Then, after some time, the basis for the humor no long exists as a strain in human consciousness, through no one’s fault.
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In the long-term – the history of film, for instance, humor falls almost unconditionally flat as tastes are elliptical, and follow a long arc around a contemporary locus. Modern times call for advanced emotions: fear, hatred, sadness, austerity. Worst case: nothing in the year struck a nerve as particularly humorous or even slightly funny. None of these methods sustain the Academy’s wish to best represent the year in culture gestalt. Much humor is anti-erudite, and juvenile, such that taps into the audience’s deepest desires to identify with things they once found humorous other humor is dry and satirical and the writing and acting work tirelessly to inform their audience of the hyper-specific culture referenced still other humor does not parade as comedy and is unintentionally funny because either the story is intentionally poorly conceived, or the acting is laughably sincere or insincere, or often a heaping of both. In the medium-term – Oscar-season, perhaps, humor rarely makes buzz.
#THE SMILING LIEUTENANT 1931 OK PROFESSIONAL#
The audience rarely sees these errors because script and screen editors at the highest professional levels catch them and trash them almost as quickly as they are written. A misplaced quip, or a joke that moves the plot off its close course, can derail an entire film. In the short-term – film-length, say, jokes have to consistently strike a thin nerve and not stray too far away from the central themes or character motivations. Humor is incredibly challenging to sustain.