The Big Lebowski provides repeated opportunity to consider the ways in which that which is predictable is also enticing. Even for those that are watching the film for the first time, the humor is entirely accessible to the viewer. The repetitious nature of the film ensures that the viewer becomes a humor psychic. John Goodman will inevitably tell Donny to “shut the fuck up.” Lebowski will make another redundant joke in reference to his character’s assumed name; “the Dude.” The group will, most assuredly, return to the bowling alley during the next scene, where they will either confront other bowler fanatics or discuss the Jewish day of rest. From Sasparilla to Jesus, the Big Lebowski runs in humor driven circles. Why then, is that which is redundant, cyclical, simple even, so entirely captivating?
Humor is, in itself, an interesting expression. Arguably, it is the issue of its dependence that motivates this interest. Humor relies on a system of response and acknowledgedment. When in a large group, one laughs at that which one would not necessarily laugh at alone. We refer to this action, appropriately, as humoring someone. We look to others for humor-based significance. One laughs as others laugh, and stops laughing when others fail to reciprocate. At times, one feels awkward when caught in the act of laughing alone.
It is this feeling of awkwardness, which propels the desire for predictable humor. Within twenty minutes of watching the film, one has obtained an adequate understanding of that which the audience will respond/react to, within the framework of the film. Inevitably, the audience will laugh during the short scenes featuring the character Jesus, at the absurd faces that Phillip Seymour Hoffman makes, and throughout most of the scenes which feature a loud John Goodman (Walter). It is as though a series of charts and graphs develop to register various rates of reaction.
Arguably, this could be the reason that the repitious nature of the film is so entirely successful. It becomes accessible, in that the humor can be identified easily. The film provides the viewer with a comfortable framework for reaction. Throughout the duration of the film, the laughter becomes more noticeable succinct. The audience eventually figures out what works and what fails, and then adheres to the debased system of arithmatic which the film becomes.
The framework extends beyond the film. The categories of humor become so entirely digestible, that one is entitled the opportunity to discuss portions of the film without much challenge. This is not controversial humor, this is charted humor. Humor which can be represented by numbers and figures, and which can be harnessed/channeled without much difficulty.
No, I do not enjoy the Three Stooges, but I will laugh everytime my father does.
