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  • However, in pushing the limits of audience acceptance, other elements of the film may be overlooked

    • by dsmart848

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      Sachon Baron Cohen’s highly anticipated–highly controversial–new film “Bruno” follows the same vein as the 2006 hit “Borat.” Written by both Cohen and Anthony Hines, the movie relies entirely on its ability to shock its audience into laughter. For me, this was successful.

      The movie is based on Cohen’s alternative personality Bruno, an Austrian fashion critic turned blacklisted nobody. In an attempt to reclaim success, he

      travels to America and works the fame circuit–from celebrity interviewer to songwriter. This plot is much more emphasized and followed than the sporadic events in “Borat.”

      Oh, did I mention that Bruno is flamboyantly homosexual?

      Much of the film’s laughter comes from the audience’s disbelief and shock at certain–lengthy–scenes involving over-the-top homosexuality, and I feel that this movie will most be remembered for these moments. However,

      • in pushing the limits of audience acceptance, other elements of the film may be overlooked. For example, the strongest, most hilarious moments come from Bruno’s interactions with people who are unaware of the situation; much like “Borat,” this film captures outrageous interactions that you have to see to believe.

        There is a lot of humor in Cohen’s “Bruno,” though expect no laughs from religious fundamentalists.

        The movie seeks to jolt you so that the only possible reaction is laughter. Once it has your attention, “Bruno” can go about what it does best: satire. Cohen brings to light many of our nation’s problems in an 83-minute time slot and does so hilariously. However, the highly exaggerated nature of other–more unnecessary–scenes may overcast Cohen’s satire in shadows that it can’t escape.

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