Mel Brooks, the legendary comedian and filmmaker, offers a unique perspective on the art of comedy through his famous quote, 'Tragedy is when I cut my finger... Comedy is when you fall into an open sewer and die.' This quote, often reworded and shared, delves into the essence of Brooks' comedic genius, which is less about anger and more about self-love and the innate selfishness that drives human behavior. Brooks' self-proclaimed 'deep love' for himself and every human being is the foundation of his comedic brilliance. This love, as he explains, is a driving force that propels his creative endeavors and shapes his unique approach to comedy.
In an interview for PBS' American Masters, Brooks elaborates on this quote, stating, 'What I think I'm trying to illustrate is the innate, incredible selfishness, the love for ourselves and every human being. We like other people, we do, but if we look in a mirror or we think about ourselves, it's a deep love. I'm head over heels in love with myself! I gotta tell you that. Every night before I go to bed I try to kiss myself. It's hard. I'm gonna stop and do it for a minute. [Kisses the back of his hand] 'The best. Who could be better? No one, you're so cute. You're adorable. I love you.'" This self-love, as Brooks describes it, is a source of endless amusement and a key element in his comedic repertoire.
However, my interpretation of this quote takes a different turn. As someone who struggles with self-love, I find that Brooks' emphasis on self-love doesn't resonate with my own comedic preferences. My appreciation for comedy lies in the intent and execution, rather than the self-love aspect. For instance, in 'The Producers,' when Zero Mostel douses Gene Wilder with water, prompting Wilder's panicked exclamation, 'I'm wet! I'm hysterical... and I'm wet!' I find myself laughing not because of self-love, but because of the absurdity of the situation and the character's reaction. Similarly, in 'Blazing Saddles,' the sight of Alex Karras's character, Mongo, punching a horse, elicits laughter not because of self-love, but because of the comedic timing and the absurdity of the scene.
This perspective extends to black comedy and other forms of dark humor. I find myself laughing at cold-blooded murder in films like 'Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb' and 'Step Brothers,' where the tone and context of the scene make the humor palatable. The key, in my opinion, is the intent and execution, rather than the self-love aspect. Brooks' quote, while insightful, doesn't resonate with my own comedic preferences, as I find humor in the absurdity of life and the misfortunes of others, rather than the self-love that drives Brooks' comedic genius.
In conclusion, Mel Brooks' quote offers a fascinating insight into the mind of a comedy maestro, but it also highlights the subjective nature of humor. While Brooks' self-love may be the foundation of his comedic brilliance, it is the intent and execution that resonate with audiences like me, who find humor in the misfortunes of others and the absurdity of life. This perspective adds a layer of complexity to the understanding of comedy and the diverse ways in which it can be appreciated.
