Why Audiences Are Still Drawn to Judd Apatow’s Films
Judd Apatow is one of the most unique voices in 21st century comedy filmmaking. With an entertainment career spanning three decades, Apatow has been a long-standing figure in comedy on both television and particularly film. Ever since his directorial debut in 2005 with The 40-Year-Old Virgin, Apatow has become a comedy giant through creating his own stories and producing acclaimed comedies like Forgetting Sarah Marshall, Bridesmaids, and The Big Sick. When it comes to the director’s filmography, several aspects define Judd Apatow’s vision, be it his unusually long stories for the comedy genre (his six comedies have an average runtime of 131 minutes) or frequent incorporation of improvised dialogue. However, Apatow’s flawed protagonists are what make his filmography stand out. In his latest film The King of Staten Island (now available to rent on VOD through Amazon, iTunes, and more), Apatow adds another character into his roster of misfits, and many critics are calling it one of his best films to date. The film stars Pete Davidson as Scott in a semi-autobiographical story about overcoming the death of his father and finding acceptance in life. The King of Staten Island fits right in with the rest of Judd Apatow’s filmography, and when looking back at the director’s other protagonists, the growth of his storytelling strengths has continued drawing in audiences for good reason.
From vulgar comedies like The 40-Year-Old Virgin and Knocked Up to subdued dramadies like Funny People and Staten Island, Apatow’s protagonists feature a shared commonality with undesirable flaws. In Apatow’s six narrative features, every protagonist has a trait that makes them an unlikely central character for a studio comedy:
• The 40-Year-Old Virgin: Steve Carell’s Andy is an underachieving retail worker with no relationship experience at 40
• Knocked Up: Seth Rogen’s Ben is a carefree stoner who is now responsible for an unintended pregnancy
• Funny People: Adam Sandler’s George is a comedian past his prime who has been diagnosed with cancer
• This Is 40: Paul Rudd and Leslie Mann’s Pete and Debbie are parents entering midlife crises
• Trainwreck: Amy Schumer’s Amy is an unaffectionate journalist who avoids commitment
• The King of Staten Island: Pete Davidson’s Scott is an anxious 20-something unable to overcome his father’s death nearly twenty years ago
Apatow’s protagonists are not well polished, earnest people; they are barely functioning adults. Some main characters often get labelled as “manchildren,” and the characters of Apatow’s first two features are far from other comedy protagonists of the era, be it the affable everymen in films such as Meet the Parents or uber-successful womanizers in something like Wedding Crashers. Andy and Ben are strange leading men, but their juvenile aspects make them unique protagonists to follow. The premises of The 40-Year-Old Virgin and Knocked Up stood out when they were initially released, and both were two of the most acclaimed films of 2005 and 2007. Their acclaim was so large that each made the American Film Institute’s Top Ten in their respective years, and even today, these films are still lauded among viewers. Part of their initial hype came from their controversial subject matters and humor as well, which has led to countless debates on the quality of Apatow’s features. Like many studio comedies from the period, homophobic and sexist jokes are present in The 40-Year-Old Virgin and especially Knocked Up, which faced significant controversy upon release for its treatment of Katherine Heigel’s character Alison. Years later, viewers are still coming back to these comedies despite some datedness. At the core of The 40 Year-Old Virgin and Knocked Up are flawed protagonists trying to make sense of their lives, and their situations alone provide great humor. Apatow’s well-developed characters compared to other contemporary comedies are why his earlier films have survived roughly 15 years later, and the basis of someone accepting who they are lingers with all his protagonists throughout his filmography.
As the director grows older, his subsequent works are more realistic and believable with relatable protagonists. Funny People marks a significant departure from The 40-Year-Old Virgin and Knocked Up as it tries to find humor in mature subject matter. The result is a nearly two-and-a-half-hour film that removes the outlandishness of Apatow’s earlier works but keeps the pursuit of contentment in place. While it received positive reviews upon release and is considered by many to be the director’s best film, it was a financial disappointment when it released in 2009. In a summer with comedy hits like The Hangover, The Proposal, and The Ugly Truth, audiences were not ready for Apatow to depart from his established façade. However, Funny People was Apatow’s step into more reserved filmmaking, and while he has not completely abandoned raunchy elements in his works, the director wants his characters to outshine their situations. Out of his most recent films, Trainwreck is probably Apatow’s best example of prioritizing protagonists before premises. The story of a protagonist who finds love when they least anticipate or desire it is nothing new for romantic comedies. However, Apatow and screenwriter Amy Schumer make Trainwreck’s protagonist focus on her habits and how her loner personality is impacted in a relationship. She is different from all of Apatow’s other protagonists yet simultaneously right at home with them.
The King of Staten Island is reminding audiences why Judd Apatow’s brand of comedy remains relevant as Scott is perhaps his most grounded protagonist to date. Because the film is inspired by Pete Davidson’s personal life, Scott must never feel inauthentic, and Apatow recognizes this. The opening scene of Staten Island follows Scott driving with anxiety as he grapples with an unwelcoming thought. While there is some brief humor in this scene as two cars collide from Scott’s lack of attention, the opening scene establishes the protagonist’s emotional state, and it is a stark contrast from the introduction of any other Apatow protagonist. Staten Island continues Apatow’s trend of prioritizing character development, and the result is a strong film about reconciling one’s past.
Over the past few years, studio comedies have been on the decline due to unwieldy budgets and small grosses. The COVID-19 pandemic has relegated almost every scheduled comedy this summer to a streaming platform, including The King of Staten Island. However, Staten Island is the only theatrical comedy that was not sold to a streaming service like The Lovebirds, My Spy, or An American Pickle. Universal has confidence releasing this film as an “in-theater” rental because of Judd Apatow’s track record. Audiences are still drawn to Apatow’s vision, and he is one of the few marketable comedy directors remaining. Apatow’s style has become engrained into the moviegoing consciousness, and viewers know what to expect with his name attached to a film. Even as studio comedies face an unpredictable future, there will always be space for Judd Apatow.
Written by: Dominick Durante
Art by: Kayla Young
