A Futile and Stupid Gesture
In the 1970s and '80s, National Lampoon's success and influence creates a new media empire overseen in part by the brilliant and troubled Douglas Kenney. An old version of humorist Douglas Kenney tell…
A Futile and Stupid Gesture
In the 1970s and '80s, National Lampoon's success and influence creates a new media empire overseen in part by the brilliant and troubled Douglas Kenney. An old version of humorist Douglas Kenney tells the story of how he and Henry Beard parleyed their success in their campus magazine, Harvard Lampoon, into the commercial magazine, National Lampoon. Drawing upon their checkered lives and an aggressively puckish sense of humor, the pair created a publication that would redefine American comedy with outrageous drollery that grabbed the zeitgeist of the decade that expanded across various media. Unfortunately, for all his success, Doug Kenney with his overhanging insecurities, ego and irresponsible appetites began to consume him until he alienates everyone who ever cared and supported him even as they imitated him. In the end, this iconoclastic funnyman would come to a tragedy that comes when your comedy doesn't have enough distance. —Kenneth Chisholm (kchishol@rogers.com)
A Futile and Stupid Gesture
Biography,Comedy
Film Details
In the 1970s and '80s, National Lampoon's success and influence creates a new media empire overseen in part by the brilliant and troubled Douglas Kenney. An old version of humorist Douglas Kenney tells the story of how he and Henry Beard parleyed their success in their campus magazine, Harvard Lampoon, into the commercial magazine, National Lampoon. Drawing upon their checkered lives and an aggressively puckish sense of humor, the pair created a publication that would redefine American comedy with outrageous drollery that grabbed the zeitgeist of the decade that expanded across various media.
Unfortunately, for all his success, Doug Kenney with his overhanging insecurities, ego and irresponsible appetites began to consume him until he alienates everyone who ever cared and supported him even as they imitated him. In the end, this iconoclastic funnyman would come to a tragedy that comes when your comedy doesn't have enough distance. —Kenneth Chisholm (kchishol@rogers.com).