Yep, it looks like “Bruno” is taking it up the tailpipe again. (I meant criticism, people. Kindly extract your minds from the gutter.)
It seems that gay activists across America are worried the film dabbles in all-too-common stereotypes and may give people the wrong impression about the GLBT community, what its members stand for and, most important, that they condone the wearing of Velcro jumpsuits to a fashion show. (OK, fine, I added the last one. It just seems like poor judgment in general, no?)
Being something of a flaming liberal myself, I’m inclined to agree. Sure, “Bruno” has the potential to shock, awe, offend and generally dismay. But consider this: The people who are offended are the ones who get it. They get that Cohen is jabbing at them, shining a big bright strobe light (note the reference to house music) on their prejudices and misconceptions and parading them around in all their vivid ugliness. Even if they get huffy (they will) and storm out of the theater, they will be aware, on the teeniest of teensy levels, that it’s the bigots, not the lesbians or the gays or the bisexuals or the transgendered, who are the butt of the joke. If you ask me, that moment of realization — or even one of genuine hesitation — makes every risk Cohen takes into a big, fat payoff.
No, it’s the people who just laugh stupidly and point and say “that foreign gay dude is funny” you need to lobotomize, swiftly and with great force, as they leave the theater.
Not to mention there are all the fans (this hand waving in the air? yeah, that’s mine) who’ll get two … two … two shows for the price of one: a biting, incisive, technicolor satire (“Bruno,” of course) and a re-enactment of “Confederacy of Dunces” with popcorn. July 10 can’t get here fast enough.