Taking crude commentary, social criticism to new heights

“What is more dangerous, this virus or the Democrats?” asks Borat Sagdiyev to his American hosts, Jerry Holleman and Jim Russell. “The Democrats,” they quickly answered. Sascha Baron Cohen spent five days in “quarantine” with the two conservative QAnon believers that let him stay in their home, in character, as Borat. During that time, the foreign reporter could be seen killing the virus with a frying pan, sporting a strap-on of sorts while exercising and ordering the wrong kind of flashlight. Holleman and Russell had assumed and remained under the impression that Cohen was just a confused foreign reporter who didn’t know what was going on at the start of the pandemic.

As you may remember, Baron Cohen introduced this character in his 2006 mock-documentary style film “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.” In the guise of a foreign reporter visiting the U.S., Baron Cohen was able to deliver numerous social criticisms while maintaining a level of absurdity through an offensive, often vile character. Borat’s misogyny goes widely unnoticed and only does so in part of the natural anti-Semitic beliefs that he displays throughout the film.

While the film was well received in both the U.S. and the UK, numerous Arab countries banned the film, including the “Glorious Nation of Kazakhstan” where the film was certainly not as well received, all things considered. At the box office, the film grossed over $262 million worldwide with a budget of $18 million.

What sets “Borat” aside from other comedies is Baron Cohen’s impeccable ability to blend slapstick antics with social satire in a way that looks and feels almost seamless. Yes, it’s uncomfortable at times. Yes, there is some really messed up stuff in the film. The allusions, however,made in the film yield much more weight than what is deemed offensive to the reasonable viewer.

Baron Cohen achieves this in a way that certainly leans on stereotypes as he’s done in the past with characters like Ali G, Brüno Gehard and Admiral General Aladeen. Each of these characters depend on stereotypes they project, but smartly and methodically. Boundaries of what is socially acceptable in some scenarios are pushed, while navigating those scenes sheds light on either the bigotry of those in question or just putting their problematic nature under a scope. Ali G even gave a commencement speech at Harvard in 2004.

Nearly 15 years later, Baron Cohen has brought back one of Kazakhstan’s most beloved journalists in an effort to bring glory back to his home country. “Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan” (2020) is as timely as it is brilliant, critical and hysterical.

The sequel begins far away from the small village of Glod, Borat Sagdiyev’s hometown. We are met by a raggedy and bearded prisoner laboring in “the gulag” or simply a labor camp that he is bound to for the disgrace that came with the reception of his debut film in Kazakhstan. Soon enough, Borat is released and charged with a mission to return to America and deliver Johnny the monkey, No. 1 celebrity in all of Kazakhstan to Vice President Michael Pence, or as Mr. Sagdiyev describes him: “The Vice pussy-grabber.”

Unfortunately for Johnny, he is eaten by Borat’s daughter who stowed with the monkey on his voyage to the states. Rather than face certain execution upon return to his home country, Borat suggests that his stowaway daughter Tutar is given to Pence in place of the “less alive” Johnny the monkey.

The subsequent film takes a similar approach to its 2006 predecessor, including the mock-documentary style, genuine and unlikely interactions and unmatched social satire. Just one small difference—Borat is widely recognized, so much so that he is chased in the streets by Americans calling his name and demanding photos. In light of this, Sagdiyev must wear disguises in order to avoid any unnecessary attention that would compromise his mission.

This is one of many aspects of the film that makes it truly something unique, even for Baron Cohen. Still under the cameo of Borat, other disguises are made in order to avoid unwanted attention in common situations and in others with higher stakes. One primary example of this is at a Washington gun rights rally. Baron Cohen attended in the guise of “Country Steve,” which is the actor dressed as Borat, who is then dressed as this new cameo. After some time and singing a song that Borat and his conservative quarantine buddies wrote, someone in the crowd recognized Baron Cohen. Many were enraged enough to charge the stage, chasing the actor until he escaped into an ambulance, repeatedly trying to break in as he held the door shut.

It is importantto note that the very misogynistic character Borat is stuck with his daughter, which of course leads to some very awkward and crude encounters at an anti-abortion clinic, a professional babysitter’s home, a ball and more. While it may simply be a byproduct of spending time with one another, Borat undergoes some character development and becomes more or less a father to his daughter. There is no evidence or reason to believe that this has much to do with the success of the film, other than the fact that it just feels right to see the two connect and develop, rather than just remain stagnant as characters. One thing it could imply, however, is that even someone as far gone as Borat Sagdiyev can take steps in the right direction.

The first film undoubtedly makes numerous comments on American politics but doesn’t rely on them for the basis of the plot. This sequel, however, is rooted in its blatant criticism of the U.S., its social climate and American politics. From the start, Vice President Pence is put into the plot to receive Johnny the Monkey as a gift from Kazakhstan to infiltrate the U.S. government and bring back some respect to the then disgraced Kazakhstan, as part of the leaked title “Gift of Pornographic Monkey to Vice Premiere Mikhael Pence to Make Benefit Recently Diminished Nation of Kazakhstan,” suggested. Of course, the title was changed or was always—“Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan.” Regardless of either title, it is clear even before viewing the film that it is going to be deeply rooted in political commentary, and rightly so.

One of the most impressionable scenes where Baron Cohen does this is at the 2020 CPAC Conservative Political Action Conference (CPAC), during which Pence was set to be speaking. Borat of course was concerned he would attract too much attention upon his arrival and be stopped from his mission to deliver Tutar to Pence. Sagdiyev, however, finds an apt disguise (which you’ll either find hilarious or abhorrent) to avoid detection while entering the conference. Quickly changing in the bathroom, Borat slips into another disguise that is just as amicable in this setting. 

Beyond this, Borat goes into what one may consider expected behavior for him as a character, but again with that slight progression that we wouldn’t expect from his 2006 debut. The plan to deliver his daughter to Pence is unsuccessful, but fortunately his new suggestion of gifting Tutar to Rudy Giuliani is accepted by the Kazakhstan government official with whom  Borat is communicating. And as I’m sure you know well by now, that encounter made headlines. Regardless if Giuliani was tucking in his shirt, he’s on camera with his hand down his pants. Doesn’t matter who you are, it isn’t particularly a good look to have.

That isn’t all though. Since the release of the sequel, the once-banned film has been embraced by Kazakhstan, adopting Borat’s signature “Very Nice!” as a slogan for their recent tourism campaign. This is undoubtedly a big leap ahead from 2006, when the film was outlawed and newspaper articles were taken out in the U.S. by the Kazakhstan government to refute some of the statements made in the first film.

On home turf, our commander in chief has also taken notice—but not lightly. The film was released for streaming on Oct. 23, less than two weeks before election day in the U.S. President Donald Trump made comments recalling an interview he had with Baron Cohen as Ali G years ago, in which he claimed to reporters outside of Air Force One that he was trying to scam Trump. “That’s a phony guy. And I don’t find him funny,” he said before boarding.

This year has been a wild ride to say the very least and if anything, this film is emblematic of the times we live in today. We’re all navigating an age of constant floods of information credible and not, deeply rooted division, isolation, injustice, inequality and more to the point that it just feels absurd. American viewers and even those abroad can take this film for what it is and walk away feeling a little better about what is around the corner for us, and that alone makes this film impactful and effective.

“Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan” is available to stream exclusively on Amazon Prime Video.

Written by: Cameron Perry — arts@theaggie.org

The Arts Desk’s weekly picks for television, movies, books and music

TV Show: “Locke and Key” (2020 Netflix Original)

The ten-episode Netflix fantasy series focuses on three siblings as they move into their father’s childhood home after his murder. The family moves into the ancient home that is rumored to carry a strange hold on people. As the series progresses, the siblings find magical keys that alter their life. But over time, the children discover that they’re not the only ones searching for new keys and other people are willing to pay a lot more for them. The show is based off of the comics of the same name written by Joe Hill and Gabriel Rodriguez.

I wondered when I’d get a good Netflix show after finishing so many of its disappointments and I finally got it with “Locke and Key.” I loved “Locke and Key” and while a few characters just made me want to shake them until they gained some common sense, they are teenagers so I forgave their mistakes. Overall, I found myself being able to love everyone despite their flaws and that is a rarity when it comes to Netflix series.  

Movie: “Real Steel” dir. by Shawn Levy (2011)

Hugh Jackman and Dakota Goyo star in “Real Steel,” a movie that takes place years in the future that features gigantic robots fighting in the ring that have replaced real-life boxers. The movie follows dead-beat father Charlie (Jackman) and 8 year-old-son Max (Goyo) as they try to form a relationship over the summer after Max’s mom passes. When Max finds an old robot at a junkyard, he sets out to fight in a ring. But this is an opportunity for his father to find his way out of the piling debt and trouble that always seems to follow him. 

I have watched “Real Steel” over a dozen times. It has a little bit of action, a lot of sci-fi and a few heartwarming moments thrown in to make it perfect. I love seeing character development, especially when characters develop with each other and grow overtime; it’s what makes movies worth watching. 

Book: “The Ballad of Songbirds and Snakes” by Suzanne Collins (2020)

“The Ballad of Songbirds and Snakes” follows Coriolanus Snow, future president of Panem in the hit “Hunger Games” series, when he was a young man trying to make a name for himself and drag his family out of filth. When he’s called upon to be a mentor for the Hunger Games, he sees it as his one chance to change his life for the better. But trouble strikes when he is assigned the girl from District 12, the one destined to lose. The story follows Snow on his journey with a feisty girl from 12 and how he rose to be the villain we all hate. 

While I would have much rather enjoyed hearing how Finnick or Haymitch or even Johanna went through the Hunger Games, it was nice to step into Collins’ world once again. This was something 16-year-old me never saw coming and I am not too sure how I feel about it. When I first heard the book was going to be about Snow, I was hesitant, but nothing can keep me away from another addition to “The Hunger Games.”

Album: “Jukebox the Ghost” by Jukebox the Ghost (2014)

I found these gems on Spotify after The Lumineers was on repeat. I’ve always loved the hints of old music being played with a mix of modern tunes and “Jukebox the Ghost” gives me exactly that. With slow romance songs that have a sudden switch to pop in the middle like “Hollywood” and dance beat songs like “Girl,” this album made its way to my heart in the matter of a day. The best part? They have acoustic piano versions of all of their songs on the album, which is a perfect switch when I need to do homework. 

Written by: Itzelth Gamboa — arts@theaggie.org