Billy Madison: I leave the hair silky and smooth!
Oh, really, fool?
Really!
Narrator: There's a reason why
some people find this funny.
Billy: Stop looking at me, swan!
Narrator: And the answer lies
in the genius of Adam Sandler.
If you're a fan of comedy,
chances are you've seen
at least one Adam Sandler movie.
And it's not just because he's made a lot of them.
Whether you love him or you hate him,
Sandler has had a profound impact on the genre.
And until recently, he was one of the most consistent
and reliable comedians working in Hollywood.
His earlier works shaped the '90s
as the golden age of Hollywood comedy
and helped define the genre for years to come.
And although it can be said that
a majority of his films aren't exactly great,
it's hard to argue that Sandler isn't watchable.
In fact, it's what draws us to his films.
Not the story,
but his almost suspiciously charming performances.
The reason behind his charm, I think,
lies in Sandler's distinct on-screen persona.
Of course, every actor has a unique way
in which they portray themselves on screen,
but none are more exaggerated than in the genre of comedy.
From Jim Carrey's physically goofy performances
to Bill Murray's dry, nonchalant wit.
Rita: I studied 19th century French poetry.
Phil: [laughs] What a waste of time.
Narrator: Comedians rely on their signature persona
perhaps more than any other actors.
It's the reason why it's so shocking
to see them in more serious roles
that we're not familiar with.
Adam Sandler is no exception.
Over the years, Sandler has played
almost every conceivable role,
from the son of Satan to an ex-military hairstylist,
but they all share the same personality
that he has honed for ages:
the persona of a child.
Sandler's performance as an irresponsible
and emotionally immature man-child
has more or less become his trademark.
It's a persona that can be traced
all the way back to the beginning of his career
on "Saturday Night Live,"
where he played a famous recurring character
known as Canteen Boy, an innocent and naive scoutmaster
who often became the target of ridicule.
Mr. MacEntire: Hey, Canteen Boy,
shouldn't you ask your mother
before you buy something for the house?
Canteen Boy: Thanks for asking, Mr. MacEntire.
Actually, I've been given carte blanche
to furnish my room as I see fit.
Stan: Wow!
Narrator: It was this character, among many others,
that jump-started Sandler's career
and made him popular among younger audiences,
eventually leading him to his first breakout film,
"Billy Madison" in 1995,
where he played a spoiled, rich man-child
who had to repeat grades one through 12
to prove his maturity and inherit his father's business.
In a lot of ways, "Billy Madison"
was a film made for Adam Sandler,
written by himself and screenwriter Tim Herlihy,
whom Sandler had collaborated with in his years at "SNL."
The two understood the unique charm
and humor of the childlike persona
that Sandler was great at portraying.
And it was their constant collaboration
that led to some of Sandler's best works,
such as "Happy Gilmore," "The Wedding Singer,"
"The Waterboy," and "Big Daddy."
But the genius of Sandler's performance
is not his man-child persona alone.
After all, he's not the only modern comedian
to consistently play this type of character.
It's also his unique ability of portraying innocence.
And to understand it,
we have to go all the way back to where comedy began.
The history of using a childlike persona for comedic effect
is as long as the history of comedy in film.
The king of comedy, Charlie Chaplin,
understood that a certain amount of empathy
was necessary to achieve good comedy.
It's why his films often dealt with real-world problems
and issues relevant to his time.
Chaplin understood that while laughing
at someone experiencing a series of misfortune
might be sadistic, there is comedy in watching it happen
to someone who doesn't quite see
or comprehend it as tragedy.
This is what made his persona of The Tramp
so popular and timeless.
It showed that tragedy can be interpreted as comedy,
depending on the angle from which we view it.
It's the same philosophy
that makes Sandler's performances so charming.
The ridiculous situations that Sandler's characters
find themselves in more often than not
stem from real-life problems,
like his grandmother's eviction notice in "Happy Gilmore"
or the abandonment of a child in "Big Daddy,"
which, by the way, was clearly inspired
by Chaplin's debut feature, "The Kid."
But the characters Sandler portrays
never see these issues as misfortunes,
simply because they're unable
to comprehend them the way we do.
Happy Gilmore: But she's an old lady. I mean, look at her.
She's old.
Narrator: In all his films, Sandler is essentially
a child thrown into an adult's world
that he cannot understand.
Nor do the real adults try to understand him,
a force of innocence that refuses to change
despite the obstacles he faces.
Interestingly enough, it's the reason why children
are featured so heavily in his films.
In fact, quite often, children are really
the only ones who understand him,
and it's around children where he feels most at home.
There are a lot of ways Sandler portrays innocence,
but I think it's best exemplified in moments like this.
Robbie: Well, I have a microphone, and you don't.
So you will listen to every d--- word I have to say!
Narrator: These almost random, violent outbursts
are, I think, what makes Sandler's persona so distinct.
Although they seem completely irrational,
the anger that he performs
is always directed at people or things
that he finds unreasonable and unjust.
More often than not, it's not anger,
but frustration at his inability to understand
and accept the realities around him.
I think it's moments like these
that make critics describe his performances as earnest.
Playing a childlike character disables any filters
on his emotions, words, and actions,
and we see the characters for who they are, warts and all.
And although comedy is Sandler's forte,
it's this quality that makes him great
in more dramatic films
like the highly underrated "Reign Over Me"
and Paul Thomas Anderson's "Punch-Drunk Love,"
which many still regard as Sandler's best work.
PTA understood Sandler's unique ability
to capture this innocence and created a work
that showcased a sense of vulnerability that came with it.
Barry: I don't like myself sometimes.
Can you help me?
Narrator: Once you begin to understand
the genius of Adam Sandler,
it's easy to see why his career
turned out the way it did.
The biggest problem, I think,
stems from the fact that Sandler
has simply outgrown his innocence.
His films portray the same real problems that they once did.
Jack: We can't lose Dunkin' Donuts,
they're our biggest client!
We're gonna go bankrupt, buddy.
And we have 200 employees relying on us.
Narrator: But it's no longer
through the lens of a child, but an adult.
The humor that once originated from his childlike innocence
began turning into more strangely
political and racist jokes.
Jill: I love how nice we are to this homeless man,
a person we don't even know
who probably is pretending to be homeless!
You don't look homeless to me! You're fat!
You're al-Qaida!
Narrator: And without any of his former innocence,
the outbursts simply come off as rude and obnoxious.
Jack: It's not, it's not, it's not, it's not, all right?
Jill: All right, then why are you getting so angry?
Jack: Why are you so annoying?
Narrator: It's even sadder
because we all know that Sandler
is capable of putting on a good performance.
His recent works like "The Meyerowitz Stories"
and "Uncut Gems" are proof of it.
And as a fan, I miss Sandler's better comedic works,
the ones that let you sit back
and simply enjoy with your friends.
Because as much as what differentiates Sandler
might be in his ability to portray innocence,
the true genius of Adam Sandler
might be in creating a work
that genuinely wants you to have a good time.
[both laughing]