Gross Points

As a fan of so-called “gross-out comedies,” I was both surprised and disappointed to see no mention of the work of Mel Brooks anywhere in last Sunday’s cover story (“Hollywood Stoops to Conquer,” by Patrick Goldstein, July 11).

Long before anyone had ever heard of Adam Sandler, the Farrelly brothers or even “Porky’s,” Brooks’ films like “Blazing Saddles” and “Young Frankenstein” (both 1974) were making audiences laugh with the same type of irreverent, often scatological, often sexual humor that is engendering such strong reactions--and big revenue--today.

I would find it extremely hard to believe that many of the writers and directors responsible for the hugely successful comedies discussed in the article were not influenced in some way by Mel Brooks.

In addition, the relative success of both “Saddles” and “Frankenstein” 25 years ago suggests that the popularity and proliferation of “gross-out” comedies today is more likely due to the growth of the film industry in general rather than any major change in moviegoers’ tastes.

JORDAN KEVILLE

Tarzana

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While attempting to justify the grossness in today’s movies, comedy manager Bernie Brillstein asks “. . . what’s more gross: Adam Sandler peeing on a wall, or turning on CNN and seeing us dropping bombs on people half a world away?”

In World War II, those bombs preserved the freedoms of Mr. Brillstein and his clients, thus allowing them the freedom to continue making their gross, adolescent movies geared to 14-year-old boys.

GEORGE WOOD

Malibu

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New Line Cinema production president Michael De Luca claims that “irreverent satire” wasn’t prevalent during the ‘80s.

Since movies like “Airplane!” and “A Fish Called Wanda” were in abundance, as well as subversive TV shows like “Moonlighting,” “Sledge Hammer!” and “It’s Garry Shandling’s Show,” perhaps De Luca intended to mean “imbecilic comedy” as opposed to satire.

Satire is by its nature intelligent, and today’s spate of youth-oriented comedy films make the much funnier “National Lampoon’s Animal House” seem like Chaucer.

RAY KAUFER

Los Angeles

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The British, with their excellent command of English, can slice an opponent to ribbons with surgical skill. The American screenwriters reach for deep expression relying on a blunderbuss loaded with fecal material.

JAMES F. MACK

Hesperia

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Dumb and dumber movies would seem to have taken over, but also in 1999 have come a series of smart, intelligent and entertaining films like “Cookie’s Fortune,” “An Ideal Husband,” “The Winslow Boy,” “Notting Hill,” “Tea With Mussolini,” “The Red Violin” and even “Tarzan,” which effectively counteract all the gross product currently on view.

It’s been a good year so far, not just for crudity but for erudition as well. Could there be an equivalent to “Shakespeare in Love” in the offing?

R.A. LEE

Los Angeles