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Shelf Life: Jane Fonda’s “Barbarella”

Jane Fonda in Barbarella

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One of the great things about revisiting movies that you love – or even if you don’t – is seeing how your appreciation either converges or diverges from their technical merits. Moviewatching is a purely intuitive experience, no matter how much one knows about the technique required to actually create and assemble a film, and ultimately there are probably just as many expertly-constructed movies that are crap as there are clumsily-engineered ones that leave you devastated.

All of which brings me to “Barbarella.” For myriad reasons, including Roger Vadim’s legendary prowess with beautiful actresses, Jane Fonda’s effortless combination of sensuality and naivete and just the idea of a goofy sexed-up sci-fi movie, it’s always been one of my favorites. But is it well put-together? Perhaps not. But this week’s “Shelf Life” intends to bridge that divide between well-made and enjoyable and figure out if one trumps the other.


The Facts

Released October 18, 1968, “Barbarella” was a decidedly mixed success. Although it maintains a 74 percent fresh rating on Rotten Tomatoes, the film earned a lot of pans from major publications such as Variety. Its grosses are unavailable but the film cost approximately $9 million, and ended up bringing in $5.5 million in rentals domestically. Although the film received few awards, Fonda was recognized with a nomination for Female Comedy Performance at the Laurel Awards.


What Still Works

It isn’t meant as a backhanded compliment or a pass of any kind, but “Barbarella” is about the best kind of brainless fun you can have as a moviegoer. From its iconic opening credits sequence to its finale, the film is a visual marvel, even when the technology used to achieve those visuals occasionally lacks the kind of authenticity we associate with great special effects. Vadim’s grasp on the material’s tongue-in-cheek tone is effortless and yet assured, and he allows those set pieces and the sets themselves to have a kind of camp that winks at the audience and then dares them not to embrace it anyway.

As Barbarella, Fonda is absolutely magical. There’s a perfect kind of innocence to her performance that makes the character never seem to be exploited or exploitable – she’s nude, she finds herself in sexual misadventures, but she is less a victim than simply naively complicit in the fun. It certainly doesn’t hurt that Fonda is fearless in her body and soul-baring, by which I mean she leaps with both feet into the role and never lets us know she’s in on the joke – which makes it that much funnier. But there are few actresses today who could pull off that kind of pure sensuality and absolute obliviousness to precisely how alluring they are, and Fonda consequently becomes a sort of iconic performer for what she pulls off here.

As Dildano, David Hemmings is the film’s MVP, mostly because he knows exactly how to play this campy material and just makes it work so beautifully. His “hand sex” scene with Barbarella is a comic marvel, augmented by some cinematic sleight of hand, but it’s his sleepy-eyed consummation that makes it genuinely hilarious. Meanwhile, John Philip Law is perfectly humorless as the statuesque Pygar, and while his performance isn’t “good” per se, he provides the right profile for his character and never lets up on trying to make him a pure and beautiful creature.

As indicated above, the sets and production design are all a little bit cheap, to say the least, and scarcely hold up today as solid examples of good special effects. But it’s that cardboard flimsiness that also sort of sells the universe as a whole, because there are few flourishes that transcend the technical or conceptual complexity of the inflated plastic bags or conspicuous miniatures that make up the majority of the production design.


What Doesn’t Work

Well, it’s just not a well-made or well-told movie. The plot is flimsy to say the least, and even though the set pieces are rich in entertainment value, they hold together with a clothesline’s sense of cohesion. As indicated above the special effects really skirt the line between cheap-charming and just cheap, and it’s entirely reasonable to be too distracted by how bad they are to be able to enjoy the movie. (It doesn’t help that so many of the designs are very indistinct, so there’s not even a sort of conceptual appeal that maybe wasn’t quite executed strongly.) Moreover, while Barbarella is an icon, she’s not much of an agent of her own destiny, and she frequently makes clumsy mistakes or otherwise gets herself into trouble that someone else has to get her out of – unfortunately, usually a man.


The Verdict

Cheesy but charming, “Barbarella” holds up – albeit primarily if you already love the film and have enough of a sweet tooth to appreciate its empty calories. There’s nothing especially unique or original here, but the characters are all fun and interesting, whether or not the film utilizes them well, and what happens manages to be mostly engaging if again it’s not especially cohesive. Ultimately, Fonda’s so great as Barbarella that most of those shortcomings become irrelevant. But it’s certainly a film whose appeal is linked to a personal connection with the performers or the material rather than the way in which it’s been executed. Regardless, however, the new Blu-ray looks absolutely gorgeous – Fonda’s naughty bits have never been clearer – so love it or hate it, there’s never been a better reason to watch it.

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Thank Azaria

Best. Characters. Ever.

Our favorite Hank Azaria characters.

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GIFs via Giphy

Hank Azaria may well be the most prolific voice and character actor of our time. The work he’s done for The Simpsons alone has earned him a permanent place in the pop culture zeitgeist. And now he’s bringing another character to the mainstream: a washed-up sports announcer named Jim Brockmire, in the aptly titled new series Brockmire.

We’re looking forward to it. So much so that we want to look backward, too, with a short-but-sweet retrospective of some of Azaria’s important characters. Shall we begin?

Half The Recurring Simpsons Characters

He’s Comic Book Guy. He’s Chief Wiggum. He’s Apu. He’s Cletus. He’s Snake. He’s Superintendent Chalmers. He’s the Sea Captain. He’s Kurt “Can I Borrow A Feeling” Van Houten. He’s Professor Frink. He’s Carl. And he’s many more. But most importantly he’s Moe Szyslak, the staple character Azaria has voiced since his very first audition for The Simpsons.

Oh, and He’s Frank Grimes

For all the regular Simpsons characters Azaria has played over the years, his most brilliant performance may have been a one-off: Frank Grimes, the scrappy bootstrapper who worked tirelessly all his life for honest, incremental, and easily-undermined success. Azaria’s portrayal of this character was nuanced, emotional, and simply magical.

Patches O’Houlihan

Dodgeball is a “sport of violence, exclusion and degradation.” as Hank Azaria generously points out in his brief but crucial cameo in Dodgeball. That’s sage wisdom. Try applying his “five D’s” to your life on and off the court and enjoy the results.

Harold Zoid

Of Futurama fame. The crazy uncle of Dr. Zoidberg, Harold Zoid was once a lion (or lobster) of the silver screen until Smell-o-vision forced him into retirement.

Agador

The Birdcage was significant for many reasons, and the comic genius of Hank Azaria’s character “Agador” sits somewhere towards the top of that list. If you haven’t seen this movie, shame on you.

Gargamel

Nobody else could make a live-action Gargamel possible.

Ed Cochran

From Ray Donovan. Great character, great last name [editorial note: the author of this article may be bias].

Kahmunra, The Thinker, Abe Lincoln

All in the Night At The Museum: Battle Of The Smithsonian, a file that let Azaria flex his voice acting and live-action muscles in one fell swoop.

The Blue Raja

Mystery Men has everything, including a fatal case of Smash Mouth. Azaria’s iconic superhero makes the shortlist of redeemable qualities, though.

Dr. Huff

Huff put Azaria in a leading role, and it was good. So good that there is no good gif of it. Internet? More like Inter-not.

Learn more about Hank Azaria’s newest claim to fame right here, and don’t miss the premiere of Brockmire April 5 at 10P on IFC.

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Flame Out

Brockmire and Other Public Implosions

Brockmire Premieres April 5 at 10P on IFC.

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There’s less than a month until the Brockmire premiere, and to say we’re excited would be an insulting understatement. It’s not just that it stars Hank Azaria, who can do no wrong (and yes, that’s including Mystery Men, which is only cringeworthy because of Smash Mouth). It’s that the whole backstory of the titular character, Jim Brockmire, is the stuff of legends. A one-time iconic sportscaster who won the hearts of fans and players alike, he fell from grace after an unfortunate personal event triggered a seriously public meltdown. See for yourself in the NSFW Funny or Die digital short that spawned the IFC series:

See? NSFW and spectacularly catastrophic in a way that could almost be real. Which got us thinking: What are some real-life sports fails that have nothing to do with botched athletics and everything to do with going tragically off script? The internet is a dark and dirty place, friends, but these three examples are pretty special and mostly safe for work…

Disgruntled Sports Reporter

His co-anchor went offsides and he called it like he saw it.

Jim Rome vs Jim “Not Chris” Everett

You just don’t heckle a professional athlete when you’re within striking distance. Common sense.

Carl Lewis’s National Anthem

He killed it! As in murdered. It’s dead.

To see more moments just like these, we recommend spending a day in your pajamas combing through the muckiness of the internet. But to see something that’s Brockmire-level funny without having to clear your browser history, check out the sneak peeks and extras here.

Don’t miss the premiere of Brockmire April 5 at 10P on IFC.

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Mirror, Mirror

Portlandia Season 7 In Hindsight

Portlandia Season 7 Now Available Online and on the IFC App.

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Another season of Portlandia is behind us, and oh what a season it was. We laughed. We cried. And we chuckled uncomfortably while glancing nervously around the room. Like every season before it, the latest Portlandia has held a mirror up to ridiculousness of modern American life, but more than ever that same mirror has reflected our social reality in ways that are at once hysterical and sneakily thought-provoking. Here are just a few of the issues they tackled:

Nationalism

So long, America, Portland is out! And yes, the idea of Portland seceding is still less ludicrous than building a wall.

Men’s Rights

We all saw this coming. Exit gracefully, dudes.

Protests

Whatever you stand for, stand for it together. Or with at least one other person.

Free Love

No matter who we are or how we love, deep down we all have the ability to get stalky.

Social Status

Modern self-esteem basically hinges on likes, so this isn’t really a stretch at all.

These moments are just the tip of the iceberg, and much more can be found in the full seventh season of #Portlandia, available right now #online and on the #IFC app.

via GIPHY

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