'Good Fortune's' Charm Ascends its Comedy
Is the American dream dead? According to Aziz Ansari, it is. There's a lot of good spirit in Good Fortune, which is unfortunately missing from many modern comedies. Rather than punching down at the impoverished, writer/director/star Aziz Ansari punches up at the rich, without demonizing anyone in his film. Ansari's film provides a sense of optimism that the world could use more of. Yes, the American dream seems dead, but we can still make at least one of our dreams come true if we can find purpose in life to motivate us.
Good Fortune is an ironic title about the unfortunate. Those living paycheck to paycheck often struggle because mortgage, rent, car insurance, and taxes are too high, making life unaffordable for individuals who are undereducated and struggling financially. The jabs at the rich work, especially since they're not mean-spirited. Ansari doesn't come off like an angsty individual spewing his frustration on the keyboard. The movie could have easily been set on a boat or an island where the rich people tear each other apart. Instead, Ansari goes for a life swap picture where the rich guy lives the life of a poor guy, while the poor guy gets to live like a rich guy.
The film is like an updated version of Trading Places mixed with It's A Wonderful Life. You have the story of an impoverished man of color who meets a wealthy white dude, is hired by him, then gets let go. When inadvertently offered a chance of revenge against his employer, Jeff (Seth Rogan) Arj (Aziz Ansari) takes it. The man who gives Arj a chance at a luxurious life is Gabriel (Keanu Reeves), a guardian angel who's a lot like Clarence from It's a Wonderful Life. Gabriel's job is to stop people from crashing when they're texting and driving. The menial task of tapping people on the shoulder before they hit another car is about as challenging as packing boxes. To grow his wings, Gabriel seeks to guide a lost soul.
Good Fortune reaches its funniest moments when it plays like a failed Wonderful Life. When Gabe shows Arj how his life is worth living despite sleeping in his car, Gabriel fails miserably. Later, Gabriel becomes human, playing the role of the fish out of water. Gabriel has never tasted food, danced, or had sex. By learning the joys of life, Gabriel also learns the pain of it. Where Gabe used to be an enthusiastic go-getter, he becomes a lost soul like Arj, scrubbing dishes for money, and chain-smoking to deal with stress.
The film successfully subverts expectations, which is consistent with the plot. The movie plays like a straight comedy with intentionally bad design on the angel's wings, yet it also has a sense of realism that works rather well for the humor. It's asking, what would it really be like if a poor person were shown their unfortunate future? It wouldn't make them embrace their lives a lot. Nobody wants to spend their remaining years as a DoorDasher or Amazon delivery driver. If given a chance to live a more materialistic life, would you take it? Anyone would unless they’re Gandhi. Heck, even Gandhi would say, "forget this hut. I want a mansion to meditate in." It's a realistic portrayal of the disappointments we face, while also discovering joy in the little things that keep us going.
The casting of Keanu Reeves is a slam dunk. Reeves is hailed for his saintly kindness, so it makes sense to cast him as an angel. By far, Keanu is the funniest part of the movie. He exemplifies a child-like curiosity that glistens on screen. Secondly, Reeves plays the material straight, making us laugh even more since he doesn't perform like he knows he's in a comedy. In contrast, Aziz Ansari's acting is not very good.
Ansari knows he's making a comedy, so he emphasizes every single line to play up the genre. Seth Rogan plays himself. A likeable person with a fun sense of humor. We like Rogan's character until we find out he's not a cool, rich guy, but rather an oppressive, nepo baby who's disconnected from the world around him. The film's love interest, Elana (Keke Palmer), is okay, but is more of a filler role than a standout in the story.
Many filmmakers have made some incredible comedies this year. Yet, they're mostly dark, leaving us feeling more depressed than uplifted. During a time of great division, Good Fortune thrives for unity. There are some great laughs poking fun at our addiction to technology, disruptive YouTube ads, and our loss of hope. Underneath all the film's cutesyness lies a critique of how broken Capitalism is.
The messaging is heavy-handed, but it gets a pass for being so charming. The film wraps up far too conveniently in the end, where Arj makes a strong decision that lacks solid backing. It's merely done so the film can conclude. Aside from Ansari's mildly annoying performance and a weak ending, Good Fortune is one of those rare straight broad comedies that delivers on its premise.
