Judd Apatow has long been a chief connoisseur of awkward comedy, long loved by critics but neglected by audiences. He co-penned the genius TV shows “”Freaks and Geeks,”” about high school losers, and “”Undeclared,”” about college losers, before hitting it big with 2005’s sleeper comedy “”The 40-Year-Old Virgin,”” about a loser who can’t get laid.
The loser in his newest film does get laid, but that’s the problem: He must reap the no-condom aftermath, as Apatow’s drama-laced comedy once again divides parenthood and pubic hair by scene cuts alone. Where “”Virgin”” examined unexplored love, “”Knocked Up”” chews over the forcibly explored variety – in this case, via pregnancy, between a blond bombshell and a man the shape of a Hostess Zinger. Apparently, with a little alcohol, anything can happen.
Consider this: On one side of L.A. is Alison (Katherine Heigl), a fit and busty up-and-coming E! employee, recently promoted to television anchor. On the other side is Ben (Seth Rogen), a do-nothing stoner who lives off a dwindling lawsuit payoff, and is banking – along with his equally do-nothing roommates – on a Web site that chronicles (or rather celebrates) nudity on celluloid. Throw the two into a nightclub where they lock beer-goggles and before you know it, they’re getting down and dirty in a wannabe porn scene, despite their uproarious lack of cognizance. A few weeks later, Alison realizes that she has been – well, the title says it all.
If the setup seems conventional, you’re not far off. Some of the post-hook up scenes, in which both characters consult their many familial sages, have a fairly obvious ring to them – save for a brilliant moment between Rogen and his father (Harold Ramis), whose balance of blunt comedy and honesty makes Ben believable as the fruit of his loins. Forget that in reality, many couples (for personal or economic reasons) would simply go down to the clinic for an “”a-word,”” as one of Ben’s roommates so tactfully calls it. If “”Knocked Up”” stumbles anywhere, it’s with lack of insight into the all-too-American abortion debate, an issue that could have provided some real discussion without seminar tedium. Apatow instead closes in on what makes a family and how love functions within one – honest without cynicism and positive without blind idealism.
Much of this success rides on casting. Fans of the director will recognize a slurry of Apatow regulars: “”Geeks”” alumni Jason Segal and Martin Starr (who sports a beard that inspires more zings than the “”You know how I know you’re gay?”” sparring from “”Virgin””), along with “”Undeclared”” star Jay Baruchal, play Ben’s stoner roommates, providing the comic foil needed to balance the oft-somber uncertainty of fellow “”Geeks”” star Rogen. Newer additions include Apatow’s real-life wife Leslie Mann and “”Virgin”” co-star Paul Rudd as Alison’s sister and brother-in-law – a hopelessly incommunicado couple who undeservedly serve as relationship gurus.
The cult cast’s uncanny comedic timing is maximized by Apatow’s eye for each actor’s subtle nuisances and tics. Though his camera is conventionally static throughout, each scene is extended past its expected end. During the morning-after breakfast, Apatow lingers on Ben’s face a little longer than we’d expect, taking in all the awkward stares and turn-aways, underlining Ben’s disbelief and insecurity. If Charlie Chaplin said that drama is a close-up and comedy is a long shot, Apatow proves here that comedy is also a longer take.
Of, course the couple’s little bugger has to come out at some point, but half the fun is watching them get there. By the end, some questions are left unanswered – largely pertaining to character motives – but the heart and humor never let up, even in the delivery room.
Rogen has received massive buzz for his first major vehicle, and steps up nobly, turning his token ne’er-do-well slacker into something of a loveable teddy bear for women willing to piece him together. It’s safe to say that this, thankfully, won’t be the last pairing between Apatow and Rogen, two masters of awkward comedy. And if we’re lucky, it also won’t be the last time Ryan Seacrest goes on a profanity-laced self-parody rant for the big screen.
