A Comedy Film That Came With a Shock
When Miss March was released in 2009, it was not simply dubbed another teenage sex farce. Leading up to it, the talk about the movie was mostly focused on the shocking concept: a boy wakes from a coma to find out that his high school sweetheart is now a centerfold. With the trailers that were released, one could tell, it would include busty women, road trip trouble, a side of crude humor, and a mixture of romance that one would not easily forget. For followers of the comedy couple, Trevor Moore and Zach Cregger, especially, the duo was known for The Whitest Kids U’ Know, this movie would be the beginning of their takeover in Hollywood and the followers were ready for something that was not in the early-bird shocker of the book.
The audience, mostly in the college demographic, were anticipating the movie to be riskier than most. The trailers for the movie that displayed cameos, such as Hugh Hefner and bordering on the obscene humor, was the trailer for the movie that caught the most attention. Miss March at a glance was a comical movie that everyone could appreciate, but at its center was a comment to the world about the people that created it.
More Than Just a Road Trip
The movie centers around Eugene (Zach Cregger), a young man who is brought up with abstinence values. One the night of the prom, a bizarre accident occurs that puts Eugene into a comatose state. Four years later, he comes to and the world has changed quite a bit. His girlfriend Cindi (Raquel Alessi) is now what he considers a “Playboy” and his best friend Tucker (Trevor Moore) brings him to go on a wild road trip to the Playboy Mansion.
At first glance, the movie appears to be a very vulgar interpretation of a coming of age film. The coma still can be viewed as a device in the simplest terms, it symbolized Eugene’s lack of facing the reality of life. He does manage to bypass, the as we have discussed, the highlights of life that the majority of the teen movies focus on. The world that Eugene is living in has changed tremendously, and would regard the issues to be sensitive. Cindi the one who has transformed to the erotic Playboy figure, does so as a self representation and the discovery of self, even if it is in a very distorted manner.
In the context of the the film, it has very little to do with sex, and instead focuses on the awkward detachment of young fantasies with the truth. Eugene in the film, embodies the real world with all of its mess as seen by a young adult and all the discomfort that comes with it, having a worldview constructed by other people.
The Relationship Between Comedy and Its Creators
Trevor Moore and Zach Cregger did not only perform in the movie; they also wrote and directed it. Both were successful sketch comedians transitioning from cult television to feature filmmaking. Their style of comedy incorporated absurdism and satire; in the case of Moore and Cregger’s film Miss March, although it leaned toward raunchy humor, one could still feel their distinct touch through the gross-out gags.
To Moore, who equally mastered the art of punchlines and dark humor, most of his energetic chaos went to Tucker—a reckless friend whose loyalty is accompanied by a sense of danger. Tucker is more than just comic relief; he encapsulates a cornerstone of adolescent life—the reckless, chaotic, unrestrained, and ever-growing side of it. Cregger’s portrayal of Eugene was in sharp contrast to Moore’s Tucker. Moore’s wildness was edged by Cregger’s wide-eyed, innocent persona, which positioned him as the more serious counterpart to the chaotic one. Their synchrony is a depiction of the real life creative balance the two shared which has been translated to a narrative for the screen.
The Build-Up and the Letdown
In the case in Miss March, the movie was advertised alongside having Hugh Hefner in it, and the whole Playboy thing associated with it. Hugh played himself in the movie, and the way he was marketed and showcased in posters and exhibitions spoke a lot about the authenticity of the whole thing to the fans of the magazine. It was kind of a strange and bizarre endorsement of the film from the Playboy brand. The promise of coming and shocking in your face surprises got the college crowd buzzed in anticipation, thinking that this would be the next hit to top American Pie or Superbad.
The moment this film was released, the movie which was targeted towards teens was the center of negative reviews which all agreed the film lacked the ability to notice the deeper themes in the movie. The fans of The Whitest Kids U’ Know were obviously divided into groups, where one of them enjoyed seeing them in a movie while the other one felt that the sharpness did not translate well to a movie. In the box office, the movie was a total failure and suffered greatly because it was the time when other comedies were released.
Fans of Miss March started to view this movie as one of the classics that dominated the comedy genre, particularly in the late 2000s, and did not shy away from the absurd, which was a pretty noble thing to do.
Absurdity’s Hidden Meanings
Though the gags captured attention because they were shocking, a number of different elements in Miss March had multiple significances. The road trip, for example, serves as a lasting metaphor of the friendship that has borne chaos. Though Eugene and Tucker are in constant conflict, they are still tethered by loyalty. This reflects Moore and Cregger’s partnership that withstood creative conflicts and the burdens of their first major studio film.
Cindi’s Playboy makeover is a puzzlement because it is described as a shallow narrative twist. Aside from that, it can also be interpreted as a criticism of women’s agency in a patriarchal microcosm. Although comical, the fact that she is willing to change reinforces the fact that Eugene is far too controlling and, in stark contrast to Cindi, is far too closed-minded. Thus, their love is something that Eugene must learn to change. It is not something that can be controlled.
Even Hefner’s cameo appearance is a strange, but rather pleasant, “mentor figure” as he plays it in a unexpectedly very nice way. His inclusion the the film resets the Playboy mansion from a simply sexual joke backdrop to a liberating, and paradoxically, a male fantasy culture symbol.
What Occurred in Unseen Moments in the Undertaking of Film Making
Producing the film Miss March came with its challenges. In regards to the film, Moore and Cregger have spoken about how difficult it was to shift from only doing sketches to doing an entire film. Jokes had to be constructed with an entirely different rhythm since the film was over 90 minutes and also, the studio system came with pressures that were the total opposite of what the two were used to. There came stories of the constant alterations made with the production schedule and also the multitude of times the filming was ‘done’, as the purpose of the filming was to try and find a way to balance the main pair’s abstract and the marketable teen-comedy.
Some of the changes also came with the cast. Earlier drafts had entirely different ideas with how Raquel Alessi’s character was supposed to interact with the rest of the main cast. It is said that his cameo with Hugh Hefner was the film’s only joy as it was documented that most of the other parts were unscripted.
These changes were said to be the most thrilling and disillusioning in the sense that – it was said that they were the most exciting and losing simultaneously. Over time, they came to realize that the film’s reviews were very ill. There are two sides to this – insiders said that the reviews made the cast retreat to television and less popular projects, while the other side said that the reviews were what made them realize that they needed to put more thought into their future projects.
It is not often discussed, but there is a legacy to Miss March that is fascinating.
It may not be recognized by many, but Miss March takes a specific, albeit odd, niche in the history of comedy. Although sketch comedians began to value their voices, Miss March captures the paradox of comedians being brought to Hollywood and losing their voice to the studio’s everything approach. Creatively, the work may have been rough, but the film does show the charm of Moore and Cregger attempting to change the narrative.
With hindsight, the film’s themes of a stunted coming of age, the tension between the real and the imaginary, and the durability of friendship touch more salient chords than the reviewers seemed to appreciate. It is important to know that the film’s creators and main comedians had a legacy to live up to, and no matter how one feels about the film, one cannot deny that Miss March is pure, unadulterated art.
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