The concept of identity is a complex and multifaceted topic that has been explored in various forms of art, including film. “In the Loop,” “The Bed Sitting Room,” and “Tootsie” are three movies that tackle this theme in their own unique ways. Although each film presents a different perspective on identity, from the political machinations of “In the Loop” to the surreal post-apocalyptic world of “The Bed Sitting Room” and the comedic cross-dressing of “Tootsie.” Through their exploration of identity, these films offer insightful commentary on societal norms, gender roles, and the power dynamics that shape our lives. In this article, we will delve deeper into these three films and examine how they use identity as a tool for storytelling. Creating memorable and thought-provoking cinema experiences. Now take a look at Twisted Tales of Identity’s best comedy movies.
“In the Loop”, dir. Armando Iannucci, 2009
The success of In the Loop led Iannucci to the TV series Veep and Alan Partridge. It all started with the comedy political series The Thick of It. We can say that “In the Loop” is a concentration of everything invented in the series. It survived seven seasons. Both “The Thick of Things” and “In the Loop” laugh at ideocracy, officials, and the fear of those in power really screwing up in front of everyone. Although, Everyone knows that politicians themselves do not write speeches. We remember this when they unsuccessfully improvise in the first person. On the eve of the decision on the NATO invasion of the Middle East. The British Foreign Secretary speaks nonsense on the air, which makes the press secretary incredibly angry. The story of one resignation – with a transatlantic flight. A conspiracy of clerks, and a show of muscle flexing. This is a biting and very poignant satire of what modern democracy has become. A swarm of opinions, a mess instead of a plan. A lot of office meetings and spilled coffee – and even more clerks who can turn history around.
The Bed Sitting Room, dir. Richard Lester, 1969
A real diamond in the history of British comedy that is not so easy to find in Lester’s filmography. For Instance, he made, among other things, some of the best films from the new wave of Albion: from musical films with The Beatles to “Petulia” and “How I Won the War”. The post-apocalyptic black comedy tells how the world lived after the shortest world war in history. Just over two minutes long. On the planet, the BBC TV presenter, the captain who lost the war. The pregnant girl with a double pregnancy, the nurse, the policemen, and the firefighter. In general, two dozen typical Britons of their era with various deviations survived. Retelling the absurdist gags from The Living Room is stealing an unexpected pleasure from its viewers. The women here really turn into wardrobes the men into parrots, and the fireman, out of desperation, invents things for himself in the lifeless ashes. Written for the theatre, a compact comedy fits in a sand pit and a London Underground with conditional scenery. Must necessarily look in the original language – the case when the play on words.
Tootsie, dir. Sydney Pollack, 1982
One of the funniest comedies about discrimination with Dustin Hoffman in a red sequin dress and the best monologues about protecting honor and dignity. The protagonist, semi-unemployed, like most New York actors, rushes from audition to audition. Almost never got an explanation why he is not taken. He has a so-so reputation and character, and the saddest thing is that the rent for an apartment in New York has to be paid every month, and, in desperation. In fact, he disguises himself as a woman, going to audition for a walk-through daytime show. The role of Emily Kimberly, the head of the hospital, is a minor one. Thanks to the efforts of new star Dorothy Michaels. The show becomes a sensation. No one better than a man in disguise understands how offensive accusations of incompetence, ass tweaks, and greasy compliments are. TV is full of sexists, from the director to the lead actors, – and Dorothy Michaels fights for both men and women, falling more and more in love with her on-screen partner. In short, Tootsie is an accurate and smart comedy about how difficult it is to imagine yourself in someone else’s place. Allowing it to be funny while remaining true. Dustin Hoffman, in one of his best roles, plays a man who only realizes his privileges. When he bangs his head against a glass ceiling.
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