Romantic comedies tend to revolve around weddings, but usually the nuptials are reserved for the end. And the wedding is typically a serious (though joyful) moment, the one toward which all the comedy has in fact been leading. As its title would suggest, Wedding Crashers starts with a wedding, ends with a wedding, and has numerous other ones in the middle. And in this film, the weddings are a big part of the comedy.
Wedding Crashers is quite simply the funniest and most delightful comedy since Dodgeball. The film is amply studded with humor both high and low, and the lead performances, by Vince Vaughn and Owen Wilson, are utterly superb. The two are absolutely at the top of their game, and Vaughn’s comic acting is even more impressive than Wilson’s.
The ability to play each moment as if it were absolutely real—that is the key to making a farce truly funny, and Vaughn’s persuasiveness as actor makes an adventure of every moment he is onscreen. Wilson is his typical charming self in this film, alternately zany and terribly sincere, but likewise working at a very high level here.
The supporting cast is very effective, too, though Jane Seymour’s character is largely dropped after just a few comically disturbing interactions with the lead characters. Christopher Walken is fine as Secretary Cleary, and Will Ferrell is Will Ferrell as the legendary Chaz, king of the crashers. The two ingenues are more interesting than most, as played by Rachel McAdams and Isla Fisher. Fisher is particularly impressive and funny as a romantically voracious girl who (quite unwittingly) turns the tables on Vaughn’s Jeremy. The main antagonist (Bradley Cooper, I think), a young phony who is engaged to Claire Cleary (McAdams), is as stupendously evil and exaggerated a villain as he could possibly be without the filmmakers actually rendering him in animation.
The story, as most are probably aware, is of two not-so-young bachelors who crash weddings in order to hit on young ladies when they are presumably at their most vulnerable. (Later in the film, an even more opportune time for such activities is revealed.) Naturally, and quite comically, the biters are bit quite hard, shortly after the very funny plot-establishing opening sequences. John (Wilson) falls in love with Claire, daughter of the Secretary of the U.S. Treasury, and forces Jeremy (Vaughn) to go with him to the Secretary’s house for the weekend.
From that point on, irony piles upon irony (in the classic sense of a reversal), and the film achieves quite a few truly hilarious scenes. There are also some moments of real drama and emotional truth, as the characters furiously try to figure out what they really want and find what is best for them. But those moments are appropriately few, and they flow naturally from the earlier events of the story.
The screenplay was written with great skill. There is, for example, a moment that we very much want to see happen, yet the screenwriters make us wait until the last minutes of the film before allowing it to come to pass—and it is all the more satisfying for having been delayed. As with most comedies, the proceedings start to drag a bit in the 1/2-3/4 segment, but the rest of the film is about as funny as you would want it.
The great literary scholar Northrop Frye pointed out that romantic comedies deal with issues of the perpetuation of life, and derive from ancient fertility rites. That, he said, is why they tend to revolve around marriage. The makers of Wedding Crashers have thus hit upon a theme that goes to the heart of what romantic comedies are all about. But they are also all about laughs, and Wedding Crashers delivers them in profusion.
It’s a funny, dirty, messy, crazy film, and a real delight.