Martin Scorsese's THE KING OF COMEDY is a brutally funny depiction of the dangers of celebrity fandom. Robert De Niro plays the ridiculously inept Rupert Pupkin, an aspiring comic who idolises talk-show host Jerry Langford (Jerry Lewis). Still living at home with his mother, Rupert spends his days trying to arrange a meeting with his hero. When he isn't doing that, he's at home talking to cardboard cutouts in his makeshift television studio. After Rupert convinces Rita (Diahnne Abbot), a pretty bartender, that Langford has invited them to his house outside the city, the reality of the situation makes itself painfully apparent upon arriving at the star's front door. Trouble is, Rupert's too delusional to take the hint. He eventually hatches a plan with an equally obsessed fan, Masha (a scene-stealing Sandra Bernhard), to kidnap Langford in exchange for a chance to let him deliver his routine on the air. De Niro and Lewis deliver scorching performances that are at once tragic and hysterical, making for an unsettling yet highly stimulating viewing experience. Paul D. Zimmerman's script takes the time to truly crawl inside the mind of a lunatic, exposing celebrity worship as the ludicrous problem that it is. THE KING OF COMEDY stands firmly as one of Scorsese's most terrifying films.
Though a box-office failure, this black comedy is now considered by many to be Martin Scorsese's unsung masterpiece. Of all the director's outings with sparring partner Robert De Niro, it's the strangest. He plays Rupert Pupkin, an aspiring stand-up comedian and stalker-in-waiting who dreams of fronting his own TV show, rehearses for this moment of glory in his mother's basement and spends half his life waiting, symbolically, in reception. It's a powerful, complex performance, one that carries the story from farce into tragedy with ease, and keeps us on his side. Jerry Lewis is magnificent as the chilly old pro and chat-show king Jerry Langford, and Scorsese gives us another New York, the cruel but bewitching network TV capital of America. Pupkin's catch phrase remains immortal: Better to be king for a night than schmuck for a lifetime.
Halliwell's Film Guide
Amusing, underplayed farce with a tragic lining: a very convincing picture of the media today.