Fred: “Sure. I liked the teasers for ‘Get Smart,’ but the trailer’s cartoon violence humour turned me off. Oh look. Here’s Smart harpooning himself. Oh look. Here’s a guy getting a piece of paper stapled to his head. This is humour? People getting hurt is funny?”

Erik: “That’s a good point. In the film’s defense, though, I’d say that the bulk of the film’s jokes doesn’t consist of violence inflicted or self-inflicted.”

Fred: “That doesn’t make it right.”

Erik: “No, and I’m not saying that it does. But I think you’re overlooking one of the film’s many surprises. In that particular scene, the characters don’t gloss over the fact that somebody got stapled in the head. The joke isn’t divorced from the movie’s reality – the characters’ awareness – and played strictly for the audience’s benefit like it would be in a spoof movie.”

Fred: “And ‘Get Smart,’ while obviously satirizing the spy genre like the original series, isn’t a spoof movie like ‘Naked Gun’ or those ‘Scary Movies.’”

Erik: “Exactly. It’s a comedy, not a festival of lame gags that requires a constant IV drip of alcohol to enjoy. There are some really hilarious situation gags, some not-so-subtle…”

Fred: “But funny…”

Erik: “…but funny digs at the current President – not enough to be overbearing, though. And to go back to the cartoon violence, it certainly doesn’t reach ‘Home Alone’ proportions. Most of the time, it’s just because Maxwell Smart is a bit clumsy and unlucky, and therefore accident-prone, more than the result of actual violence inflicted by one character on another.”

Fred: “Hmm. Maybe. You know, I really liked what they did with Smart in the movie. From the get-go, I thought Steve Carrell was an inspired choice to play the role, not mimicking Don Adams but putting his own distinctive style on the character.”

Erik: “They actually reconceived Smart rather nicely: smart and generally competent, but also inexperienced, accident-prone, and rather prone to making things a bit more complicated than necessary.”




Fred: “Exactly. He’s not a buffoonish Johnny English or Inspector Clouseau kind of character, bumbling around and achieving success through sheer dumb luck.”

Erik: “Don Adams’ version of Smart had that element, though”

Fred: “Yes, but I think there was potential for more than that, and this film capitalizes on it. The fact that he isn’t an idiot makes everything from the plot to the romance with Agent 99 all the easier to go along with, and gives a bit of weight to some rather spiffy action scenes.”

Erik: “I enjoyed the action. That parachuting sequence was clever, the climactic confrontation was exciting. And the developing romance with Agent 99 was solid. Anne Hathaway has fun with her role. And I liked how the film actually builds a relationship between Smart and 99 in a credible way. Well, insofar as it’s possible to be credible in an action-comedy film.”

Fred: “That’s true. 99, like us, is gradually surprised by what Smart is capable of. Hathaway does very well in starting out with skepticism, even contempt towards Smart, but gradually letting all of that melt away. Like her, we steadily lose sight of the clumsy, inexperienced rookie and see someone who isn’t so hapless after all. And with some nice bonding moments thrown in, we do get a nice sense that these are people who are actually getting to know each other. They’re not simply thrown into the love.”

Erik: “That brings me to one of my favourite scenes in the movie…”

Fred: “Don’t spoil it!”

Erik: “…when Smart gets into a competition with 99 while infiltrating a bad guy’s lair. There’s a bit of romantic tension – Smart is a little jealous –in Smart’s choice to try to one-up 99. But the most pleasant surprise comes in how Smart carries out his plan to make an impression on 99. Without giving it away, it’s like Smart choosing the kid who is always last to be picked for a team, and getting a home run out of it. A victory for character types who are often the butt of jokes.”

Fred: “It’s a scene that really accomplishes a lot thanks to good performances, unobtrusive writing and Peter Segal’s direction. And it adds a nice quality to Smart’s character, a decency not unlike that of Ben Stiller’s character in ‘Night at the Museum.’”

Erik: “Smart’s a nice guy. Very likeable. And Carrell really gets it. I like a movie with humour and charm that comes from something other than anger and sarcasm. It’s just light, silly fun.”

Fred: “And who can forget the Hymie cameo? Perfect casting.”

Erik: “Oh, yes, Hymie. Straight from the series, with a bit of freshening up.”




Fred: “Do you think it was trying too hard, you know, with all the catchphrases and references to the original series?”

Erik: “I don’t think so. In fact, I thought the screenwriters did well in using the classic elements that defined the original series, albeit an updated context. This is ‘Get Smart’ for the 21st century. But maybe a little perspective is in order. This isn’t…”

Fred: “Oh, is this the usual film critic’s disclaimer about movies that are good fun but aren’t ‘great’ and ‘serious’ Cinema?”

Erik: “Yup. Let’s face it: The plot is strictly run-of-the-mill, even a bit muddled, and not all the jokes hit their marks – although how often does any comedy achieve perfect aim? But despite all that, despite even the occasional questionable violent humour, ‘Get Smart’ is, on the whole, good fun. It’s not supposed to be a great film, just an entertaining one. And frankly, I'm amazed at how much I enjoyed it. Adrenaline and laughs, old buddy. Adrenaline and laughs.”