Martin's style is a pie in the faces of Lenny Bruce, Dick Gregory, Mort Sahl and all the iconoclastic comics who dominated the stand-up scene in the '60s and whose legacy has been passed down to most of today's best comedians. Now, the prevailing style is less political, but it retains an ethnic edge and an outsider's perspective. Woody Allen mines a mother lode of anxiety and insecurity, pleading the case for the little guy. Lily Tomlin urges that attention be paid to society's outcasts. Richard Pryor spins complex tales of survival in the ghetto.
All Steve Martin asks is that everyone have a good time. His approach is a throwback to vaudeville, slapstick and the comedy of his childhood idols, Red Skelton and Jerry Lewis, but it is flecked with a '70s penchant for self-parody. Along with Chevy Chase and Martin Mull …, Martin is part of a counter-revolution in American comedy: white and middle-class in appearance, mock arrogant in posture and unthreatening in its message. His act, which he writes himself, speaks to an audience raised on television and sophisticated about show-business affectations. Martin shapes his parodies with the gentle affection one might expect from a comedian who got his start at Disneyland. He has a sharp eye for human foibles, but he turns his insights into comic bits so absurd that only a fool would take offense….
This is a free excerpt of 229 words. There are 412 words (approx.
1 page at 300 words per page) in the full critical essay.
Read the rest of this Criticism with our Martin, Steve 1945?–: Critical Essay by Tony Schwartz Access Pass.
