Classics: A Review of You Don't Mess With the Zohan By Lauren Ennis

Lately it seems as though we have more dividing us than we have uniting us. In these chaotic times its a comfort to know that there is a hero who can give us something to believe in, something to bond over, and best of all something to run our fingers through. 2008's comedy You Don't Mess with the Zohan follows an elite counter terrorism agent as he leaves the conflicts of the Middle East behind to pursue his lifelong dream of becoming a hair stylist. Along the way he learns vital lessons in life and love and realizes that with the right look and the right attitude you can overcome even a centuries old international conflict.

The story begins with the Mossad's greatest agent, Zohan, trying to enjoy a well earned vacation. Fate intervenes, however, when his superiors call him back to intelligence headquarters and enlist his help in stopping his arch enemy, the notorious terrorist known as the Phantom. Despite his renowned success as an intelligence agent, Zohan longs for a life in which he can create rather than destroy, and bring people joy and connection  rather than retribution and division. In short, he longs to become a hair stylist. He then defies both his parents and his superiors when he fakes his own death during an encounter with the Phantom and stows away on a flight to New York City. He then reinvents himself as a successful hair stylist specializing in 'happy ending' haircuts for his elderly female clientele. Just when he thinks that he has finally escaped from the conflicts of his homeland, however, his budding romance with a Palestinian-American salon owner and a chance encounter with the Phantom place the future of his new life and that of the free world in jeopardy.

It's not just a hairstyle; it's an experience

This offbeat tale utilizes Adam Sandler's signature humor in a satire that manages to raise vital questions about prejudice and politics without missing a single comedic beat. The film originally utilizes a humorous approach to  the the sensitive topic of the ongoing conflicts in the Middle East. While this tactic easily could have veered into bad taste or heavy handedness the cast and script gently use comedy to aptly highlight the absurdity of the prejudices fueling these conflicts. The film may not offer the complex solutions that have been sought for generations, but it does offer something vital; hope. Through its irreverent tale of enemies learning to put their politics aside and see each other as people the film asks how much better we, and in turn the world we live in, would be if we could all try to do the same. For an optimistic antidote to the current political climate hop into the stylist's chair and have a laugh with You Don't Mess With the Zohan.

The film's wonderfully whimsical story comes to vibrant life thanks to the work of its cast. John Turturro and Rob Schneider are delightfully diabolical as Zohan's adversaries the Phantom and Salim. Nick Swardson and Lainie Kazan make for an endearing comedic duo as the quirky mother and son who host Zohan in New York. Ido Mosseri lends a riotous turn as Zohan's best friend and fellow Mossad agent, Oori. Emmanuelle Chriqui infuses her role as Zohan's boss and love interest, Dalia, with warmth and infectious charm. Even in the midst of the film's talented cast, Adam Sandler dominates every frame in his by turns outrageous, suave, action-packed, and heartfelt performance as the incomparable Zohan.

This laugh out loud comedy relays timeless messages in tolerance that could not be more timely. The film's outrageous script mixes political satire with slapstick to create a crowd pleasing comedy. The film's cast bring the script to life in all of its whimsy with an enthusiasm that is guaranteed to leave viewers smiling after the credits roll. For guaranteed feel good viewing remember, You Don't Mess With the Zohan.

It truly is a beautiful life

Classics: A Review of A Face in the Crowd By Lauren Ennis

 Manipulation, exploitation, misinformation, and ratings are all in a day's work for a major television network. While today's tailspin of media  madness may seem unique to our times, the media's tendency to twist reality towards better ratings was scathingly brought to the screen over sixty years ago in 1957's A Face in the Crowd. The film follows a charismatic con-man who, with the help of a radio talent scout, becomes an unlikely overnight radio and later television sensation and eventual political phenomenon. The film's portrayal of the off-screen machinations behind the on-screen image has never lost its relevance, and in today's media melee is nothing short of news-worthy.

A star is born

The film begins with radio journalist Marcia Jeffries (Patricia Neal) traveling to an Arkansas jail for a segment on her show 'A Face in the Crowd'. While recording the session she asks one of the prisoners, alcoholic drifter Larry Rhodes (Andy Griffith), to perform a song for her audience. Rhodes' combination of musical talent, folksy humor, and charisma immediately earn her attention and she quickly sets to work making him her station's latest star. Rechristened 'Lonesome Rhodes', volatile Rhodes becomes a radio sensation and soon finds himself catapulted onto the small screen and even tempted with an offer to enter the political arena. As his professional star rises so too does his ambition, leaving Marcia to wonder if the small screen hero she created might have become a real life monster.

Upon its initial release the film received mixed reviews. In the decades since, however, the film's predictions regarding the pervasive influence of modern media have proved to be uncannily prescient. At one point in the film Rhodes says "I'm not just an entertainer. I'm an influencer, a wielder of opinion, a force", a statement that bears eerie relevance during an era in which public opinion is molded by social media 'influencers'. Over the course of the film both Rhodes and the media machine surrounding him launch more than just an entertainment phenomenon as they utilize his image to create a social and political movement. In this way the film mirrors the ways in which both traditional and social media have either created or furthered many of today's social and political movements. Rhodes' inevitable corruption similarly reflects the ways in which countless media figures have abused their influence to create false and even harmful public narratives. The film's unforgettable finale in which he inadvertently reveals his disdain for his fan base whom who dismisses as "sheep" and "trained seals" scathingly portrays the contempt that all too many media figures have shown for the very public whom they claim to serve. Few films capture the corruption and manipulation of modern media as aptly or entertainingly as A Face in the Crowd.

We're a long way from Mayberry

The film's biting tale of fame, fortune, and their inevitable fallout is brilliantly realized by its cast. In her film debut Lee Remick turns on the charm in her sultry turn as Rhodes' teenage bride. Walter Matthau aptly personifies the film's conscience as the cynical writer who sees through Rhodes' folksy persona. Patricia Neal turns in one of her best performances as she alternates between Marcia's professional confidence and personal vulnerability. Andy Griffith is nothing short of a force of nature in his big-screen debut and strikes all the right notes as flamboyant, explosive, and magnetic Rhodes.

At once apt social commentary upon its own era and an eerie warning for the future A Face in the Crowd is easily one of the most damning depictions of the media ever put to celluloid.  While it may not have received recognition upon its release its relevance has grown more pertinent with each passing decade. Through its razor sharp writing and dynamic performances the film turns a glaring spotlight on mass media and highlights the potential dangers of popular culture's influence upon public perception. Join Lonesome Rhodes for a look at the ugly workings behind the pretty faces on our screens in A Face in the Crowd.

Very fake news...