Northrop Frye discusses comedy within Greek theatre. In “The Argument of Comedy” they explain how the “Greeks produced two kinds of comedy”: Old Comedy and New Comedy. Frye emphasises how modern day storytelling is ‘rigidly conventionalized New Comedy.” When we examine Comedy today we usually expect traits that stem from New Comedy and the work of dramatist Menander.
Frye argues a key concern of New Comedy is “the manoeuvring of a young man toward a young woman” with the tale ending in a marriage. This idea is often utilised in some of the most beloved modern Romantic comedies, whether its marriage or just a reunion, the audience expect the young lovers to end up together at the end. A film that fits with many of Frye’s ideas about New Comedy is the 2018 hit Crazy Rich Asians (Jon M. Chu, USA/Hong Kong, 2018.) In his argument Frye discusses the use of the “comic Oedipus situation.” Due to its more taboo incestuous themes the exact scenario isn’t fully utilised often in modern filmmaking however the core concept of the hero having to overcome obstacles forced upon them by parental figures and society in order to have their desired union with their lover, is key. In Chu’s film Nick Young wishes to marry his lover Rachel. However Nick comes from an extremely wealthy family and his Mother is against the union.
Nick is “successful [in his] effort to outwit an opponent and possess the girl of his choice.” Following the Oedipus situation, Nick has to overcome the disapproval of a parent (this time Mother rather than father.) “In all good New Comedy there is a social as well as an individual theme which must be sought in the general atmosphere of reconciliation that makes the final marriage possible.” As well as combatting his mother’s disapproval Nick has to overcome the social pressure that come from the pairs class disparity in order to finally propose to Rachel.
New Comedy’s often includes doubles, and dramatic reveals about a characters true ancestry or status. “The one romantic (originally mythical) feature in it, the fact that the hero or heroine turns out to be freeborn or someone’s heir.” In the climax of Crazy Rich Asians it is revealed that Rachel was actually born from an affair and she was unaware of her true heritage.
The tropes of New Comedy can still be seen in the Romantic Comedy genre today, however they are often flipped, inverted or adapted for the palates of modern day audiences.
Northrop Frye, “The Argument of Comedy,” English Institute Essays (New York:
Columbia, 1949)
Crazy Rich Asians (Jon M. Chu, USA/Hong Kong, 2018)
This is a great demonstration of how story tropes and formulas found within ancient Greek theatre continue to be portrayed in 21st-century cinema. This is also a good example of how the film’s incorporation of non-European cultures helps to create nuance and an added sense of realism to the trope that further evokes empathy within audiences.
This is a very interesting example (a great film!!) and one that ties very cohesively into Frye’s conception of New Comedy. You very clearly illustrate how your example fits, and how Frye’s ideas can fit into a contemporary context.
Michelle Yeoh’s character in this film is an incredible example of both an Oedipal relationship and the figure of the foreboding senex. I love the connections you made to Frye’s definition of New Comedy. But to detach from Euro-centric definitions of the comedy for a moment, I’d contest that this film also adapts itself to the structure of East Asian cultures, particularly in its emphasis on family hierarchies, ritualized spaces, and emotional restraint within collectivist frameworks.
It is interesting to see how ancient Greek comedy has progressed over time and is still present today! Your analysis of the film’s modern adaptation of the tropes and conventions reveals how enduring, yet evolving, the comedy genre is.