definitely a heyday for sports films, especially those using humor to tell the story.
1995 – March 31st: Sandusky, OH
Industrial manufacturing in the armpit of America during the fall of the domestic automotive industry. A cheery topic indeed.
While the traveling salesman has become an obsolete profession these days, this film captures the challenging grind associated with such a pursuit. Numerous issues arise during life on the road, especially when two polarizing individuals are forced to live together in close quarters under stressful conditions.
The laughs in this move are primarily provided through highly relatable life experiences. A cracked windshield. A nervous interview. A convertible top malfunction. A computer scheduling gaff. A road kill incident.
When your livelihood is spent on the road, automobile issues are a recurring theme.
The theatrical ploy of a polarized partnership has played on stage many times, from detectives to doctors, couples to combatants. In the comedic realm, the starker the contrast between characters, the higher the amusement level. This film takes juxtaposition to the limits, both physically and mentally.
A slow-witted, visibly obese, oaf paired with a well-educated, thin and proper, intellectual. The contrast could not be starker. And that’s even before considering the clear divergence in social skills between the polarized pair.
The single short dialogue below summarizes their entire unhealthy relationship.
Fatty: “It’s go time! You and me.”
Shorty: “Look mommy, the rhino’s getting too close to the car.”
Fatty: “Him to afraid to get out, he just a little guy.”
Shorty: “That’s it big boy, I’m gonna wail on you.”
Fatty: “Hey boys and girls, it’s Papa Smurf.”
A series of blows later, each rebutted by a wise crack, Shorty fells Fatty with a 2 x 4 to the face. A classic friendship.
Their constant derogatory banter towards each other is clearly evident here, and throughout the film. Even more amusing, many of the funniest lines came up in normal daily interaction between the two lead actors on set, then were immediately entered into the script based on their natural hilarity.
We can all relate to people, or pairs, we know, who fit these divergent mannerisms. That’s what makes the dialogue in this movie so real, so compelling, and so funny. [REF]
Like many comedies of this era, the plot resolves itself with satisfactory happiness and simplicity. The struggling company is saved. The chubby lad gets the cute girl. The villains are served up the punishment they deserve in embellished fashion. The blue-collar townsfolk are happy. And, an immature boy finally gets to play with his dingy.
Tommy Boy = On-Site Filming:
Both movies were generally filmed strategically, primarily at the actual location where the plot was set. Granted, these stories occurred at decidedly different venues, with decidedly different cinematography.
Considering the plot material, the locales selected themselves.
An industrial manufacturing area. May as well use the rust belt Midwest. In fact, Sandusky, Ohio, where the fictional fable was set, offered up plenty of real-world factories which were empty, and happy to accept any potential revenue source.
A balmy beach sanctuary. With lots of wildlife, and a professional sports franchise. Another problem which solves itself, based on Miami’s budding film scene at the time, and the recent dominance of the Dolphins, animal-based, football franchise.
There’s a surprising amount of online links documenting specific set placement. Some locations, like Pro Player Stadium in Miami, and the downtown skyline of Chicago, are easy to identify. The rest of the scenes are mixed and matched, spanning from Canada to the Caribbean. [REF & REF]
Like most comedies, the setting is not nearly as important as the execution. In both these films, the lead actors would be just as funny riffing on a blank stage, using only their body, mind, and voice as props. In facts, that’s exactly how these experts moved up through the ranks, honing their hilarious craft from a young age.
1996 – February 2nd: Garfield County, WA
Politics has been the subject of numerous amusing works over the years. In fact, these days it’s difficult to separate fact from fiction, commentary from comedy. Despite the often-confusing landscape, it only takes a few minutes of viewing to realize that this plot leans heavily towards absurdity, as opposed to actuality.
The opening scene of the film epitomizes the plot, production, and performers. A political rally in a small town, with a menagerie of citizens amassed in the central square. Further local support is being drummed up through boots-on-the-grounds effort, in this case using a heavily branded red, white, and blue truck, with supplemental megaphone blasts.
This innocent marketing campaign quickly deteriorates. A pack of dogs, confusing suburban streets, a meandering old lady, and roadside parking meters, all conspire to throw the A.D.D. afflicted, caffeine infused, dogmatic lackey to crash into a movie theater marquee, causing the prospective governor’s head to spin, both physically and metaphorically.
Predictably for a political plot, the action features spying, blackmail, scams, arson, sabotage, robbery, and various other assorted corruption. Not surprisingly, the bumbling lead character is involved in most of these illegal acts, most accidentally as opposed to premeditated.
The randomness of this movie can be summarized by the single quote below, which while already awkward on paper, is even more inappropriate when delivered over the phone to an unsuspecting young girl.
“A corn-fed harvest mouse, a hooker, a nun, a Flemish peasant woman, whips, chains, whistles yo-yo's, a circus midget. My grandmother riding by on a bicycle gives me the finger, and a duck!”
Like this collection of disjointed words, the entire plot is scattered and erratic. As with many elements of modern politics, deception abounds, and honesty is in short supply in this film. Realistically, an honest assessment of the content suggests this movie should never have been made. [REF]
Black Sheep = Writer Fred Wolfe:
Black Sheep is a logical non-sequitur from Tommy Boy, but essentially uses the same plot. A classic rinse and repeat scheme, which allows another movie to be cranked out in less than 12 months. Logistics are easy when the key cast, crew, and corporate stakeholders remain generally the same.
These two movies have numerous connections, beyond the literally larger-than-life lead character played by Chris Farley. First of all, besides a few subtle plot changes, they are basically the same film, leveraging the laughable looser and his sarcastic sidekick, in both cases played by David Spade.
Another consistency is the writer, Fred Wolfe, who penned both films, at least the final screenplay versions. After his own career as a stand-up comedian in the late 80’s, culminating by co-hosting a show on Comedy Central, Wolfe turned his energy towards creating funny skits for others.
Fred Wolfe started writing at SNL in 1992, where he inevitably met Farley and Spade, both of who were on staff at the time. However, his role on Tommy Boy was more fortuitous and forced than planned and procedural. Having been handed the original disjointed script, which was greenlighted by Paramount Theaters, but decidedly lacking in sustenance, he was on a tight timeline to rework the entire production.
With little to go on, but knowing the smooth chemistry between the pair of procured lead actors, who were already locked in via contract, Wolfe started drawing on events from his own past, including the infamous loose car hood scene.
Even with these new organic additions, the script was still woefully short of a full story. As a result, Wolfe worked with the director and actors to add scenes on the fly. The end result of Tommy Boy was incredibly cohesive, despite the disjointed nature by which it came together.
Unfortunately, with a production mandate for the Black Sheep faux-sequel on tap for less than a year later, additional comedic material was on short supply. Wolfe was out of life experiences to draw from. All the low hanging fruit from Farley and Spade’s organic interactions on various sets throughout the years was already executed. Hence the inevitable use of filler scenes, and repeat jokes.
Both Tommy Boy and Black Sheep made just over $30 million at the box office, each on a roughly $20 million budget. Neither offering was amazingly successful, but both were profitable over their first year. However, DVD and streaming revenue over time has proven out that former was a unique and brilliant comedic classic, with the latter being a rushed reboot with marginal substance. [REF]
1998 – November 6th: South Central Louisiana State
There are many movie plots that one can look back on from the 1990’s which would definitely not fly in this modern age of wokeness. This comedy’s characters and commentary definitely fit the bill of mild inappropriateness. However, the content didn’t stop moviegoers from flocking to this flick in droves.
Political correctness is not one of this film’s virtues. With a stunted, stuttering, and slow lead character, this plot walks a fine line between a heroic story and a handicapped mockery.
Home schooled by a protective Mama in the Louisiana swamps. Ridiculed by colleagues during his menial job at the local college. In a fortuitous, and predictable, change of fate, this lost soul finds his confidence, becomes respected by his colleagues, and wins the affection of a sexy girl. A true underdog story.
This is an incredibly predicable plot, which has been executed countless times throughout history. However, the absurd ancillary details of this particular iteration are so outlandish that one can’t help but laugh, smirk, or simply shrug at the final production.
Adding to the intrigue, this movie’s main characters are alliteration personified: Farmer Fran, Gee Grenouille, Vicki Vallencourt, and of course Bobby Boucher.
But the most relevant, and engaging, character is simply Mama. She manipulative tendencies are woven throughout, in an attempt to control her son, keep reality at bay, and maintain her own sanity. Mama is clearly a little off the rocker, based on here various absurd sentiments uttered throughout the film. [REF]
“You don’t have what they call ‘the social skills’. That’s why you never have any friends, ‘cept fo’ yo’ Mama.”
“No son of mine is gonna play any foos-ball.”
“That’s nonsense, I invented electricity. Ben Franklin is the Devil!”
“Are men supposed to wear pajamas featuring a cartoon character by the name of Deputy Dawg?”
This is yet another sports related movie, though this offering has minimal tie to actual factual events. If you find parental manipulation, bumbling offspring, and rural discontent amusing, this film will be right up your alley.
The Waterboy = SNL Friendship:
The themes of Saturday Night Live and it’s cast of characters have been touched several times throughout this progression. Here, the lead comedians in this pair of mainstream movies are inexorably linked by experiences during their formative years on this late-night TV show.
Chris Farley and Adam Sandler started working together on SNL in 1991. During this time, they collaborated on a multitude of memorable sketches, including Lunch Lady Land, Gap Girls, the Herlihy Boy, and even the fictional couple of Hank and Beverly Gelfand. Not surprisingly, in the latter, Farley played the busty woman of the marriage union, which as a blatant advertisement for the Zagat’s restaurant guide.
In fact, these two goons were so relentless with their backstage pranking activities that they eventually got fired from SNL on the same day in 1995.
It took until 2019 for Adam Sandler to return to the Saturday Night Live stage in New York City. In fact, for decades after his departure, Sandler stated that he would never return to the scene of the crime. When he did finally cave, it was based on the caveat that he could execute one specific skit on his own.
Poignantly predicable, this was a song written from the heart, an ode honoring the long-deceased Chris Farley. In this case, Sandler’s music talent and witty lyricism were put to good use. The lines reference the close connection these two jokers had, but just scratch the surface on the debauchery they engaged in during their time together at SNL, pranking and partying on a nightly basis. [REF]
1999 – June 11th: London, UK
A spy thriller franchise reimagined as a comedic spoof. While many 90’s movies incorporated various satirical scenes, this entire movie, from the characters, to the plot, to the title itself, was a singularly focused mockery of Britain’s most famous action hero. Many younger viewers, naive with regards to the referenced innuendos, still found these outtakes hilarious.
The primary setting involves travel back in time 30 years from present day to London 1969, an era of flower power, rampant swigging, and yellow teeth. It’s a dead sexy time to be alive.
Champagne, foreplay, Kama Sutra, machine gun “jubblies”, honeymoon sex, and fembots. And that just in the first scene. Even the opening credits feature the lead character completely naked, except for his incredibly hairy chest, which could be confused with a thick shag carpet. Fortunately, well-placed rainbow text prevents a more vulgar display.
Considering the characters’ names, from Felicity Shagwell to Ivana Humpalot, and sexual content, this movie’s script reads more like an XXX porn than a PG13 family flick. Another of the many reasons this unique production is hilarious on many levels.
Not once, but twice throughout the film, there are well choreographed scenes describing various individuals spotting an oddly shaped spaceship with a profile which closely resembles the male reproductive organ. A snippet of this clever wordplay is provided below.
Basil: “Did we get Dr. Evil?”
Johnson: “No, sir. He got away in that rocket that looks like a huge . . .” [cut to a school]
Schoolteacher: “Penis. The male reproductive organ. Also known as tally-whacker, schlong, or . . .” [cut to a barbecue]
Father: “Wiener? Any of you kids want another wiener?”
Son: [points at the rocket] “Dad, what's that?”
Father: “I don't know, son, but it's got great big . . .“ [cut to a ball game]
Peanut vendor: “Nuts! Hot salty nuts! Who wants some?! Lord Almighty!”
Woman: “That looks just like my husband's . . .” [cut to a circus]
Ringmaster: “One-eyed Monster! Step right up and see the One-eyed Monster!”
One-eyed Monster: [jumps out and nearly surprises the crowd, then points to the rocket] “Hey! What's that? It looks like a big . . .” [cut to a restaurant]
Female fan: “Woody! Woody Harrelson? Can I have an autograph?”
Woody Harrelson: “Sure. No problem. [sees the rocket] Oh, my Lord! Look at that thing!”
Fan: “It's so big!”
Woody: “I've seen bigger. That's . . .” [cut to Dr. Evil's rocket]
Dr. Evil: “Just a little prick. It's a flu shot.”
Words don’t do these silly segue scenes justice; they are well worth checking out in video form. It’s amusing that essentially the same reaction happened in meme land during the summer of 2021, when Jeff Bezos’s Blue Origin’s rocket of similar styling launched. [REF]
Another recurring theme for this era of cinematography is the rampant consumer product placement. In this case, Heineken beer went all in, creating a widespread marketing campaign using images of the main characters in commercials during the movie’s worldwide release, as well as clever green glass bottle placement in several key scenes of the film. Also, several restaurant chains, including Starbucks, Chili’s, and Big Boy Burgers are all included in the plotline.
The entertainment industry wasn’t spared from mockery either, with not-so-subtle odes to movies like Star Wars, Jerry Maguire, and Independence Day, as well as referencing many dated performers including Jerry Springer, Joan Osborne, and even the obscure Alan Parsons Project.
Lastly, this is one of the rare times where the lead actor plays both the protagonist and antagonist, along with several other supporting characters, including the aptly named, albeit incredibly inappropriate, “Fat Bastard”. Throw in an evil midget clone with the moniker of “Mini-Me”, plus countless sexual innuendos, and you have another offering which may not hold up to scrutiny of modern times. Granted, the original spy series being mocked was not exactly known for political correctness.
Austin Powers - The Spy How Shagged Me = Box Office Toppers:
The success of the 2nd offering in the flowering Austin Powers brand proved that this was a viable franchise. Leveraging the James Bond legacy, in parody form of course, this trilogy, all released between 1997 and 2002, was incredibly profitable.
In the golden age of theatrical comedies, The Waterboy and Austin Powers: The Spy Who Shagged Me were the top grossing box office selections in back-to-back years to close out the millennium, each clearing over $150 million in their first 2 months. While completely different in terms of plot, cast, and target audience, the success of both these foolish films demonstrates the simple mind of the marginal moviegoer in this era.
Sequels were very common in the 90’s, not just extending a previous storyline, but also through simply keeping the same actors, while utilizing a brand-new plot. This genre was all about performance and demonstration, with no narrative or concept too absurd to garner studio funding. Attracting repeat viewership was a simple recipe for increased revenue.
There are several similarities between Mike Myers and Jim Carrey, actors responsible for creating some of the most famous comedic franchises of the decade. Born just a year apart, both grew up in Toronto, Canada. However, while Myers’ family was quite affluent, Carrey’s parents struggled to stay out of poverty. Thus, their adolescent paths unfortunately never crossed.
Jim Carrey auditioned multiple times for Saturday Night Live, which was aired on NBC, before landing a spot on In Living Color, a FOX offering. Meanwhile, the first Wayne’s World skit, a persona Myers had been curating and polishing for years in small comedy clubs, based on his teenage experiential upbringing up north, aired on SNL on February 18th, 1989. [REF]
Every movie on the presented list includes a person who was part of the Saturday Night Live crew, or participated multiple times as a guest host. It’s interesting to see that the fall in popularity of SNL directly correlated to a rise in cinematic features, transitioning these skilled actors from the late-night adult audience to full mainstream adoption, including a cohort of malleable of teenagers who became the next generation of 21st century comics.
There’s another actor who plays a small, but important role, in both the first and last movies of this progression, as well as the one in the middle. Rob Lowe, who’s recognizable good-looks, bad-boy, image works as essentially the same antagonist character in Wayne’s World, Tommy Boy, and Austin Powers 2.
The ability to execute multiple personalities, images, and voices are what separates these generational comedy actors from the dense and competitive pack of pretenders. One needs only to look at the visual appearances of Mike Myers and Rob Lowe below, separated by 7 years, hundreds of days on set, and innumerable wardrobe changes, to realize the dynamism required to stay relevant.
Postscript Tribute To Chris Farley:
While Mike Myers, Jim Carrey, and Adam Sandler continue to crank out amusing comedies to this day, Chris Farley’s acting legacy was regrettably cut substantially short.
Young Farley was born into an Irish-Catholic family during the long winter of 1964 in Madison, WI. He had a reputation as an epic partier while attending college at Marquette University, where he played rugby. He found is passion for acting in a theatre class there, and came to idolized John Belushi and John Candy for their ability to overcome similar physical and mental challenges to his own.
In the mid-90’s, it felt like Chris Farley was just hitting his stride, having transitioned from Saturday Night Live skits to mainstream, big-budget, feature films. Unfortunately, Farley died on December 13th, 1997, of a drug overdose, at just 33 years old.
His life-long long battle with obesity and drugs was well-known in the entertainment industry, having logged over a dozen stints in various rehab clinics throughout his adult life.
At the time of his death, Farley was working on several projects. He had recorded a majority of lines for the part of the original Shrek, with his natural midwestern drawl. This cartoon ogre’s voice is now synonymous with the Scottish accent executed by Mike Myer’s throughout the series of popular films. Farley was also courted for The Cable Guy lead role before the director turned to Jim Carrey. [REF]
Farley’s first movie cameo stemmed from his Saturday Night Live connections, playing the predicably awkward security guard in the original Wayne’s World. An emotional and heartfelt tribute song to Chris Farley was executed by Adam Sandler during his recent 2018 Netflix special; the entire performance is well worth the watch on a big screen TV. [REF]
“Holy Schinkes!”, we miss you, Mr. Farley.
Movie Nerds Unite, Again:
An impressively detailed and well-researched article summarizing the trajectory of 90’s comedies. The dominance of this laughable era is clear, but the hidden undertones are what define the complex and linked lineage of these historic films. [REF]
Breakdown of cute celebrity crushes which filled the dreams of many an adolescent male in the 90’s, as well as leading a few others to the lesbian persuasion. [REF]
List of the 27 most relevant sports movies of the 1990’s, conveniently aligning with the number of outs per team in a Major League Baseball game. [REF]
Website which allows for convenient comparison of box office revenue for movie releases over time. [REF]