I can see it. It’s definitely got some intentional humor there. I’d call it more of a satire, but I don’t think it’s way out of left field to call it dark comedy. Then, consider that the writer/director is in fact a comedian.
Being There
After Hours
I was debating whether I should put it on my list. It’s number three in my absolute alltimes - definitely a satire on the powers that be, allowing a dolt to rise, unchallenged, to power, but its strong current of whimsy and melancholy (as well as an interesting attempt at romance) made me keep it off the list, which, btw, After Hours is on.
I agree that it’s a good movie, but I actually prefer the Mel Brooks remake, particularly for the scene in which the theater troupe use a performance to help a group of Jews and other persecuted people escape, right in front of an audience of Nazi officers and officials.
And one film not mentioned above; Four Lions, a British film about a group of British Muslim men who aspire to be suicide bombers.
I think it is a dark comedy, but that may be just because of who the directors are.
For those who enjoyed it, the Chinese remake, “A Woman, a Gun and a Noodle Shop” (sometimes called “A Simple Noodle Story”) is indisputably a dark comedy, and I can only assume that it is such because the original is a dark comedy, too. (FWIW, it’s really, really good and fun to watch, too).
Many of my most beloved movies have been mentioned, but not my absolute favorite:
Ladykillers, the original British film from 1955.
The Old Dark House (1932)
The Bride of Frankenstein (1935)
Two James Whale-directed classics replete with his trademark black humor.
The Graceful Brute (1962)
Japanese film taking place almost entirely in an apartment. A very corrupt family meets their match in a scheming seductress.
Kitten with a Whip (1964)
JD runaway Ann-Margret and her lowlife pals complicate the life of would-be political candidate John Forsythe. Uncomfortable viewing until you realize Forsythe deserves everything he gets for being such a doofus.
The Tenth Victim (1965)
Italian-made vision of the future where civilians try to kill one another in a state-sanctioned game known as “The Big Hunt”. Marcello Mastroianni and Ursula Andress hunt each other and (of course) fall in love.
Beyond the Valley of the Dolls (1970)
Russ Meyer backed by a major studio delivers his finest film.
Andy Warhol’s Frankenstein (1973)
Only worthwhile in 3D! “To know death, Otto, you have to fuck life in the gall bladder!”
*
Andy Warhol’s Dracula* (1974)
Euro-elegant and hilarious, with excellent performances from Udo Kier, Arno Juerging and Joe Dallesandro as a communist stud from the Bronx.
Going Places (1974)
Gerard Depardieu and Patrick Dewaere act like swine all over France.
Network (1976)
Essential viewing.
Andy Warhol’s Bad (1977)
Carroll Baker (her best performance?) runs an electrolysis business while overseeing assassins for hire.
Winter Kills (1979)
Incredible cast in spoof of JFK assassination conspiracies.
Dog Day a.k.a. Canicule (1984)
French-made elegy to the American gangster has Lee Marvin on the lam with stolen loot, encountering family of perverts. Miou-Miou is great as always and there’s a cameo from Tina Louise (“Ginger” on Gilligan’s Island), but David Bennent (the kid from The Tin Drum) steals the show, proving once again why he was one the greatest child actors ever.
From Beyond (1986)
Lovecraft-derived perverse horror-comedy.
Salome’s Last Dance (1988)
Lair of the White Worm (1988)
Ken Russell adapts works by Oscar the Wilde and Bram the Stoker.
Revengers Tragedy (2002)
Updating of Shakespearian-era play with original (not for passive listening) dialogue intact relates a man’s quest for revenge for the death of his fiancée. Funny, bitter and little seen, it’s one of director Alex Cox’s best films.
The original book and movie of MAS*H. NOT the sappy TV series