AfterElton.com - Gay Driver Laps Stereotypes in Talladega Nights (page 2)

Gay Driver Laps Stereotypes in Talladega Nights (page 2)
by Karman Kregloe, August 4, 2006

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As Bobby's arch-nemesis, Jean Girard truly is superior in every way; he's smarter, stronger, more cultured and a better driver. The filmmakers satirize the conservative stereotype of the "gay elite" by including shots of Jean (who is sponsored by Perrier) sipping a macchiato, listening to classical music, and reading Camus's L'Etranger all while driving in a race. His cultured tastes, French citizenship, and homosexuality intertwine to create a portrait of the anti-Ricky Bobby (in other words, the un-American "winning machine").

But Girard is never treated to gay slurs or anti-gay violence in the film, and his is the life of sophistication and wealth that is envied by the other characters. Ricky's eventual fall from grace does come at the hands of Jean Girard, but the Frenchman also plays a pivotal role in Ricky's triumphant return.

Girard never positions himself as "other" in comparison to the heterosexual characters, and, if anything, considers himself their superior. Girard isn't de-sexualized either, making obvious references to his sexuality and more than one pass at Ricky (who rejects the advances without incident or homophobia). In fact, the shocking end-sequence of the film is centered squarely on Girard's gayness in an extremely positive--and extremely funny--way.

At a recent press junket, Ferrell and director Adam McKay (who co-wrote the film) told reporters that Talladega Nights is the second in their "Mediocre American Man" trilogy (the first being Anchorman). That concept is described by Ferrell as referring to "people who think they're great who are not. Who are far from it." Ferrell added, "There's something really humorous about unearned confidence that makes us laugh. That feels like something we'll always go back to."

Both the subtext of mediocrity and Ferrell's characterization of Ricky Bobby as an inexplicably confident redneck who struts about heralding his dominance invoke the spirit of George W. Bush--a connection that is only exacerbated by Ferrell's likeness to him. (Ferrell used to play Bush on Saturday Night Live.)

While it's unlikely that Ferrell would ever cop to the Bobby/Bush connection, it's worth noting that he recently appeared on The Daily Show and cheekily declared that Jon Stewart was "single-handedly saving our democracy through his show." He added, "I looked in the dictionary, and under the word 'patriot', guess whose picture I saw? Jon Stewart's!"

The comments were delivered with Ferrell's typical sarcastic hyperbole, but they could just as easily be perceived without irony. In fact, the same could be said of Talladega Nights.

With its showy racing sequences and Ricky's heartfelt speeches about what it takes to be "a winner", Talladega Nights could ostensibly be viewed as an affectionate homage to conventional, conservative America. But audiences who go to see that film will have to contend with the unexpected characterization of Jean Girard as a powerful champion who isn't punished for being gay.

A good indicator of successful satire is when its target doesn't get the joke. Sacha Baron Cohen masters this regularly on Da Ali G Show, as do the "reporters" on The Daily Show, and, most impressively, Stephen Colbert at a recent White House Correspondents Dinner. But making a satiric, feature-length film that mocks red state middle America and then marketing the film to them is a bold gesture indeed. The box-office returns for Talladega Nights will determine the success of having taken such a risk.

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