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In “Weird: The Al Yankovic Story,” the winningly daffy-droll postmodern satirical biopic in regards to the beloved cult track parodist of the MTV period, Al (Daniel Radcliffe), bizarre however not but “Bizarre,” is sitting round together with his roommates when lightning strikes — or, not less than, bologna. One of many roommates asks Al to call the factor he’d most love to do on the planet. Al, talking with a fervor larger than mere want — he’s speaking about nothing lower than a dream — replies, with stoic conviction, “Make up the phrases to a track that already exists.” Moments later, the Knack’s “My Sharona” is blasting away on the radio, and simply after he’s taken a bundle of bologna out of the fridge, he has his a-ha second. The lyrics come to him in a flash: “Oo my little hungry one! Hungry one! Open up a bundle of MY bologna…” An irresistible parasitical pretend star is born.
“Bizarre,” it seems, isn’t an actual biopic. It’s a film that does to the biopic kind what Bizarre Al did to songs like “I Love Rock ‘n’ Roll” and “Beat It” — imitates it, razzes it, throws mud at it, turns it inside out. And all with supreme affection. Virtually nothing within the film truly occurred, save for the track parodies. It’s all relentlessly over-the-top and exaggerated — the Bizarre Al aga become a circus-balloon model of itself. But the film has the spirit of one of many “Bare Gun” movies. It’s enthralled with pop-culture ephemera and in love with the tropes it’s parodying — it makes enjoyable of itself with such gleeful devotion that there’s one thing disarmingly honest about its japery. A part of the joke of Bizarre Al was that his track comedy had a knowingly apparent rib-nudging high quality. “Bizarre,” in outfitting Bizarre Al’s mock artistry with a mock biopic, takes rib-nudging to the second energy. That seems to be a pleasingly ticklish sensation.
The film, to its credit score, is a comedy that salutes, skewers, and fully understands the not simply foolish however goofball scandalous nature of the superstar of “Bizarre Al” Yankovic. Beginning within the early ’80s, he was a geek who connected himself to well-known High 40 singles and, by re-creating the songs however substituting probably the most dunderheaded lyrics potential, made these songs appear reborn as resplendent dumb imitations of themselves. The Bizarre Al songs have been referred to as parodies, but to make use of that phrase is sort of to raise what he did. He was taking well-known work and drawing mustaches on them, mocking them with the the whole lot’s-a-sham-including-me broad brush of Mad journal crossed with the exuberance of a second-grader singing “Jingle bells, Batman smells.” He took pop songs and gave them noogies.
That the songs, of their foolish new palm-buzzer variations, turned hits over again was the joke behind the joke. By stripping the unique lyrics away however preserving the hookiness of the music, Bizarre Al (with apologies to music critics) revealed one thing important about how pop music works — that the lyrics to extra pop songs than most of us would admit are mainly window dressing. The Bizarre Al model of a track is likely to be about making a sandwich, using the bus, or loving Rocky Street ice cream, however the track sounded each bit as catchy that approach. So the joke was on the unique artists, and kind of on us.
The key of Bizarre Al’s success is that he might have been the primary star of the YouTube/TikTok period — 30 years forward of the invention of these issues. Anybody immediately who did the equal of what Bizarre Al did again within the ’80s would in all probability be a viral sensation. And a part of what we liked about Bizarre Al is the clear undeniable fact that he a form of showmanship that doesn’t truly contain a lot expertise. Most of the movies that get large on YouTube or TikTok are, in essence, aspirational; for the viewer, they carry an “I wish to be that” or (extra to the purpose) an “If I play my playing cards proper, that may very well be me” dimension. And that very high quality, a long time earlier than we started amusing ourselves to demise on social media, was baked into the goofy glory of “Bizarre Al” Yankovic.
He wasn’t a pop star, however he was a tall, gangly, fairly handsome nerd who mocked his personal handsomeness by decking it out in wire-frame aviator glasses, a sardine mustache, the ugliest Hawaiian shirts he may discover, and that unruly mop of curls. He used this costume of geek to tweak himself the identical approach that his lyrics tweaked the songs. And what he was saying to his viewers, with a wink, is that you can virtually do that too. He was crafting glorified grade-school mock jingles, using the coattails of the artists he connected them to, and making it really feel like we have been all a part of that very same giddy and harmlessly debased celebration.
The film, directed by TV veteran Eric Apel, from a script he wrote with “Bizarre Al,” doesn’t simply satirize the rise-and-fall clichés of superstar biopics, the best way “Stroll Laborious” did; it lives the clichés even because it lampoons them. On this model of his story, Bizarre Al grows up within the ’70s with dad and mom who’re hilariously blinkered of their refusal to approve of his accomplishments. His mom, Mary, performed by Julianne Nicholson (who, after Blonde, is cornering the market on oppressive mothers), is a dowdy doom-sayer, whereas his father, Nick (Toby Huss), is an indignant crumbum manufacturing facility employee who thinks Al ought to come work on the manufacturing facility — it’s a operating joke that nobody is aware of what the manufacturing facility makes — and treats his son’s dream like a flower he needs to crush. When an accordion salesman drops by, Nick kilos the crap out of him, however not earlier than Al has mounted onto the cumbersome hand-pumped organ keyboard because the instrument of his salvation.
Al attends a high-school polka celebration that the film treats as a shameful bacchanal, and he auditions for a punk band together with his accordion model of “Beat on the Brat.” However it’s not till he comes up with “My Bologna” that the essential comedian technique of “Bizarre” clicks into place. The film goes to be about how Al turned an enormous star — huger than he truly was, a form of megastar of mishigas. He first ascends after making a connection to Dr. Demento (Rainn Wilson), the absurdist neo-carny wizard of an L.A radio persona who’s the primary to play his songs, after which, at a pool celebration at Dr. Demento’s home, he proves himself in entrance of the world. The film is filled with juicy cameos — enjoyable celebrities performed, in sure circumstances by enjoyable actors — and this terrific scene is a veritable orgy of them. Look, it’s Pee-wee Herman! It’s Frank Zappa and Divine! It’s Conan O’Brien as Andy Warhol! And it’s John Deacon, the bass participant from Queen (who, too his dismay, nobody acknowledges), who evokes the growly hipster DJ Wolfman Jack (performed by Jack Black) to put down a problem to Al: If he’s so nice, can he make up a track parody on the spot? Below strain, in entrance of everybody, he free-styles “One other One Rides the Bus.”
It feels proper, at first, to see Daniel Radcliffe painting Al as an earnest nerd, however one of many good jokes of “Bizarre” is what a fulsome Hollywood-biopic arc his persona undergoes. Radcliffe does it expertly. He begins off as wallflower, then turns into a man who’s nearly’s residing within the shadow of his success, then embraces his superstar, then hge meets Madonna (Evan Rachel Wood), who turns into his girlfriend, at which level he begins to enter his swelled-head part. The important thing second is constructed across the track “Eat It.” Al appears to provide you with it the identical approach he does his others, solely now, in his egomania, he’s satisfied it’s truly an unique track. When Michael Jackson comes out with “Beat It,” Al — and the film — treats it as if he’s been ripped off. However this casually surreal twist truly has a resonance to it. It’s Bizarre Al scathingly making enjoyable of his personal absurdly ripped-off artwork. It additionally figures craftily into the classic-biopic plot: Al wants to assert “originality” — to the purpose of madness — as a result of that’s how a lot his daddy’s rejection of him wounds him. “Bizarre” ridicules the best way that biopics flip into therapeutic cleaning soap operas. But by the point Al heads right down to Colombia to rescue Madonna from Pablo Escobar, the film has nudged its hero’s rise to the purpose that he’s now an motion star, all of which Radcliffe performs with poker-faced charisma.
I can’t say Evan Rachel Wooden does the world’s finest Madonna impersonation, however enjoying Madge within the mid-’80s, when she was first experiencing the majesty of her superstardom, Wooden amusingly tweaks how Madonna was wired, within the smallest interactions, for self-promotion. “Bizarre,” in its frivolous approach, turns right into a riff on megalomania, as Bizarre Al himself has a getting-drunk-and-treating-his-bandmates-like-crap episode, then a Jim Morrison will-he-expose-himself-on-stage? episode. However when he’s advised tha the reunited Led Zeppelin wish to go on tour with him, he’s insulted. He’s already lined up Howie Mandel!
“Bizarre” is witty and ingenious sufficient to maintain what may, in lesser arms, have been a one-joke film, an “SNL” parody of itself. The movie’s final joke is that “Bizarre Al” Yankovic’s whole profession was a joke — not simply because he made so-daft-they’re-funny variations of different individuals’s songs, however as a result of what he did made him a hilarious contradiction, a courtroom jester of imitation. When he does “Amish Paradise,” performing it in live performance, there’s a shot of Coolio seated within the viewers, wanting completely pissed off. We giggle as a result of we perceive why. Bizarre Al didn’t create; he didn’t even fairly satirize. However he thumbed his nostril with abandon, reminding us all that simply because a track has had its mind eliminated doesn’t imply you may’t dance to it.
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