Role Reversal

In 1982, Blake Edwards wrote and directed Victor/Victoria. In the 40 years between The Lady Eve and Victor/Victoria, the balance between the verbal and visual elements of comedy shifted. Today's films have a much greater variety of visual humor.

Victor/Victoria is the story of a young performer, Victoria (Julie Andrews) who is not very successful in 1930s Paris until she meets a gay performer, Toddy (Robert Preston), who suggests that she would improve her career if she pretended to be a man who pretended to be a female performer. She follows his advice, pretends to be a Polish count, and under Toddy's tutelage, she is an instant success. An American nightclub entrepreneur, King Marchand (James Garner), sees her perform and is very taken by her performance and by her female stage persona until he discovers that she is "Victor." He doesn't believe that she is a man and tries to prove that she really is a woman.

This story about mistaken identity and sexual attitudes has a happy conclusion. The humor, both verbal and visual, usually generates from the confusion about sexuality. For example, one of the best visual jokes in the film is a close-up of King and "Victor" dancing cheek-to-cheek (Figure 19.2). They are clearly romantically involved with one another. In a preceding

Figure 19.2 Victor/Victoria, 1982. © 1982 Turner Entertainment Company. Still provided by British Film Institute.

scene, she had acknowledged that she is a woman, and they initiated their relationship. The dancing shot begins in a close-up of the two lovers, and when the camera pulls back, we see that they are dancing cheek-to-cheek in a gay bar. All of the other loving couples are male.

A more typical comedy sequence occurs early in the film. Victoria and Toddy are eating a meal that they can't afford in a French café. The sequence illustrates their hunger and the instrument of their escape: a cockroach that Victoria intends to put onto her salad. She tries to dump the cockroach from her purse onto the salad, but a close-up shows that she has failed. When the suspicious waiter asks her how her salad is, she is jumpy. Toddy asks for another bottle of wine to distract the waiter, who notices they haven't finished the first bottle yet. In a close-up, the cockroach moves from the purse to the salad. Victoria sees the cockroach and screams. The suspicious waiter collides with another waiter, and the cockroach is flung onto another table. Attracted by the commotion, the manager comes to the table. In midshot, he attempts to calm the situation, but he, too, is suspicious. The following shots of Toddy defending Victoria and of the manager handling the accusation create the sense that either Toddy or Victoria will be held responsible for the bill. Just as the situation seems to be lost, the film cuts to a close-up of the cockroach on a patron's leg. The dialogue of Toddy and the manager continues on the sound track, but the visuals shift to the cockroach. The film cuts to a close-up of the patron as she screams and then quickly cuts to an exterior shot of the restaurant, where we see the growing pandemonium from afar.

The twists and turns of this sequence provide the context for the humor. The waiter's behavior and the cockroach constitute the surprises that give rise to the comedy. Edwards clearly understood the role of conflict and contrast in the creation of comedy. The editing follows the development of the conflict and at strategic points introduces the necessary elements of surprise. The comedy in this sequence is primarily visual, although there is some verbal humor, particularly from the waiter.

Edwards's use of visual humor to by-pass the obligatory but uninteresting parts of the narrative demonstrates how useful the comedy sequence can be. The obligatory part of the narrative is the introduction of "Victor" to a music impressario who can help her career. Toddy takes her to the impresario's office where the secretary tells them that her boss is unavailable. The scene has been played many times before: The characters lie to or charm the secretary, the would-be performer wows the impresario, and a career is launched. To avoid this trite approach, Edwards introduced a new element. While Toddy and "Victor" wait to see the great man, another would-be star enters: a tuxedo-clad gentleman with a bottle of champagne who claims to be the greatest acrobat in the world. The secretary refuses him entry as well.

The man opens the bottle of champagne, offers the secretary a glass, and proceeds to do a handstand, cane placed in the champagne bottle, his other hand on the secretary's head. This distraction has allowed Toddy and "Victor" to join the impresario in his office. On the sound track we hear Toddy's pitch and the impresario's skepticism. As "Victor" sings, the acrobat is a tremendous success; he has let go of the secretary and is supporting himself with only the cane in the champagne bottle. As Victor hits a high note, a close-up of the champagne bottle shows it shattering, and a long shot shows the acrobat falling. His fall brings everyone out of the inner office, and the scene ends. "Victor" is a success. The humor of this scene masks its obligatory narrative role.

Later, when King Marchand is attempting to prove Victoria's real identity, his ruse to get into her apartment is presented visually. In the hallway, King and his bodyguard attempt to follow a housecleaner into the apartment. Victoria's neighbor, who is interested only in putting his shoes out in the hallway for cleaning, is a reappearing character. Whenever either King or the bodyguard is in the hallway entering or exiting Victoria's apartment, the film cuts to the neighbor and his shoes. Straight cutaways show his evolving fears, which range from concern about his shoes to fear about the type of friends his neighbors have. Inside the apartment, the potential consequences of Victoria and Toddy's discovery of King develop the tension that is the source of the humor.

All of the comedy in this lengthy sequence is visual, and thus the editing is crucial. Cutting away from the action to provide necessary plot infor mation keeps the sequence moving. The twists and turns of the plot are highlighted by ample close shots and visual juxtapositions that give the sequence a visual variety that differentiates it from Chaplin's style of filmed pantomime performance. In this sequence, performance is important, but the staging and editing are the sources of the humor. Repetition of characters and situations—for example, the neighbor and his shoes—helps to flesh out the sequence and add humor. The neighbor is not necessary to the narrative story; his only purpose is comic. Both narrative and comedy fuse in this sequence. We discover that King knows "Victor" is really a woman (the narrative point of the scene), and we've had an amusing sequence that entertains while informing.



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