《综艺》：影史百部喜剧佳片榜单

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"title": "Variety's 100 Greatest Comedy Films of All Time - Curated Classic Comedies",

"keywords": "Variety 100 greatest comedies, classic comedy films, best comedy movies of all time, Charlie Chaplin films, black humor films",

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"description": "Explore Variety's curated list of the 100 greatest comedy films in cinema history, featuring iconic works from Chaplin to modern hits. Discover laugh-out-loud favorites and timeless classics."

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"slug": "variety-100-greatest-comedies",

"title": "Variety’s 100 Greatest Comedy Films of All Time",

"content": "Alternatively, why not watch some comedies? Variety has curated a list of the 100 greatest comedy films in cinema history. If you’re interested, you can pick a few to enjoy. So let’s take a look at how they selected these films.nnnnLaughter has always been of great importance. In modern times, it might be even more so. Could the average person in the Middle Ages or even the late 19th century have laughed as much while enjoying the popular culture of their era as people have in the past 110 years? Definitely not. That’s because the gift of film comedy has made laughter more important than ever before.nnCharlie Chaplin, the comedy master of the silent film era, was the first global celebrity. It was he who closely linked the act of watching movies with laughter, making it the fundamental and main way to obtain joy. Once Hollywood made audiences laugh, no one wanted to stop.nnThe slapstick of silent clowns, the madcap狂欢 of the Marx Brothers, the witty banter of screwball comedies, the "black humor" revolution initiated by Dr. Strangelove, the parodic surrealism of Mel Brooks and Woody Allen, the midnight madness of John Waters, the rebellious spirit of the Saturday Night Live generation, and Jim Carrey’s almost out-of-control farces...nnWhen selecting this list of the best comedies in film history, we deeply thought about the essential elements of classic works. But more often than not, we followed the call of laughter from our hearts. May these films make you laugh as much as they made us.nn1. The Naked Gun (1988)nnEvery filmmaker working on big-screen comedies has a天赋人权—maybe we should call it the "Groucho Marx-given right." That is the right to satirize freely. In The Naked Gun, the ZAZ trio (David Zucker, Jim Abrahams, and Jerry Zucker) took this right to the extreme, reaching a height of爆笑 that no one has matched since.nnnnThe brilliance of The Naked Gun lies in its unbridled, even anarchic observational "扫射式" comedy that targets everyone: international dictators, the stiff lines in film noir, safe sex, professional baseball games, and even leftovers that have been in the fridge for too long. The entire film is调度 with a "bombardment" of joy, and its clever exaggeration is almost "magical."nnAt the same time, it is an absurd satire of those serious TV police dramas, with all the weirdness centered on Leslie Nielsen. He plays Frank Drebin, an old Los Angeles detective, who comes across as a combination of Jack Webb, Ronald Reagan, and Moe Howard. Nielsen, a rediscovered gem of B-movie actors, portrays Frank as someone completely unaware of his own foolishness, speaking and acting without restraint, exuding a kind of Zen-like madness. He isn’t trying to be funny; the stupidity, madness, and disasters seem to flow naturally from him.nnnnIn Frank, the destruction of social norms (not to mention many public properties) is mixed with fearless yet clumsy confidence. Although ZAZ first became famous with Airplane! (1980), here, through their genius deconstruction of film clichés,疯狂 puns, and that iconic parody love montage (accompanied by Herman’s Hermits’ "Something Good"), they established this "media-savvy" parody as an art form of big-screen comedy in that era, creating a modern version of Marx Brothers films whose humorous spirit still makes us laugh today.nn2. Some Like It Hot (1959)nnWatching Tony Curtis and Jack Lemmon’s passionate adventure story is like sneaking champagne in a speakeasy during Prohibition—it gives you the thrill of "getting away with something bad."nnnnInfluenced by his mentor Ernst Lubitsch, the great director Billy Wilder acted as a bridge between the含蓄 metaphorical style of early Hollywood and the more explicit modern era. This rule-breaking masterpiece strikes the perfect balance, turning the two men’s extreme disguises into the biggest obstacle on their path to love. The gimmick of "men dressing as women" always gets a laugh, especially when these two look completely unconvincing in dresses. But the film’s charming and slightly "naughty" vibe actually comes from the two lecherous impostors’ lust for the female musicians around them. Both want to make a move on the tipsy and unsuspecting Sugar Kane (Marilyn Monroe, who is the embodiment of temptation here).nnnnMeanwhile, Lemmon’s character truly realizes how annoying men can be when they pester others while struggling to resist the advances of a wealthy divorced millionaire (played by Joe E. Brown). And it is this millionaire who delivers the film’s final punchline: "Well, nobody’s perfect." That said, this not-at-all "pure" classic is only one step away from perfection.nn3. Annie Hall (1977)nnWhen Annie Hall was released in 1977, this Woody Allen comedy stood at a watershed: on one side were his early purely funny films, and on the other were his more ambitious works that later established his status as a world-class film artist. The unique beauty of Annie Hall lies in its fusion of these two worlds.nnnnThe story follows Alvy Singer, a neurotic New York comedian who is extremely uncomfortable with intimate relationships—so much so that you might think he actually rejects "love" itself. Allen accurately captures the fickle, insecure spirit of the new era of dating. This film is like a love letter to Diane Keaton, whose可爱 awkwardness as Annie Hall and her penchant for second-hand clothes are fascinating; the touch of bitterness in this love letter comes from the fact that she eventually breaks free from Alvy’s control.nnnnAt the same time, Annie Hall still maintains a continuous and exquisite sense of humor. It is both the swan song of Allen’s early funny style and a bridge to his new mature period of creation, but it is also a peak that he has never been able to surpass since.nn4. The Great Dictator (1940)nnAlthough there is no hard data to support it, we can basically say with certainty that no big-screen actor has brought so much joy to so many audiences over such a long period of time as Charlie Chaplin.nnnnFrom the gentle romance between the Tramp and the blind flower girl in City Lights to the classic scene of him穿梭ing between giant gears in Modern Times, Chaplin’s career proves that laughter has universal value, and he achieved "world domination" in the most popular way. His most shining work is this 1940 response to the rise of European fascism. Although it was already the sound film era, he still mainly used silent film forms, mocking Mussolini and Hitler to the fullest (taking full advantage of the comedic coincidence of their similar mustaches).nnnnWhether climbing curtains or playing with an inflatable globe, his portrayal of the tiny tyrant makes that arrogance seem extremely ridiculous. But what truly makes this satire powerful and deeply rooted is the moment he suddenly becomes serious and (for the first time) speaks directly to the audience.nn5. Waiting for Guffman (1996)nnChristopher Guest fully utilized the mockumentary format he co-created in This Is Spinal Tap, assembling a "dream team" of improvisational comedians to ridicule a small-town stage production that would be torture to watch live but is hilarious on film.nnnnSet in the boring town of Blaine, Missouri (self-proclaimed "The Stool Capital of America"), the film combines close-up interviews with the town’s outgoing characters—including Eugene Levy as a dentist who loves bad jokes and Parker Posey chewing gum—with the "diva-like" behavior of Corky St. Clair, Guest’s most eccentric satirical character. Corky is the director of this amateur musical, obviously in the closet and completely living in a fantasy world, believing that his celebration show will make it all the way to Broadway. Corky’s lack of taste is as obvious as the bowl-cut wig on his head.nnnnIn tone, the film borrows documentary director Errol Morris’s slightly cruel perspective on small-town eccentrics to portray these fictional characters, which actually anticipates a 21st-century phenomenon: unknown people craving attention, all hoping to become famous overnight through reality TV cameras.nn6. Monty Python and the Holy Grail (1975)nnIn their early TV days, the talents behind Monty Python’s Flying Circus mainly摆弄 short comedy skits of varying lengths, sometimes just a single无头无尾 line. Fifty years ago, to try something "completely different," John Cleese, Eric Idle, and the gang (including co-director Terry Gilliam, the only American in the team) decided to experiment: what would happen if they took the Arthurian legend, one subject, and折腾 it in the mud for 90 minutes?nnnnThe result wasn’t a collection of loose skits; instead, these jokes took on an epic scale. The troupe members playfully use farce, funny accents, and sometimes even cross-dressing to消解 those originally体面 concepts.nnnnThe closer Arthur’s knights get to the Holy Grail, the more absurd the obstacles they encounter: like the Black Knight who insists "it’s just a flesh wound" even after Arthur cuts off all his limbs; the unbearable Frenchmen who throw taunts (and livestock) at them; and of course, the bloodthirsty rabbit waiting for them.nn7. Duck Soup (1933)nnThe Marx Brothers came from the vaudeville stage, but what they brought to the world was an unrestrained madness in language and body. This madness, in a way, is a complete departure from reason, just like surrealist art or the invention of the airplane.nnnnDuck Soup is the last of the five films they made at Paramount. Although its commercial success at the time was not as good as their other films, its reputation has grown over time. Later audiences