Back in 1999, I was browsing for laser discs in a Singapore flea market on a balmy Sunday, along with a fellow companion in crime when I came across a movie called Stiff Upper Lips (1998) that looked vaguely promising in the sense that it could have been a decent enough British period costume drama. Back home, pausing only to pour myself a wee dram, I popped the disc in. To my great delight, the film was indeed that, but not the way I imagined it to be. The film is a parody of several Merchant-Ivory films, including Maurice (1987) and A Room with a View (1985), and along the way lampoons several classics including Chariots of Fire (1981), Gandhi (1982) and A Passage to India (1984).
Set in 1908, Stiff Upper Lips is not only a send up of the British aristocracy, but also of their sexual mores. For example, while on a jaunt to Italy, Emily (Georgina Cates) enters Cedric’s (Robert Portal) bedroom and demands a sexual awakening, but he remains cold. In order to provoke him, she unfurls several potentially arousing words but the only one that gets him going is — Eton.
This is just one example of a parody movie. A clip, depicting a line of co-passengers lining up to hit a fellow passenger, from Jim Abrahams and David and Jerry Zucker’s
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Any discussion on the parody genre would be incomplete without Mel Brooks. To name just three of his seminal works,
The genre used to be a thriving one, but has somewhat waned in recent years. Keenen Ivory Wayans’ Scary Movie (2000) was a passable spoof of teen horror films, but the four sequels progressively ran out of inspiration.
And the self-explanatory
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I’ll go out on a limb here and say that for me personally, Rob Reiner’s music documentary send up, This is Spinal Tap (1984), that follows the misadventures of the eponymous fictitious British rock band, is the greatest parody film of all time.