Does Ghostbusters sit atop the pantheon of comedy…? “Well that’s what I heard!”
Forty years ago, on June 8th 1984, this paragon of cinema was released, and a cultural phenomenon like few others was unleashed. From the costumes and characters, to the theme music and visual effects, it immediately struck a chord with audiences. It encompasses everything that’s entertaining about the film going experience. Its worldwide gross was several hundred million dollars, quickly spawning a franchise which makes that number seem quaint.
So how’d it accomplish such a prestigious feat? Let’s be honest, one needn’t be a keymaster to decipher the overall premise: A group of friends start a paranormal investigative business after being fired from their research jobs at a New York university. However, it’s the Marianas Trench of depth compared to would-be imitators (even its own sequels) that continues to make it so incredibly resonant.
As quotable as any (it takes one’s full reserve of will power for many of us not to respond “They go up” when asked where any particular staircase leads), its plethora of one liners and witty banter soon became ubiquitous. All the more impressive was that this incredible attribute was not reserved merely for the main cast. The periphery characters all have their own distinct characterization, quirks, and offer much, much more than simply espousing the virtues of mineral water.
The leads are all perfectly cast and feed off each other with impeccable rhythm and timing. We get to know all of these people, and their relationships with one another. Their day to day struggles (who doesn’t bemoan bureaucracy…) and triumphs on their rise to NYC celebrity status as more and more paranormal incidents occur.
This story weaves a seamless mix of so many elements that asking someone to qualify its genre is like attempting to guess what pattern is on the opposite side of a card. Directed by Ivan Reitman, (just part of its Canadian contingent), it’s a flawless blend, comprised of buddy comedy, horror and action elements, melded together like no other. This added not only to its mass appeal, but allowed the narrative to utilize all these facets have to offer in expertly crafting premise specific jokes and plot lines.
It does so in a script that encompasses any number of screenwriting techniques at the highest level. While I may be biased as a screenwriter, the craft exemplified here is unheralded often because of its horror/comedy nature. We tend to overlook just how difficult this task is, in particular with genre films, but the painstaking work of good writing makes it flow with such ease, the true genius so omnipresent, it’s taken for granted.
With a screenplay credited to Dan Akroyd, Harold Ramis and Rick Moranis, Aykroyd brought much of his own personal interest in the occult, stemming from his family’s history with it. These three brilliant comedy minds wove a story that runs the gamut of emotions while extolling the virtues of their characters (good and bad) as individuals, ones that will live forever in film lore.
They created real stakes to help the audience invest in their plight, with the character Ray (Aykroyd) risking the house his parents left him if their business should fail. The threat of being shut down by the EPA, to the more serious threat that the antagonist Gozer (Slavitza Jovan) poses on their lives, at every turn our heroes are challenged by obstacles.
Like any worthy narrative, it’s the plot, pacing and arc of the story and characters that both resonates and creates memorable moments, which it scares up in spades. Peter Venkman’s (Bill Murray – but if you didn’t know that, I sincerely doubt you’ve read this far) arc specifically is one that’s greatly underappreciated (or at least not mentioned as often as it should be in film discourse).
Every aspect of Venkman’s arc is impeccably crafted. From trying to pick up college girls and being described by potential suitor Dana (the excellent Sigourney Weaver) as a “game show host”, to a man who is willing to sacrifice himself to save the city, (apologies to Mr. Stay Puft) his journey captures us from the get go. His wit and humour draws us in, but ultimately, despite the title and horror archetypes, the focus becomes what a good heart he has, and that’s what’s truly at the core of the film. It’s about a guy trying to prove his worth, not only to the world and possible love interest, but as much to himself. (“Pete Venkman’s a guy who can get things done!”).
When we start they’re in academia, and while not exactly floundering, Peter in particular seems to have little sense of direction or purpose other than to pursue what amuses him. As the Dean suggests, he views science as a sort of ‘ruse’ and given his comedic nature isn’t someone we view as particularly serious. When they start the business he’s convinced they’ll hit it rich, and is seemingly enticed merely by this financial opportunity. By the end however, he’s grown immensely, as does one’s opinion of him.
His cohorts, from the irrepressible Ray, to the eccentric Egon (Ramis), and the pragmatic Winston (Ernie Hudson) who serves as almost an audience surrogate, an outsider who joins this group later on, a regular guy simply looking for a steady job, to whom much exposition is relayed (that is indeed a big Twinkie). They all serve to bring their own distinct rational and humour to the story. These men have a deep and abiding friendship that is essential to the audience investing in them along the way.
Suffice to say this film (and subsequent cartoons) were incredibly formative growing up, and like many from my generation, it will always hold a special place so I’d like to thank Dakota for allowing me to wax poetic about it.
Years back IGN voted it its number one comedy of all time (and who am I to argue?) though as with any film, it’s subjective, so one’s mileage will vary. However, one thing that’s irrefutable: when it comes to comedy classics… “We got one!”
