All in all you’re just another brick in the wall– Pink Floyd
Zip it, Thanos.– Deadpool to Cable
American Psycho, Funny Games, Amélie, Annie Hall, Fight Club, Spaceballs, Ferris Bueller’s Day Off, High Fidelity, Kiss Kiss Bang Bang, Trading Places, On Her Majesty’s Secret Service, Lord of War, Jay and Silent Bob Strike Back, Blazing Saddles. What do all those films have in common? The classic breaking of the fourth wall. Films with this peculiarity are few, however, the breaking of the 4th wall is an effective way to engage the audience when their guards are down, to implicate the viewers, as was the case in Michael Haneke‘s Funny Games, when the young man (Michael Pitt as Paul) keeps turning back to look straight into the camera to ask if the violence being dished out is enough or would the viewers want more. He doesn’t wait for an answer and as a result, we get a long spectacle of reckless and unnecessary brutality, a startling displays of blood and terror.
However, that is Haneke, provoking and mocking the audience with his darkly satirical horror-thriller, and uses his actors to question Hollywood’s sanitization of violence. Ignoring the “imaginary wall” and addressing the audience directly, whether it is through expressing inner thoughts, acknowledging they’re in a film or venting to the camera (and in turn, the audience). And it is done so well that we sometimes want our favorite characters to follow suit; I’m not saying that all films should ignore the intentionally set sacred partition, the retainer, which encapsulates the films and the narrative, the philosophy and construction of such films is very different and this particular convention will not work. And that is all very well since the philosophy and functionality of making a film, which draws in the audience rather than reaching out to them is an art whose age-old practice has now been evolved and the majority of films are successful and invoke similar reaction(s) within the audience without crossing the imaginary line. Some would argue that the 4th wall break is not proper filmmaking and that the audience should be just that, spectators, and not part of the film. Yes, films implicate its viewers and the methods to achieve that have been mastered since the inception of movies. Additionally, to keep the audience mesmerized without getting distracted (even if by an actor) is an undertaking that only a select few can accomplish.
Speaking of the breaking of the 4th wall, sometimes it is done to comment on details of a relationship, like how Woody Allen does in Hall (a film that won four Oscars – this is to imply that the 4th wall break is not exclusive to nonserious, forgettable films. For instance, Patrick Bateman is always thinking out loud to give the audience a chance at understanding his maniacal character. Canadian filmmaker Mary Harron, lets her audience an opportunity to an experience, like perhaps what she had after reading the novel by Bret Easton Ellis. And Fincher made sure that whenever any of the leads spoke, they looked into the camera, ending in Norton and Pitt holding our hands and taking us along for a vicious, vehement rampage. In High Fidelity Stephen Frears has Rob Gordon say goodbye to the viewers in the now-famous sequence, telling the audience the top five things he misses about Laura but spares us the parts that drive him crazy, getting the audience to take sides since he is a gentleman and won’t speak ill for a woman. In Kiss Kiss Bang Bang, Shane Black gives Tony Stark an opportunity to wrap up the murder case, the way Robert Downey Jr. would, fully engaging the audience while Bruce Wayne (Val Kilmer)’s personality is not the type where he would resort to or adhere to such dissidence, his nurturing and conditioning is such (and also the reason for his decline), although he does apologies for the using the F-word too damn many times.
For instance, Patrick Bateman is always thinking out loud to give the audience a chance at understanding his maniacal character. Canadian filmmaker Mary Harron, lets her audience an opportunity like perhaps what she had after reading the novel by Bret Easton Ellis. And Fincher made sure that whenever any of the leads spoke, they looked into the camera, ending in Norton and Pitt holding our hands and taking us along for a vicious, vehement rampage. In High Fidelity Stephen Frears has Rob Gordon say goodbye to the viewers in the now famous sequence, telling the audience the top five things he misses about Laura but spares us the parts that drive him crazy, getting the audience to take sides since he is a gentleman and won’t speak ill for a woman. In Kiss Kiss Bang Bang, Shane Black gives Tony Stark an opportunity to wrap up the murder case, the way Robert Downey Jr. would, fully engaging the audience while Bruce Wayne (Val Kilmer)’s personality is not the type where he would resort to or adhere to such dissidence, his nurturing and conditioning is such (and also the reason for his decline), although he does apologies for the using the F-word too damn many times.
Point being, ignoring the imaginary wall, implicating the audience, drawing direct attention to their film, or to a specific scene it for dramatic or comic effect; this solicitation to the on-screen dramaturgy performance conventions is metatheatrical.
Take for instance the pantomime and children’s theatre, where audience engagement is a quintessential part of the play/drama (When you’re happy and you know, the audience completes the rest). The acceptance of the transparency of the fourth wall is part of the suspension of disbelief between a work of fiction and an audience, allowing them to enjoy the fiction as though they were observing real events. However, everyone does not approve of such a practice during the making of a film. It can all go South and make the audience uneasy and interrupt the screen story if the timing is even slightly off – nonetheless, and luckily like The Truman Show, a plot contrivance for the Deadpool films is the breaking of the wall.
The concept is usually attributed to the philosopher, critic, and dramatist Denis Diderot, and the term itself was first used by actor, playwright, writer, poet, Jean-Baptiste Poquelin, stage name: Molière. Here the procedure/convention is put into effect for the temporary suspension of the convention, thus drawing attention to its use in the rest of the performance, like how Deadpool calls Cable, Thanos: convincing people they are watching something real requires hypnosis, and when the wall breaks, the filmmaker calls attention to this hypnosis.
This was basically to tell the audience that he knows that Infinity War and Endgame were two of the biggest events of 2018-19 (breaking the trance), he knows Thanos is played by Brolin and calls him by his Endgame name, giving us a good idea of ‘how’ suspension of disbelief the convention works, leaving the audience members either speechless or rolling with laughter. It worked like a time-piece when the audience was directly confronted repeatedly throughout the film, where director David Leitch (Atomic Blonde, 2017) even let Reynold‘s improvise most of his scenes and decided to keep some of the bloopers in the final cut; all of it culminating to the realism and naturalism of the 19th-century theater. The “proscenium“, which divides, is not just broken but smashed like glass in Deadpool films, knowing well that though, the fourth wall is a theatrical convention, rather than of set design. The actors ignore the audience, focus their attention exclusively on the dramatic world, and remain absorbed in its fiction; this phenomenon is called public solitude, like what happens in The Truman Show, 1998, a film by Peter Weir (Dead Poets Society, 1989). The fourth wall exists, its presence is felt only when an actor breaks it, to shorten the proximity to the audience, and at the same time, a character holds a pantomime conversation with the audience. Like how it was in the Nutty Professor, 1963 when Jerry Lewis and co-star Stella Stevens each look directly into the camera several times, and The Disorderly Orderly, 1964. In the order of narrative fiction, where the use of predefined metafiction in that the experience is not communal but personal to the reader and develops a self-consciousness within the character/reader relationship that works to build trust and expand thought.
And you thought Reynolds talking to us and visiting infant Hitler, was all fun and games. It very well may be the case, but it is mainly to draw direct attention to it for dramatic or comic effect, with the intention of increasing the satiric tone of the show. This warrants careful treading as a big decision can be wasted with the wall as the narrative evidently becomes self-aware. This is film-evolution in so many ways and Deadpool is the proverbial film for fourth-wall breaking. The other characters don’t react when Reynolds crosses the line (proscenium). It’s just us, the keen viewers, and Wade Wilson. It’s private, intimate, a connection is being established to stabilize the tone of the rest of the film or the meta-gags in the case of this film. Plus the charm it adds to the character is a bonus and we keep going back to it, enchanted, to watch the jolly lampooning.
DP2 is a unique film. Unique in its misgivings, its ultra-violence, almost Manga-like violence, the kind Tarantino used in Kill Bill to save it from an X-rating, the kind Oliver Stone used in Natural Born Killers to dodge the unholy ‘X’ (oh how times have changed to an R – the damn superhero team is called the X-Force, like the X-Men by Mr. Poolside Parties with young men, Mr. (sic) Keiser Soze); the references made to some 200 films, the fourth wall break within a fourth wall break, the seamlessly (seemingly) executed sauna action sequence, the hyper-violence, the wink and plenty of nods, the return of Freddy Krueger Face with an avocado, the shamelessly bad-taste-funny Bond-like opening credits, the opening credit roll itself, the fantastic bonus after bonus when the film has ended, ancient Germany… Holy Baby J… This is one unique film. It reminded this pilgrim of The Mask, 1994 during the towel brawl (yes, there’s a seriously violent towel brawl in this film), and then it was Reynold’s butt aalll over the place.
Deadpool 2 is an emotionally involving film that does not lose the ability to raise sharp satiric questions and also gets numerous laughs, working beautifully within standard industry norms. The film takes the comic adaptation genre to new levels of visual style, bloody violence, being thoroughly outrageous, and the gleeful profanity. With the violence being clearly fantastical, and still being taken quasi-seriously is something that David Leitch (and before him, Tim Miller) should be proud of.
How many times did I use the word violent? Damn homey, I’m getting har… Desensitised. the film at once embraces and satirizes contemporary action-film clichés with Tarantino-esque self-regard.
Goodness… Did you see the legs growing back… WTF??? The mini-me hand from part 1 was hilarious, this one just does these things, of the lunatic flurries variety, with the envelope, not just push it or anything. Deadpool 2 is a delightfully dynamic film where the comedy-of-manners and dry humor plays seamlessly amid scenes of stylized, off-camera mayhem, which can sometimes get outta hands and get highly offensive and morally reprehensible, as noted earlier.
“Hey, John Conner…”
“The guy with the Winter Soldier Arm”
“Come with me or there will be trouble”
An Indian song by Udit Narayan and A. R. Rahman playing in the cab… The inclusion of which was again, suspending belief. Just like how AR Rahman‘s track Chaiyya Chaiyya from Dil Se, 1998, which was used as opening credits for the film Inside Man, 2006. I was certain that I had obtained a bootleg copy and that the opening sequence was all wrong, turns out, Spike Lee, while teaching at a film school, was introduced to the song by a student and he incorporated the song although with a specific and distinct orchestral arrangement.
I mean, this film is already at a place where others struggle to be, sequel after sequel. DP2 was here back in 2016. Both films are perfectly-paced, ultra-violent cinematic rush. This is a comic book adaption singled out for its audacity, humor, and Reynold’s performance, supported by an equally skilled cast.
[Sic] the first movie is a love story masquerading as a comic-book movie, and this one is kind of a family film masquerading as a comic-book film again.– Ryan Reynolds
Plus, Reynolds is obsessed with Mel Gibson and the money DP1 made. Always a tiny distance between the two gloved fingers, juuust a tiny difference and we have a Red Jesus, then a grey Jesus. Then Domino calls the name “X-Force” derivative… Will they ever stop? I found asking myself this but I knew what the answer was.
The team has learned and taken a lot from the first Deadpool film, and consequently, this one feels better than the first one, funnier and more consistent with a prominent style of ultra-violence; even when the film transgresses it does so in an immutable law of physics way. The false boundaries around the character are there to keep the rage and sadism in check and for the various plot flurries to work, even where there is harsh criticism, calling it “a predictable tennis-ball launcher of one-liners” and with no sense of humor. Now that complaint can only stem from sources familiar and comfortable with conventional filmmaking.
Wade Wilson running towards the baddy’s car in rain and throwing him out the passenger door has to be one of the best scenes out there. That and putting a bullet into a younger self, in 2011; a time when The Green Lantern was released.
“You’re welcome Canada”
“That’s just lazy writing”
“Pool sir, I’m your Kirsten Dunst“.
The introduction of new characters (Cable, Juggernaut, etc.), the magnificently choreographed action, the one-liners, the fantastical pseudo-sex appeal of the Alpha Male in stilletos the fourth wall and a sledge hammer, and above all, Reynold’s comic-timing and pop-cultural references and then some; all of it comes together to make Deadpool 2 a must watch.
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