Pineapple Express: The story of the love between a man and his dealer

Screenwriters Seth Rogan and Evan Goldberg have the heterosexual male love story market cornered. Last summer’s Superbad explored what happens when two high school guys realize they love each other over the course of one crazy evening. Pineapple Express follows a very similar story arc except this time it is the love shared between schlubby stoner Dale (Rogan) and his dealer Saul (James Franco). Just as in Superbad the duo bond, have misadventures, fight, and reunite; only this time there is the added element of wacky tobaccy to enhance their experience and impede their progress.

Unlike those in Superbad, the misadventures found here tend to be full of violent activity. The refreshing part is that nearly all of the violence comes with consequences. There is no panache or swagger in the scrapes that Saul and Dale find themselves in, just a lot of pain and awkwardness. Director David Gordon Green is careful to never dip into slapstick. The violence is funny because it is so real. The viewer knows that an actual fight amongst normal dudes would look way more like Pineapple Express than something out of Under Siege.

The real draw of the film is James Franco. At first his stoner shtick is funny because he is cast against his normal dashing type; soon his shtick is funny because he is talented. Too many of the current crop of comedians simply rely on their personalities for a laugh. Franco actually uses acting skills to bring Saul Silver to life. This gives the film a nuance not found in many Judd Apatow produced movies(yes the uber-producer found time to put his name on this picture as well) where a great deal of fun is had by the actors and only some of that is transferred over to the audience. Franco shines opposite Rogan who, while still lovable and hilarious, is playing the same guy from Knocked Up, 40-Year Old Virgin, and Superbad.

Rogan more than makes up for his minimal range with his skills as a writer. This script has a seemingly endless number of killer lines and winning moments. He and Goldberg have a lighter touch than Apatow; both the raunch and the sentiment seem more realistic and palpable. The scenarios the characters find themselves in don’t seem forced to create a laugh (as is the case in the Harold and Kumar movies). The comedy comes from small moments and reactions that come across as genuine. Besides writing an out-of-place and over-the-top role for Ed Begley Jr. (as the father of Dale’s girlfriend) and an end sequence that drags past the point of interest, these young writers have produced another wonderful script. Pineapple Express may be the closest thing to a truly enjoyable romantic comedy to be produced in years.