“I Now Pronounce You Chuck and Larry” may be a box office hit, but that doesn’t necessarily mean it’s worth watching. Nevertheless, the movie somehow managed to climb its way to the top of the box office last weekend, which suggests that the film-related promotion was successful enough to lure moviegoers into seeing what would otherwise have been a surefire flop. The trailer and promotional stills showing Jessica Biel in various states of undress have definitely done the trick.
The comedy is conditioned by the movie’s subject matter, and it seems that “Chuck and Larry” is ultimately more concerned with being politically correct than funny. The cast is a promising ensemble, featuring comedy veterans Adam Sandler, Kevin James (“King of Queens”), Steve Buscemi and even a cameo appearance by David Spade. However, the leading men’s comedic talents go to waste in this controversial comedy about two heterosexual firemen, Chuck (Sandler) and Larry (James), who decide to pose as a gay couple in order to receive domestic partnership benefits. Hilarity is meant to ensue when the “couple” goes to great lengths to prove to a prying inspector (an annoying character played by Buscemi) that their union is legitimate.
The storyline is rather unusual, but the majority of jokes are generic and predictable. Sandler and James fail to convince as heterosexual men pretending to be gay because their performance relies on the reenactment of every gay stereotype there is. This failure may have been intentional in order to expose how acceptable – and, more disturbingly, entertaining – these stereotypes have become in mainstream cinema.
“Chuck and Larry” uses its characters’ ignorance and homophobia as a pretext for repeatedly using offensive terms like “faggots” and “homopalooza.” The movie is by no means groundbreaking, although it does try to raise awareness on the issue of gay rights. The film’s good intentions are, nonetheless, overshadowed by its heteronormative conclusion. Even though the movie advocates tolerance and equal rights, its seemingly progressive message appears contrived and insincere. Blockbuster comedy is the wrong genre for advocating gay rights because it is primarily concerned with entertaining mainstream audiences, not changing society. This type of comedy should not try to associate itself with any kind of profound message because it only aggravates the people it is attempting to “help.” Case in point: the numerous film reviews that harshly criticize “Chuck and Larry” for its insensitivity toward gay and lesbian audiences.
Arguably, the gay stereotypes are just the tip of the iceberg. Straight actors playing straight characters posing as gay (and obsessing over who is the “woman” in their relationship) is not the only irritating element in this film. There are also plenty of sexist, chauvinist, racist and fat jokes that are bound to infuriate certain demographics. By the end of the movie, there’s no question of whether the line has been crossed; the line simply becomes non-existent.
“Chuck and Larry” will not take conservative or homophobic viewers out of their comfort zone; it’s no “Brokeback Mountain,” that’s for sure. In fact, there is plenty of half-naked women and a conspicuous lack of gay intimacy, much like any other typical comedy.
What is most bothersome about the film is that it is trying to pose as progressive and open-minded, but ends up relying on the very stereotypes it superficially condemns. To my dismay, when I went to watch this film, the audience was in hysterics and some viewers even applauded at the end to confirm their approval. “Chuck and Larry” may be good for a few mindless laughs (even I can appreciate seeing David Spade in drag), but it is not meant to be extensively analyzed. That’s not to say, however, that we should dismiss it as “only a movie” because even such low-brow movies have the capacity to offend and to reaffirm negative stereotypes.