Warning: If you are looking for a film to take your parents to, you’ll probably want to stay away from Sacha Baron Cohen’s latest movie, “Bruno.” On that same vein, avoid taking your 80-year-old grandparents, any devoutly religious, close-minded clergy and people who may get offended by the sight of flaccid penises dancing to music and bike pedal-powered dildos.
From the creator of “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan” comes “Bruno,” the latest film featuring the third and final member of Cohen’s zany characters from “Da Ali G Show.” For those of you who are unfamiliar with the ubersexual, gay Austrian fashionista, Bruno uses his role as a fashion journalist to expose the absurdity in fashion and fame, as well as the public’s deep, pent-up hatred (and fear) of gays.
In the movie, Bruno comes to Los Angeles to fulfill his dream of, as he so eloquently puts it, becoming the second-most famous Austrian that this generation has seen. Playing into our current obsession with celebrities, he tries to gain recognition the way that most socialites and actors have achieved public glory these days ““ by pulling the most ridiculous stunts without having to exert any talent.
Of course, Cohen couldn’t be Bruno without poking fun at celebrity culture. From adopting a child from Africa to trying to resolve the conflict in the Middle East, Bruno puts his own fabulous spin on current social issues, alienating some and terrifying the rest. He even manages to snag some cameos from unsuspecting figures in popular culture as he tries everything to make his break, including attempting to create a sex tape with Ron Paul and trying to snag interviews with high profile A-listers.
Gay or straight, no sane individual acts in the manner that Cohen portrays Bruno, allowing the absurdity to speak for people’s deep-seated fears. Cohen brings up every completely irrational fear that some individuals hold about gays. One person who witnesses Bruno passionately kissing another male is so upset that he is moved to tears of frustration, effectively bringing up the point that the most disturbing fact about this scene is not that we are witnessing two males kissing, but that a 200-plus-pound meathead is so disturbed by the sight of this that he begins to cry.
While the movie is amusing and outrageous, what “Bruno” lacks is the hidden plot and spontaneity that was so resonant in “Borat.” Both movies attempt to show people’s illogical fears, be it about foreigners or gay people, but “Bruno” tries to do too much in too little time. Too little is spent on each stunt, and the meager time that explores each issue is done better justice in the original television show.
Because of the notoriety Cohen gained after “Borat,” it feels like Cohen played “Bruno” too safe, over-scripting and planning out the story so that he could elicit the correct response needed for the film. Instead of being able to just show up on a random, real television show in character, the creation of “Bruno” required Cohen to create specialized events that fit his needs and then, echoing “Candid Camera,” recruit an audience who had no idea that what they were watching was completely made up. Where “Borat” felt new and fresh, “Bruno” pales in comparison as it bumbles about and attempts to follow in the giant footsteps that “Borat” left.
That being said, if you are looking for scatological and genital humor, ridiculous situations and biting, mocking satire, “Bruno” is the perfect choice. Just don’t expect to get all the jokes the first time: You’ll be laughing so hard you won’t hear all the dialogue.