Funny Ha Ha Screen 6 articles

Funny Ha Ha

2002

Funny Ha Ha Poster
  • ...The whole hesitant, no-eye-contact school of art just makes me squirm. So thinking that something as milquetoast as Funny Ha Ha’s unconvincing flirtations will be one of the opening shots fired by my peers as they overtake the film world is just beyond depressing.

  • The subsequent dates between Marnie and Mitchell surely rank among the most painfully awkward and real encounters between the sexes in recent movies, culminating in the sort of thoughtless and spontaneous behavior that goes on all the time in real life, but almost never on screen.

  • The film’s pleasures – and there are many – are similar to those enjoyed during a night in a bar with friends when the conversation flutters naturally between the mundane, the fascinating, the hilarious and the sad.

  • A movie full of goofy-cute people conducting profoundly casual and casually profound conversations littered with dangling sentences and pockets of dead air, it's seemingly designed to elicit a collective c'est moi from twentysomething hipster enclaves across the country. But Bujalski doesn't just reproduce the halting, roundabout patterns of actual talk—he has a keen ear for the defensive and passive-aggressive uses of inarticulate speech.

  • Bujalski's a director of the face and, above all, the voice (he's stated in interviews that he comes up with ideas for recording the sound before he comes up with images); you can't imagine him filming just a hand, or a figure from behind. It's a simple and a complex approach.

  • The film perfectly captures the uniquely soul-crushing experience of office temping, and Bujalski proves a magnetic screen presence as Marnie’s endearingly awkward colleague and admirer Mitchell. Showing utter disregard for movie dialogue conventions, the characters self-consciously stutter their way through everyday encounters, desperate to avoid offending one another, yet lacking the poise and social skills to successfully mask their true fears and desires.

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