The next significant market or congress to be held in Cannes this year – as of this writing – will be MIPtV in April. This is what amounts to be a semi-annual gathering here of television executives, distributors, producers and directors from every corner of the world to sell their wares to each other.

It is a vast and confusing bazaar – a television Tower of Babel – punctuated by lavish parties and dinners which go on into the nights and which are generally concluded with the lesser lights of the “delegues” drunk and dancing on the tables of Le Chunga, a very popular disco bar across from the Hotel Martinez.

Go to La Chunga if you want to unwind.

It is never perfectly clear how much business is actually done at MIPTV or its sister market in October: MIPCOM. But if you are in the international part of the industry you better be here – to be seen talking about your latest productions, seeking partners and, at least, just taking the temperature of the business while you bask in the sun, gamble in the casinos and dine in fabulous restaurants.

The hotels are full and have been booked months, if not years in the case of the great hotels of the Croisette – many “delegues” have been returning to the same precise room at the same hotel, twice a year, for over 30 years – now that’s staying power and a indefatigable demonstration of consistency!

Of course Cannes is a great place to have a party catered – no matter how lavish or modest. All your needs or requirements will be met from the buffets to the flowers to the music – even grand castles in the hills accessible only by helicopter in any practical sense.

Of course the fabled Riviera cuisine is a highlight of the market experience.

But there are TV practitioners who come to Cannes as a last resort – to find support for their passionately conceived and promoted ideas for tv programs (generally described as “projects.”) The road for them is difficult but, at least, they can have some fun over the four or five days but that, of course, will depend upon how desperate they are!

And it isn’t only the newcomer who fits into the “desperate” category – I, personally, attended years of MIPCOM’s and MIPTV’s with varying degrees of success but the last MIPCOM for me was, unfortunately, “desperate”!

As events had unfolded, it became critical for the continued life of my company that a certain project be finalized financially here in Cannes that October. I always wanted to avoid that situation but in this case was not able to and, in my desperation, failed!

I’m retired now.

But the other kind of desperate is fun too – it is all fun really – and that’s the desperation of trying to break into this business here in Cannes. Imagine the effort to get the airfare together, arrange lodging, pay the registration fee, etc. let alone meeting the right people.

The Palm Beach Casino is a popular spot for the international delegates and their wives.

Some of these, usually young people, will do anything to get started – that’s why the perfect movie today is “King of Comedy” starring Robert DeNiro and Jerry Lewis and directed by Martin Scorsese.. It is the story of Rupert Pupkin who will go to any lengths to break into show business and it is, in my opinion, a masterpiece.

Movie Review:

King of Comedy

Directed by Martin Scorsese — 20th Century Fox 1983
Starring: Robert DeNiro. Jerry Lewis, and Sandra Bernhard

Another excellent film which was not a popular success, although critically well-received. But some of the critics predicted it’s commercial failure – “Time Out” called it “the creepiest film of the year” while the New York Times says “—it’s also bristly, sometimes manic to the edge of lunacy and, along the way, terrifying.” “King of Comedy" is a satire, a comedy; you are supposed to laugh – I laughed a lot but was also very uncomfortable at points in the movie. I wonder why? Did I identify with the very desperate, if not flat-out insane, Rupert Pupkin (played brilliantly by Robert DeNiro) who pursues Jerry Langford, the Johnny Carson type of talk-show host (played also brilliantly by Jerry Lewis) relentlessly in order to secure a guest spot on his show?

Rupert, practicing his talk show in his basement at home with cardboard cutouts.

The flamboyant Pupkin imagines himself to be “The King of Comedy” and all he needs is the one big “break.” But all conventional attempts fail and when Rupert starts trying the obnoxious routes, I squirmed in my seat! And then, when he and Marsha actually kidnap Jerry Langford with the ransom being a shot on the show, the thoughts of “too bizarre” or “over the top” or “surreal” come to mind but the painstaking work of the artists pull it all off – and the ending is a mindblower!

Rupert and Marsha have kidnapped and taped down Jerry and are holding him for ransom.

The movie was made in 1981, but not released until January, 1983. This usually means that the studio had little faith in the picture as January is most often a dumping ground and its late release suggests “trouble” along the way to completion.

But the creative artistry of Scorsese and DeNiro along with newcomer Sandra Bernhard (in a stunning cinematic debut) and Lewis meant trouble from the beginning I would imagine. The script by Paul D. Zimmerman is acerbic even vicious in its satire and when realized so fully and in such an exhilarating manner by these creative partners who had triumphed so often previously, what do you expect?

Well, we got a truly original film that attacked, or bit the hand that fed the creators, American show business! It also showed ugly truths about the entertainment business, embarrassing truths about ourselves and we laughed, even while squirming. Scorsese and DeNiro are worthy successors to Elia Kazan and Marlon Brando who also, as a team, gave to us screen experiences that transcended the normal and upon many occasions made movie-going a spiritual experience! Thank you very much.

I watched a very ordinary movie last evening for awhile until I gave up. It was just banal – and all the movies we’re discussing have been made by artists who passionately care about their work. Elia Kazan said that he rarely directed Brando and that the great moments were created by Brando – Kazan was responsible for the opportunity and the “mise en scene.” I imagine that Scorsese and DeNiro worked very similarly in such great achievements as “Taxi Driver,” “Raging Bull,” “Goodfellas,” “New York New York,” and “King of Comedy.”

But, returning to the theme of desperation, the very desperate Rupert Pupkin finally succeeded (echoing “Taxi Driver”) and I can’t help but wonder if I had kidnapped a TV network executive at that MIPTV in Cannes a few years ago and held him hostage on a yacht with my friend posing as an arms dealer – the ransom being a deal for my beleaguered and failing project, how would I have fared? 

Not well, I fear – but it might have been fun!