Starring: Seth Rogen and Elizabeth Banks.
Distributor: Other
Runtime: 97 mins. Reviewed in Nov 2011
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The title is truthful. It offended a number of groups in the US – which rightly raised the question of what is more pornographic, sexuality or violence – and a number of cinemas refused to show the film. The cast pointed out that there is nothing in Zach and Miri that has not been seen in many other films, some with a lower classification. They did not point out the language, which is also a strong issue for many audiences. It has been written and directed by Kevin Smith, a Catholic, who used to revel in being an ‘enfant terrible’ of the cinema with Clerks and Dogma and now might be called a ‘middle-aged terrible’, in the sense that he enjoys being more than a little provocative.
Years ago, I was warned by a priest that I respected greatly not to make an immediate assumption about the suitability or not of a film about sex (and this was in the context of Doris Day and Rock Hudson in Pillow Talk). He said that every human topic could be the subject of humour, otherwise we put it on a pedestal and it is idolised (or demonised). So, Zach and Miri is a legitimate subject for a movie. Some sensibilities (which are pre-moral) may not be interested in the film or its subject at all. But, then come the sensitivities and moral discussions: how is the subject presented?
Prudery and permissiveness are in constant debate with each other. For many it is a generational thing. In the past, many of us were reticent in matters of sexuality, seeing it as a matter of propriety. The main difficulty with this, as we have discovered to our great cost, is that this meant that many people were furtive in their curiosity about sexuality and in pursuing that curiosity. The revelations about sexual misconduct and sexual abuse in the churches have scandalised many but have made us realise that a kind of rigid propriety is not enough to control curiosity and urges. The last forty years have seen a broader presentation of sexuality, nudity and more open and detailed discussion in films and television. Which means that many middle-aged and younger people are more open, more explicit about these topics and issues (even in humour). It does not occur to them that their treatment of the topics is objectionable to others. This may be crass. It may also be more honestly earthy.
This leads to discussions about community standards and acceptability – which, of course, means that sensitivities will differ considerably from one culture to another.
Kevin Smith, since Clerks, has had no trouble in his characters talking about all aspects of sexuality and using language that Professor Higgins once said ‘would make a sailor blush’. As an ‘enfant terrible in middle age’, he wants to push beyond some limits. But, as a commercial film-maker who has invested a lot of money in his project, he does not want it banned. He wants it to be seen, and paid for. What he has done in Zach and Miri is to use what is euphemistically called, by consumer advisers and censors, ‘strong language’, which means that there is constant swearing (which is taken for granted rather than intentionally offensive), explicit references to body functions, bodily functions and the range of behaviour which comes under the heading ‘sexual’.
Depending on our sense of humour and our tolerance, some of this, despite ourselves, will probably be funny whether we think it should be or not. It is the toppling of sexuality from its too exalted pedestal.
It is a pity that pornography seems to be taken for granted by so many as a sex resource that most people use, whether it be the internet, magazines or movies. We still need some moral standards regarding sexuality that respect persons and highlight exploitation. While Kevin Smith’s characters take pornography as a given in today’s (western) societies, Smith is something of a moraliser (perhaps despite appearances). The context of Zach and Miri is a platonic relationship of a couple who are not sexually inhibited in their behaviour (until the challenge of making the porno comes up) but who have a deeper sense of love and respect. They discover this more really for themselves (and it is obvious to their colleagues) and move towards a truer loving commitment. This is something of the ‘Judd Apatow Syndrome’. In his comedies (Knocked Up, 40 Year Old Virgin, Zohan, Pineapple Express…), Apatow has a first part which shows us the crass and, then, the resolution always shows us deeper love and commitment. With Apatow’s writer-star, Seth Rogen, as Zach, the connection is valid.
Zach and Miri go through the experience of making the porno and discover themselves and love.
Of course, what Kevin Smith is doing is poking fun at porno films, their crassness and the audience response. He employs two stars of ‘adult’ (another odd euphemism), Traci Lords and Katie Morgan as well as his Jay character, the uninhibited Jason Mewes. But, then he shows the awkwardness, the silly things that happen (and some disgusting ones) and the inherent inanity of pornography. He also introduces a gay porn actor (a very funny performance from Justin Long) who talks with great seriousness about himself and his work as well as his relationship with the High School hero (Brendan Routh).
Elizabeth Banks as Miri and Craig Robinson as their friend and colleague give the film some ‘gravitas’ even amid the capers. Seth Rogen can do humour, slob and unusual romantic hero with earnest and deadpan humour.
So, Kevin Smith is a man of his times in language and outlook on sexuality and offers humour accordingly. Some of it is inevitably hit and miss, some of it is funny and much of it is crass. But, it is only a movie, a spoof that should not be taken literally, even the tongue-in-cheek sequence after the credits – except in what Smith values most: a truly loving commitment.
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