Will Ferrell in ‘Eurovision Song Contest: The Story of Fire Saga’: Film Review

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"Eurovision Song Contest: The Story of Fire Saga" is Will Ferrell and Rachel McAdams as a dreamy Icelandic pop duo called Fire Saga who yearns to take part in (and win) the Eurovision Song Contest and theoretically the film as if it could be a sequel to "Anchorman: The Legend of Ron Burgundy" or "Talledega Nights: The Ballad of Ricky Bobby" - another idiotic-surreal character study in which Ferrell makes his idiot a strutting but angry egomaniac to play a superstar in his own thoughts.
In reality, it's a poorly shot one-joke film that sits and claps there. The “Eurovision Song Contest” is an example of what can happen if Netflix gives an artist (as he has done several times with Adam Sandler) too much unattended scope until the company becomes the artist's enabler. They give the green light and a decent budget for an idea that takes a lot more practical development to get to a place that's called fun.
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In “Eurovision Song Contest” the milieu itself seems to be ready for comedy. The eccentric Nordic lunar landscape of Iceland. The Eurovision Song Contest - a cross between "American Idol" and the Olympic Games, which has been taking place every year since 1956 and is known to have brought ABBA to the map when it performed it with "Waterloo" on April 6, 1974 (at night The opening of the film takes place when our hero, who is still a child, dances to ABBA's triumph on television. Ferrell, in long blond hair and a set of horribly ugly sweaters, as Lars Erickssong, a passionate pop star wannabe who never moved out of his father's house, although his father Erick (Pierce Brosnan) is a poisonous pill that despises singing and his son. Tons of garish aluminum foil costumes, bouncy EDM with bad lyrics sung by decadent Continental warblers, and a kitschy show manner from the 70s to 2020 that should qualify the film as "Zoolander" by Europop.
However, what is bizarre about the “Eurovision Song Contest” is that Ferrell, who wrote the script with Adam Steele, and director David Dobkin (“Wedding Crashers”) never bothered to figure out the joke. Ferrell as a long-haired loser who speaks with a dipping accent! What a serious plaster! And just look at his costumes! A sweater that looks like a Mondrian painting, a jogging suit with the loudest possible green plaid, a vest made of silver oven wrap and a white catsuit that exposes his male breasts, crotch and various bulges of middle age (Lars attaches great importance to his “ Ding-Dong “to add padding.
The problem is that none of this leads to a fully baked concept of comedy. "Eurovision Song Contest" is cheerless; It's like an endless wisp that is derived from other, better Ferrell routines. Let's imagine for a moment that a whole film was made about Ferrell and Ana Gasteyer's high school music teachers from "SNL" participating in a song contest. I have no idea if that would have worked, but the joke would have felt solid, at least: the Culps' incredible mild, stubborn squareness, coupled with their insane geek passion for playing rock songs as if they were classical music. (It could have been the super-earth version of "Pitch Perfect".)
It's okay to have affection for what you're mocking, but "Eurovision Song Contest" is so sunny and thoughtlessly "positive" that the musical performance sequences are all played fairly directly. It's like the filmmakers threw up their hands and said, "Europop - it's funny, no?" Not really. There is a theoretically amusing catastrophe when Lars steps onto a giant hamster wheel in which Sigrit's dress gets caught, but it becomes a lame piece of destruction, as if Dobkin was a job as great as "Wedding Crashers" I couldn't bother to stage a complicated piece of slapstick.
As a duo, Fire Saga repeatedly fails due to random errors: Your cassette is torn out of a box after the Icelandic song contest has only one participant. A terrible accident on a party boat allows them to win the national competition, and then they sneak into the finals at the Eurovision Song Contest (filmed in a huge auditorium that looks real) because ... well, it's not even clear. Because otherwise there would be no film. If you're wondering how it all could take 123 minutes, it's because a good part of the film is dedicated to the love story of Lars and Sifrid, who have been soul mates since childhood, but are so romantically oppressed that everyone they meet , believes to be her i am brother and sister.
At the Eurovision Song Contest, which takes place in the film in Edinburgh, Scotland, Sifrid has to fend off the progress of Russian competitor Alexander, a hard-nosed hipster oligarch in a tuxedo jacket played by Dan Stevens as a dingy player who isn't actually a bad guy . McAdams is never less than winning, but her character, as written, doesn't have a single trait beyond the fact that she believes in elves (which Lars doesn't - a source of tension between the two, which may be one) lame stab at a joke). What the film needed to make the audience believe was the glorious, but undoubtedly absurd, power of pop music to turn night into day and heartache into a rapture. But in the “Eurovision Song Contest” the film's song remains the same, even if it should go up.
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