The Wide World of Shorts: Who is on First? (2005, dir. David Zellner, US)
by Matt Olsen
In an earlier post of this series, I introduced my governing thesis that a short film can be pretty much anything. Today’s selection stands as example. Who is on First? is hard to classify as a specific, definite thing. Is it a comedy sketch? An art project? An act of aggression? Each of those descriptors are accurate to a degree but the filmmakers’ website includes it under their “Films” rubric so I’m inclined to defer to them on this one and why not? If space is made under the tent for every bloated and humorless action-murder-comedy-romance then, surely, we can find a dimly lit corner for this wonderfully low-stakes enigma which has haunted me since I first encountered it several years ago.
As the title suggests, Who is on First? pays reference to the much-revered classic Abbort & Costello comedy routine from the 1930’s. Reference, here, is defined as a reenactment, though under uniquely strained circumstances. My assumption going forward is that any reader will have a casual familiarity with the original material. If not, well, you know… manifest your own reality and what not.
The practical and aesthetic qualities of this film could be generously described as “no frills” but that’s not the focus here. In fact, the short assumes an atmosphere of an acting workshop exercise recorded on video for students to watch later as a way to witness how they’ve progressed. The title appears, in a very plain, white, default-esque font, on a solid black screen accompanied by the sound of a slide whistle. WEEEE-OOP! Easily, the corniest of heralds to signify that one is about to be confronted with comedy. Immediately, the film opens with a close-up shot of the “Bud Abbott” character, slack-faced and staring blankly (and unblinkingly) into an anonymous middle distance.
The actor, Anthony Holsome, gives the most singularly ineffable performance I’ve ever seen. It’s monotone, halting, unconfident, and utterly magnetic. As I don’t have any knowledge of the circumstances under which this film was created, assumptions as to the actors’ or the director’s intent can only ever be assumptions. I choose to meet his performance as it is and remain giddily baffled. In the “Lou Costello” role, Holsome is paired against Se Young Min whose recitation of the script is much more traditional, though far from what would typically be thought of as “professional”. Their dynamic creates a new definition of the phrase “tension-filled”.
Like the script, the visual application is strictly back and forth, cutting between locked down shots of each actor with just slightly off-target eyelines. There is certainly no display of camera prowess and, aside from the aforementioned slide whistle, no soundtrack beyond the actors’ dialogue. The film, such as it is, rests entirely on the performances (immune to criticism) and the timing of the edit (exact). A sole concession to presentation is offered with the thematic backdrop – a wall of baseball cards assembled into a grid. This is maybe the only confirmation that what we are seeing is happening on purpose.
The question stands, then, what is this? The simplest answer is that it is itself and it’s hilarious and disconcerting and wonderful. And, of course, only five minutes long.
Who is on First? Is available to watch on YouTube and at zellnerbros.com/who-is-on-first/
Matt Olsen is a largely unemployed part-time writer and even more part-time commercial actor living once again in Seattle after escaping from Los Angeles like Kurt Russell in that movie about the guy who escapes from Los Angeles.