You ever wonder what is the world’s funniest joke? You aren’t alone. In its 19 August issue devoted to stories about humor, The New Yorker resurrected Tad Friend’s 2002 coverage of the efforts of UK psychologist Richard Wiseman (not wiseguy, note) to identify the world’s funniest joke. (You can read about his team’s work here.) Not so easy, it turns out.
Tackling this conundrum led him to think about why we find certain things funny, or not. Friends have probably asked you to recommend a good movie, and you may have learned the hard way that your suggestions about dramas and crime stories work out pretty well, but it’s practically useless to recommend a comedy—people’s senses of humor are too different.
In fact, Friend notes the many unanswered questions about what makes us laugh. There are esoteric issues and basic ones, like “whether any woman, anywhere, ever, has appreciated the Three Stooges.” Friend’s line made me laugh, though, because I’m a charter member of the Three Stooges Unappreciators. Nor do I like Neil Simon-type comedy where I can see the next one-liner barreling my way. Duck! And, mean-spirited sitcoms, arrrgh!
One thing the UK researchers did notice is that, if you tell the same joke about a talking animal, and switch out the animal, the funniest one will turn out to be a duck. Maybe it’s the letter “k” there, a reputedly sure-fire staple in comedy lore. Now, feel free to proceed with your day, having learned something, or two somethings, completely useless.
Apparently, our humor processing system is complicated. Electric stimulation of various parts of the brain can make a person smile or cry, but Wiseman says it’s very hard to make them laugh. A different set of researchers has learned that some types of humor (the kinds of stuff you need to think about) are processed on the left side of the brain, some on the right. It’s as if the left side sets up the joke, and the right side—the emotional side—“gets it.” Or, “While the left hemisphere might appreciate some of Groucho’s puns, and the right hemisphere might be entertained by the antics of Harpo, only the two hemispheres united can appreciate a whole Marx Brothers routine.” Says Friend, neither one, apparently, “thinks much of Chico.” (I laughed again.)
Among many other attractions, this issue of the magazine also has nostalgic short bits about Robin Williams and Richard Pryor early in their stand-up careers, and a lovely reminiscence by Zadie Smith. Pieces that make you smile and sigh at the same time.
Last week, our local movie theater showed 1942’s The Palm Beach Story, a classic screwball comedy starring Claudette Colbert, Joel McCrea, Mary Astor, and Rudy Vallee. Princeton English professor Maria DiBattista gave a short pre-film talk. Her book Fast Talking Dames is about a type of cinematic character she calls an American original. The Palm Beach Story has two of them and, DiBattista says, every kind of comedy imaginable—slapstick, one liners, mistaken identities, double entendre. We loved it!
If you can tolerate a little ethnic humor, here’s a quick joke, courtesy of the entertaining Netflix program, Somebody Feed Phil:
A nine-year old boy rushes home from school, calling, “Mom! Mom! I got a part in the school play!”
“Oh, that’s wonderful, darling! What part did you get?”
“I play the Jewish husband!”
Waving him away, she says, “Go back and ask for a speaking part.”
To end on contemporary note, Emma Allen a New Yorker cartoon editor, reports that “One of the few things A.I. can’t do well is write a joke—a fact that we can all cling to when we’re sent into the mines by our robot overlords.”
Love this!
Interesting post, but I think our feelings about humor are also affected by the social fabric of the times. The current dominance of political correctness has made making a joke a serious endeavor. Say the wrong thing and the legions of PCers will mount a campaign against those they deem to be offenders. This isn’t anything new. Case in point: the way blacks were portrayed in movies during the 1930’a an 40’s. Stepandfetchit was considered hilarious comic relief. Amos and Andy, the first TV show with an all-black cast, was soundly criticized a decade or so after its debut as encouraging an negative stereotype. Enter the 70’s with white bigot, Archie Bunker acting the fool and using the “N-word.” He was complemented by the fabulous Red Foxx, whose portrayal of junkman Fred Sandford had white liberals too scared not to chuckle. Mel Brooks dared to stretch the boundaries even more with Blazing Saddles. Was there any ethnic group that Brooks didn’t poke fun at in that one? Eddie Murphy came along after that with Axel Foley dissin’ gays in Beverly Hills Cop. Neither one of those movies could be made today. A lot of comedians today have rebelled against the strictness of the PCers, but the sad fact remains that while searching for tolerance and kindness toward each other, we’ve sadly forgotten how to laugh.