The King of Comedy
1982 Directed by Martin Scorsese
Rupert Pupkin stands in a crowd with other fame obsessed fans- waiting for hours for a signature from their favorite late night host Jerry Langford. Robert De Niro plays Pupkin with manic presence- fast quipping with eyes a flutter whenever he's questioned.
Pupkin pushes himself into the cab with Jerry Langford while Jerry Lewis plays Langford with a sardonic coolness- placating Pupkin only when Langford finally promises to listen to some of Pupkin's comedy. It becomes obvious later that Pupkin has set up that first meeting in the cab by having a fellow fanatic, Masha, drive the frenzy around Langford.
The intensity of these contrived meetings becomes unbearable for Langford as Pupkin continues to stalk him even into one of his homes. Jerry Lewis having to contort himself in this circumstance is able to match De Niro's wacky energy. The unnerving sense of something awful coming keeps coming with each scene as Pupkin pushes what he feels he's well deserved- fame at all costs. For all that Maxxine is a story of things happening to a character- Pupkin is the force of nature here; creating a horror of social dictates being erased with an undertone of violence.
40 years later there's a whole industry for Rupert Pupkins- striving for their moment of celebrity. Pupkin sets up his own little studio in his apartment to fulfill his delusions. The problem with everyone having a platform is that now the more extreme sides of that platform get the most views.
In The Fanatic the signature collector really just wants to have a moment of being seen by his idol, but the delusion is that any public facing personality is real. For Pupkin the delusion demands more- the recognition of greatness needs to be met. Scorsese has said he was inspired by Michael Powell's films like The Red Shoes where the imaginary and real blend in the film.
That may be why there are so many levels of celebrity now. As the society reflects itself in celebrity it seems easier to obtain, while at the same time funneling money up to the smallest percentage of participants. It's a mirage of imaginary perception and reality.
Celebrity is a twisted Americana that promises everything for simply being; an algorithmic content spiral that feeds on our fears and creates the perception of the world around us. Pupkin knew this power very well. He didn't want to simply be on stage for a standup show. He wanted the power of the TV screen.
Today the audience can become the content- participating in the capitalist desire to brand ourselves as product. The false reality shows and contests create moments of singular fame, but those unable to participate within that system feel adrift.
The King of Comedy becomes even more relevant then, as we consider what role individuals take in society- and what kinds of personalities society uplifts.