Month: July 2016

Let’s not mince words. Of the classic Muppet films, The Muppets Take Manhattan is my least favorite. I know, I know. I’m an awful human being who hates fun. But I think part of the reason this one leaves me cold is that it sits between two of the best things Jim Henson and his collaborators ever did: The Great Muppet Caper, which is the Maltese Falcon of movies staring piles of colored felt, and Follow That Bird, which I won’t be covering here, but which I assure you is brilliant and which you need to watch even if you think you’re way too old for it.

The Muppets Take Manhattan is just…strange. It doesn’t feel like the Muppets to me. Or…well, scratch that. It absolutely does feel like the Muppets, but only intermittently. When it does, it’s great. But when it doesn’t, which is most of the time, I find myself tuning out. My eyes wander. I look for interesting background details or try to figure out how much of a given street or park was blocked off for filming.

In short, I stop paying attention. And how in shit’s name is an amnesiac frog and a psychotic pig trying to make it on Broadway incapable of holding my attention?

Speaking of which, maybe I just missed them, but I can’t find many interesting background details. Forget the mass of Muppet cameos at the end; those are great, but minor character crowd scenes are a given for a film like this. I’m talking about things like the Rev. Harry Krishna sign in The Muppet Movie, or Nicky Holiday’s door reading IRRESPONSIBLE PARASITE. Little flourishes that end up populating the background because there’s no space for them in the zippy dialogue.

For a Muppet film, I guess, The Muppets Take Manhattan just doesn’t feel especially inventive. And perhaps the reason jokes didn’t bleed into the background is that there was enough space for them in the dialogue, which doesn’t pop the way it does in the previous two films.

Here there are long, talky stretches that don’t manage to be funny or interesting. The previous films were so heavy with gags that they kept coming through the end credits. This one doesn’t seem to have enough laughs to go around, so it pads out a lot of space between them.

I hate to say it, because it’s not as though the actors are to blame, but I think this is due to the fact that so much screen time is given over to Kermit’s waitress friend Jenny and her father. Neither of them really get any punchlines or zingers, but they get an awful lot to say, which makes the film feel empty, at times seeming like a drama that forgot the emotion even more than it feels like a comedy that forgot the jokes.

Again, the actors are fine. Jenny is believably sweet and a nice, unintentional foil for the volatile Piggy, while her father is just some slightly batty but good-hearted sitcom Greek. They do what the film asks them to do, but, unfortunately, the film doesn’t ask them to do much. In fact, toward the end they both wink completely out of existence, making me question their utilities as characters in the first place. Like their dialogue, these two themselves feel like padding.

It’s especially weird since Kermit’s grand gesture at the end of the film is to invite everyone up on stage with him, including three new coworkers he doesn’t actually know and some unemployed penguins. But Jenny and her dad? Nah, to hell with them.

Seriously, that’s not Kermit. Those two gave him a place to stay, food to eat, and a source of income when he had nothing at all. Now he just says, “So, hey, thanks for putting my life back together when I had nobody, but now my real friends are here so you’d better go back to your failing restaurant”?

#NotMyKermit

But I’m getting ahead of myself.

At the very least, I should explain the plot. The Muppets Take Manhattan is the story of that time all the Muppets were homeless so they broke up and lived alone in constant grief. What a riot.

The project that ruins their lives is a musical called Manhattan Melodies, which they wrote for a show in college and which they spend every cent they have trying to bring to Broadway. As a result Piggy gets mugged, Gonzo gets mauled in a boating accident, and Kermit gets his skull caved in.

Damn.

Again, The Muppets Take Manhattan is weird, and there’s something uncomfortable about watching them squirm their way through these particular dire straits.

In The Muppet Movie they had to deal with unreliable vehicles and — indirectly — a lack of finances. In The Great Muppet Caper Gonzo had to freelance to pay for dinner and the gang had to lodge at the rundown old Happiness Hotel. So, okay, it’s not as though we’re used to the Muppets sitting pretty.

But The Muppets Take Manhattan feels too squalid. The poor guys have to sleep in lockers and go hungry. There’s even a scene in a montage that catches them staring hungrily through a window at somebody else’s sandwich. We’ve seen the Muppets weathering tough times, but I don’t think we’d ever seen them slowly starving to death in the streets.

It’s oddly horrifying. Henson and company spent many years bringing this strange troupe of magical creatures to life just to have them perish in a Manhattan gutter. It’s so sad that by the time Kermit is struck and nearly killed by a taxi, it barely even registers as anything out of place. That’s just New York, baby.

I mean Jesus Christ. Look at that.

The Muppets Take Manhattan is bleak, but it’s not exactly a dark comedy. It’s more of a dark tragedy. I don’t need my laughs to be light and without consequence, but I do need laughs of some kind.

I’m exaggerating, though, of course. The movie has its moments, and it has some great ones. But they tend to either come too infrequently, or have black undertones of their own.

For instance, the scenes in which the Muppets write to Kermit, describing their individual journeys, are pretty funny. Scooter works in a theater, which is cute. Gonzo performs stunts for disinterested audiences, which makes for several of the film’s biggest laughs. (Cutting to the guy in the chicken suit, who Gonzo then calls Margaret, is the single best gag in the movie.) And The Electric Mayhem learns the joys of prostituting their talents in exchange for a paying gig.

So far, so good. But then there’s a scene in which Rowlf, off on his own and trying to make a living, manages a kennel. It’s a funny idea for the character but it pivots on a dime into a room full of dogs howling and crying that they want to go home. Rowlf joins them, because he wants to go home, too.

It’s painful. And a scene in which a lonesome Fozzie pines for Kermit when he’s supposed to be hibernating is only less painful by comparison. On its own it’s heartbreaking, too, because we know how much Kermit meant to him.

I think that’s part of what gives The Muppets Take Manhattan its own weird atmosphere; it wants the Muppets to be sad. They aren’t having fun. They’re struggling to sell their show to Broadway, then they’re struggling to not tear out each other’s throats, then they’re struggling to stay alive. This isn’t a Muppet adventure, this is a Muppet scramble for a crust of bread.

And that affects the viewing experience for me. I can take sad Muppets — and I like sad Muppets! — but I can’t take hopeless Muppets, which seems to be what this film is most interested in exploring. That’s a suspicion upheld by the fact that the one song that seems to have any real feeling in it is “Saying Goodbye,” a sorrowful farewell sung by each of the characters in turn as they say goodbye to Kermit, each other, and any hopes they might have had for the future.

It’s so dismal and sad that it’s easy to doubt that any of the characters believe their own lyrics. “Somehow I know,” they sing, “we’ll meet again. Not sure quite where, and I don’t know just when.” They’re trying to convince themselves that this isn’t over. That, in spite of everything, things are going to work out after this one unfortunate detour.

…and then they all slide off into the lives of sadness they knew they should have expected all along.

It’s a great song, and an effective sequence. And when you watch it knowing full well that several of the singers are no longer with us — Jim Henson, Richard Hunt, Jerry Nelson — it becomes tremendously sad. It’s written and performed so well that it becomes almost too real, and difficult to watch.

But as far as the music overall goes…well, have at me, because I don’t really think there’s much else worth salvaging here. (And for a movie about a Broadway musical, that’s especially unfortunate.)

“I’m Always Gonna Love You” is pretty cute, as we witness the (thankfully not literal) birth of the Muppet Babies. And “Together Again” borders on memorability. But that’s it. I just watched the movie and I couldn’t tell you how most of these songs went, with the compositions unraveling to the point that characters are just tunelessly speak-singing by the end of the film.

Composer Jeff Moss is no Paul Williams, but few people are, so that’s fine. The weird thing is that he is a Joe Raposo. Like Raposo, Moss wrote a wealth of great songs for Sesame Street. These include “The People in Your Neighborhood” and Oscar’s signature song, “I Love Trash.” For crying out loud, the guy wrote “Rubber Duckie”! So why his compositions fall so flat here whereas Raposo’s songs for The Great Muppet Caper were some of the best things he’s ever done, I have no idea.

It’s possible that they suffered due to the extensive rewrites the script went through. Perhaps he didn’t have much to work with at the time they needed the music, or he had to write general songs without a sense of where they’d actually fit in the story. I honestly don’t know much about it, but I do know that Frank Oz rewrote a large portion of the script that Tom Patchett and Jay Tarses turned in, and that there were additional rewrites due to certain actors and cameos dropping out just before production.

I don’t intend to speculate out of turn — I genuinely know very little about the creative struggles behind the film — and by no means do I intend to lay any blame at the feet of Frank Oz. Oz also directed this film, and it’s gorgeously done. Shots are framed beautifully, the colors on the Muppets are striking in ways they weren’t in the previous two films, and there’s a sense of a real, living New York going on in the background, even though we know we’re looking at a sea of paid extras.

So Oz definitely gave that side of the production his all, for sure, and his performances of Fozzie, Piggy, and Animal are all on point. Did his meddling cripple the script? Maybe, maybe not. I can’t say. It’s just as likely that Patchett and Tarses turned in a dud to begin with. Or that losing Jerry Juhl — who wrote for the previous two films and The Muppet Show — meant the script simply couldn’t keep up with the rapid-fire comedy of its predecessors.

Of course, it’s also possible that watching the Muppets die miserable and penniless in the world’s shittiest city just wasn’t all that conducive to comedy. IT IS IMPOSSIBLE TO KNOW.

But that’s just my experience with The Muppets Take Manhattan. I’ve heard from others who say that it’s their favorite of the films. I can’t fathom that, personally, but they probably can’t fathom my personal love for The Great Muppet Caper. (The insane idiots!)

I always invite comments on these articles, and I genuinely look forward to them any time I post something. (Whenever a piece gets no comments I sing “Saying Goodbye” as I tearfully ride away from my life on the back of a flatbed truck.)

But here, especially, I’m looking forward to hearing from folks who do love the movie. I know my review sounds harsh, but it’s not so much that I want to change your opinion as it is that I want to explain mine, and then hear yours.

If anyone can help me enjoy The Muppets Take Manhattan as anything other than a puppet snuff film, believe me, I’d love to hear from you.

Anyway, where was I? Ah, yes, bitching about the ways one puppet movie isn’t as good as some other puppet movies.

Another way this puppet movie isn’t as good as some other puppet movies is its cameos. Again, evidently some big names were attached to The Muppets Take Manhattan, and for one reason or another they dropped out. I don’t mind that, and I don’t even know if that’s especially relevant. All that actually matters is what made it to film, and…the cameos leave something to be desired.

The Muppet Movie had Orson Welles, Steve Martin, Mel Brooks, and too many other huge (and game) names to list. The Great Muppet Caper had John Cleese, Peter Falk, Peter Ustinov, and…I can’t remember. I feel like the guard that hates pepperoni was somebody famous. But, okay, the point is, they were all awesome, even if there were fewer.

The Muppets Take Manhattan has plenty of actors who do the best with what they’re given, but on the whole they don’t get much. Art Carney, Liza Minnelli, and Brooke Shields are all completely wasted. Dabney Coleman and Linda Lavin each get some good lines, but, come on, it’s Dabney Coleman and Linda Lavin. You don’t even know who those people are. I could have made them up! You have no idea!

There are two redeeming cameos, though. Pairing Miss Piggy with Joan Rivers, for instance, is genuinely inspired, and I adore the way Rivers helps Piggy cope with her broken heart by clowning around with makeup. It’s such a perfect little sequence that taps very believably into the way a little bit of silliness between friends can help us make it through difficult times. It doesn’t solve Piggy’s problems — nor should it — but it works exactly the way it should, and I love it.

The other great cameo is Gregory Hines, in the only sequence that could have sat comfortably in either of the previous films. He plays a guy in the park who gets roped into mediating a lovers’ spat, and he clearly relishes the opportunity to occupy some part of the Muppet universe.

Hines loves what he’s doing here, vacillating between supporting Kermit and supporting Piggy, consoling each of them as necessary, and, ultimately, realizing he’s never getting his roller skates back, leaving them to figure things out for themselves.

It’s adorable, and I honestly wish Hines got to do this in a better film. As it stands, he’s this movie’s Steve Martin or John Cleese, and that’s great company to be in. He manages to be an exceptional cameo in a film that clearly has no idea what to do with them.

But the real problem with this movie, I think, is that it’s a Muppet movie without the Muppets.

It has a Muppet. Kermit, of course. The rest of the gang spends the beginning getting antsy, and turns up at the end, of course, but otherwise, they just about disappear. It’s not The Muppets Take Manhattan. It’s Kermit Hustles His Way Through the City For a While, with Special Guests the Muppets.

They each have their solo stories (which are really more like abbreviated solo chapters) but they’re so segmented. I don’t know. I guess I don’t really care for finding out what Fozzie gets up to, or Scooter, or Rowlf. What I care for is finding out what Fozzie and Scooter and Rowlf get up to together. They’re Muppets, for crying out loud. They’re a motley crew of bizarre characters that work best when there’s lots of them bouncing off of each other and interacting.

The Great Muppet Caper had the perfect balance, I think. No, Sam the Eagle and the Swedish Chef and Janice didn’t get to do much, but they were always there, part of the group, and got to pipe up when they had something funny to say. It worked well. We got the sense that they were always part of the proceedings, even when they might as well not have been.

They didn’t splinter off just to appear in a brief, solo segment to deliver their one joke. They were part of a team, however loosely, and that meant something. It was especially meaningful toward the end, when Fozzie got them all to band together. They meant something to each other, and to their cause, even if we only heard from them when it was their turn to deliver a line.

Here we need to shoot off to another time and place to hear from them at all…something which is such a narrative and logistical hassle that we barely bother doing it.

And I never thought I’d have any reason to say this, but, man, there is just way too much Kermit.

To paraphrase my review of the Muppet Movie, Kermit was always the center of the production, but not the center of attention. Here he definitely becomes the latter, and as much as I love him, as incomparable as Jim Henson’s performance is, as endlessly charming a character as he will always be…man oh man do we start to realize how important variety is in a Muppet production.

Separating Kermit from the other Muppets for so long is like stranding the Stooges in three separate stories. It’s like sending Stan Laurel on one adventure, and Oliver Hardy on another. Or like a Monty Python film in which we follow Terry Jones doing something alone for 70 minutes, with the rest of the cast appearing only in brief inserts.

It gets tiring. And, worst of all, it gives me no pleasure to report, it gets dull. The Muppet Show may have felt, at times, like The Kermit Show, but it never actually was. And The Muppets Take Manhattan makes it very clear how much less enjoyable (and memorable) The Kermit Movie would have been.

And also regarding the ending: what the fuck is up with the ending? I get that the Muppets finally get to mount their Broadway show, but…then what?

They’re not poor anymore? Where do they live? What do they do next? Now they’re just famous and never have to worry about anything again?

And I really don’t understand why the movie ends with Piggy tricking Kermit into marrying her during the play. I feel like that ties up one very specific concern that one very specific character had, but not the movie we’ve been watching.

But, okay. Okay okay.

This is a wedding. This is supposed to be a happy occasion. So let’s say some nice things.

Which, to be honest, despite everything I’ve said above, is not actually very difficult at all. The Muppets Take Manhattan might be my least favorite of these, but that doesn’t make it bad. At worst it just makes it disappointing, and it’s only a disappointment because the previous two movies set the bar so high. If, say, Project: ALF (which was a load of shit) had even a fraction of the heart, humor, and charm of this movie, I’d have done a cartwheel.

The Muppets in this film are still the Muppets. Their characters are true to who they are. Sure, I might not want to see Rowlf howling in anguish because he misses his friends, but that doesn’t mean I doubt he’d do it. Watching the Muppets here isn’t a betrayal of who they are…we just happen to catch them at their lowest points, like watching the Beatles in Let it Be. They’re still who they always were…they’re just not the way you usually see them. Or might wish to see them.

And even though I think there’s too much Kermit once the gang splinters, it’s nice that Rizzo is already a resident of Manhattan, as he gives the film some sorely needed variety during that stretch. It’s also, of course, great that Piggy only pretends to leave with the others. What an absolutely perfect Piggy detail.

I’d still like to see more of her, and I wish her one-sided rivalry with Jenny disappeared for a stronger reason than the fact that the script says it disappears, but she, too, offers a nice reprieve from the frog-centric story.

Throughout Piggy gets some great moments. We’ve talked about her scene with Joan Rivers, but immediately before that she quietly stews over finding Kermit and Jenny together on a bench…until she breaks and madly assaults a trash can with a pipe. And later on when she spies them in the park she jogs after them, and immediately starts wheezing and doubling over.

Again, an absolutely perfect Piggy detail.

There’s also the “Rat Scat” sequence, in which Rizzo and his tiny little puppet pals man the kitchen and prepare breakfast. It’s adorable in a slightly nauseating sort of way, and an impressive feat of puppetry several times over. I can’t even describe this one…you really do need to watch it, and it’s absolutely a highlight of the film.

In fact, Rizzo in general is a highlight, and it’s nice to see Steve Whitmire getting so much to do. Rizzo’s presence is also a chance for Frank Oz to solve some logistical puzzles as a director. When you have, for instance, Rizzo, Kermit, and a human sharing the screen, that’s three different scales. Their sizes are all different, and you can’t show the puppets from the bottom, or cut off the tops of the humans. How do you shoot them?

Oz comes up with several solutions that are so natural you won’t even notice unless you’re looking for them, and I love that. The Muppets Take Manhattan doesn’t give me as much enjoyment, but that doesn’t mean there isn’t plenty to appreciate.

That’s my my opinion, though. And the nice thing about Henson’s body of work (okay…one of several hundred thousand nice things) is that different people connect with different projects. The Muppets Take Manhattan might not be the film I turn to first, but it is that film for somebody else.

I love Muppet Babies, but I know that others found the show annoying and embarrassing. I’ve only seen a few episodes of Fraggle Rock, but others grew up with it, and it was their Sesame Street. Some people prefer the electrified insanity of The Muppet Show, and others prefer the slower films. There are those who love Labyrinth and those who prefer The Dark Crystal. And we’re just scratching the surface here. There are others whose favorite Henson production is something I haven’t even mentioned.

And that’s beautiful.

Henson’s work in general, and the Muppet stuff in particular, was always about inclusivity.

However different we might look, or sound, or behave…however different we are…can’t we all be happier together?

As Kermit put it two movies ago, in words that succinctly explain everything Henson ever did, that’s the kind of dream that gets better the more people you share it with.

Jim Henson and the rest of the writers and builders and puppeteers and everybody else involved celebrated difference. Embraced difference. Created characters who were proud of their difference. And then brought them together anyway. Because being part of a group didn’t mean that you had to forget who you were, or become somebody else. It just meant that you could accomplish so much more. That you could be part of something bigger.

And that you could make a lot of people very happy.

I don’t know how consciously Henson wished his works to be a social statement. To be honest, I’m not sure he did think much about it. I get the feeling that it just came naturally to him, and to the people he worked with.

He created a universe that was better — objectively better, safer, more accepting, more tolerant, more encouraging, more caring, more loving — than the one he inhabited.

And he let us all come in, too.

His characters may have just wanted to get to Hollywood. Or catch those jewel thieves. Or stage their play on Broadway.

But the impacts they left on people — on children especially, but on people in general — were much larger and deeper than that.

Jim Henson changed lives. And he changed them in so many ways, through so many projects, that it doesn’t matter if The Muppets Take Manhattan wasn’t for me.

It was for somebody else who really needed it. And that person — those people — got their message from him, too.

I couldn’t possibly be more grateful.

My trademark griping about things I love aside, The Muppet Movie is wonderful. Maybe not the film I’d like it to be, but if you do the math Jim Henson was slightly more of a successful artist than I am, so it might be worth deferring to his judgment now and again. It was sweet. It was funny. It had incredible music. What more could you want?

I’m glad you asked! Because The Great Muppet Caper provides my answer: The Great Muppet Caper.

Everything good about The Muppet Movie is, simply, better here. And any niggles I have with The Muppet Movie are entirely erased. The Great Muppet Caper is sweeter, funnier, and features even better music. The one area in which the first film might edge this one out is its sheer volume of great cameos. The Great Muppet Caper has admittedly fewer, but it does have the single best Muppets cameo ever…and we’ll get to that in due time.

My love for The Great Muppet Caper probably doesn’t come as a surprise. It’s a common reference point for me, and I bring it up a lot. Not just because I think it’s a good children’s movie and the best Muppet film, but because it is genuinely one of my favorite movies. Period.

I adore The Great Muppet Caper. From beginning to end, top to bottom, line to line, song to song…every moment speaks to me in ways that few films do. The hour and a half I spend each time I watch it is like catching up with an old friend. You slip into inside jokes and references only the two of you will understand. You feel the comforting weight of a shared history. You remember something you had…something you might not have any more, but the memory is enough. It’s enough to know it happened.

I had The Great Muppet Caper on video when I was a kid. I watched it endlessly. To this day I’m not sure I’ve seen any other film a greater number of times.

And that’s an admission I’ll make now: as much as I love it, it’s possible that it’s only my favorite because this is the one I had. Had I owned The Muppet Movie (or, God forbid, The Muppets Take Manhattan) instead, maybe I’d be balancing these reviews differently.

But I don’t know if that’s true. It’s possible, but not likely. Again, this isn’t just my favorite Muppet film; it’s one of my favorites overall. It rises not just to the top of one list, but to the top of the list. And I think that says something.

We only had a few movies growing up. Willy Wonka and the Chocolate Factory is also one of my favorites today, for many of the same reasons that I love The Great Muppet Caper. (Look for a Fiction Into Film on that eventually. It’s a given.) We also had Yellow Submarine, Ghostbusters, Back to the Future, and a handful of others. And while I hear echoes of my childhood whenever I watch those other films, The Great Muppet Caper is my childhood.

It’s a part of who I was, and who I became. It was a movie I enjoyed as a kid that I appreciate as an adult. It grew up with me. It can engage with me as I am today, and it can remind me of who I was a lifetime ago. It was released just a few months after I was born. For all intents and purposes, we are the same age. It’s my peer. It’s the one friend I’ve had for my entire life.

If The Muppet Movie laid the basic groundwork for Muppet films, The Great Muppet Caper showed what I think they should be.

Muppet films fall into one of two camps. There are movies about what the characters are up to (The Muppet Movie, The Muppets Take Manhattan, The Muppets), and movies that treat the characters as a troupe of players that can be plugged into one-off stories (The Great Muppet Caper, The Muppet Christmas Carol, Muppet Treasure Island). In other words, the former category treats them like characters, and the latter treats them like actors.

I prefer the second approach, to be honest. (That’s the closest thing you’ll ever see to a kind word about The Muppets’ Wizard of Oz.) I think that television, on the whole, is better suited to checking in with characters on a longterm basis, while film is better served by bigger, singular stories. Exceptions abound, of course, but comparing The Muppet Movie and The Great Muppet Caper doesn’t shake my convictions.

It doesn’t hurt that The Great Muppet Caper weaves an original story around its general crime fiction framework, which, to my mind, gives it an inch more merit than the Muppefied adaptations of other stories that followed. It’s nothing especially remarkable in itself — Kermit and co. track down and capture a jewel thief — but it provides a sturdy (well, sturdy enough) narrative throughline that its predecessor and successor both lack.

This helps the film to feel much less like a loose collection of skits and setpieces, as every scene advances or comments in some way upon the greater plot.

It also doesn’t hurt that the jewel thief is playing fucking brilliantly by Charles Grodin, who gives himself over completely to the insanity.

Whereas the first film’s Doc Hopper was a bit too evil to be interesting, Grodin’s Nicky Holiday is rich, nuanced, and an absolute blast to spend time with. Charles Durning, to me, didn’t seem like he had much of a handle on his character beyond a desire to enlist Kermit as his spokesfrog by any means necessary. In stark contrast, I believe Grodin knows everything there is to know about Nicky Holiday…a belief that seems to be upheld by the fact that we often see him doing things other than reacting to Muppets.

In fact, we see him go through several distinct phases, only one of which has anything to do with the Muppets. This rounds him out, and gives us reason to believe that he is a character. We see him as the dangerous, calculating thief when the film opens, but later when he’s with his sister (and victim) he’s a clowning buffoon. He’s a slimeball, but one that revels in slime. He has fun with what he’s doing…toying with her and everybody he meets, playing the part of a helpless idiot so that he’ll never be a suspect. There’s even some hilarious drunk acting in the scene at the Dubonnet Club which feels just artificial enough that it’s believable misdirection on his part.

And then, most significantly, there’s the phase in which he meets and falls for Miss Piggy.

He reconsiders what he’s doing. He thinks twice. Victimizing his sister comes naturally to him, but when it comes time to frame Piggy, he has a twinge of something a bit like conscience. There’s real conflict there…one born of a kind of emotion he never expected to feel. In a lovely, artful touch, he finds Piggy on the dance floor during “The First Time It Happens” precisely as the singers croon “Just when you thought you forgot how to care…”

He still goes through with it, of course. “I’m a villain,” he explains. “Pure and simple.” But the glimpse of something beneath his evil exterior makes a world of difference. His reluctance defines him as a character…the psychological equivalent of the pair of flowered socks he wears beneath his dress pants. (An incredible little wardrobe detail that in itself contains more character than Doc Hopper ever did.)

Nicky Holiday is a true rarity in a Muppet movie: a human character every bit as well-defined as the puppets. And while I’m fully aware of how much some readers might like to read that as an insult, man, these are some great puppets.

The Great Muppet Caper was released a few months after The Muppet Show aired its final episode, which allowed a few faces from late in that show’s run to put in an appearance here after missing The Muppet Movie. Those include Pops, Beauregard, and — most interestingly — Rizzo the Rat. I love both Pops and Beauregard, and they both get some very funny lines in this film, but it’s amazing to remember that Rizzo wasn’t there from the start. He seems like such a natural part of the group now. (He was also the breakout character for puppeteer Steve Whitmire, who eventually went on to fill Henson’s very big shoes as Kermit the Frog.)

But it’s the core quartet that really gets the focus in this one, and that works in the film’s favor. Rather than trying to spread its attention over dozens of characters, we really only spend significant time with Kermit, Fozzie, Gonzo, and Miss Piggy. The others just get a spotlight moment, and spend the rest of their time in the background, which I think works quite well. Zoot admits to owning only one pair of pants. Rowlf convinces some guard dogs to stand down. (“It helps to know a second language.”) Sam the Eagle pops his head out from his room to dismiss the other Muppets as weirdos.

And that works. Giving each of the minor characters only a joke or two is successful because they’re memorable jokes. They’re good lines. They’re funny. Rather than trying to cram multiple threads and spotlights into a single film, they’re sprinkled around the main plot like garnish, or seasoning. It means the jokes are always coming, but the story doesn’t have to slow down and wait for them.

It’s a very effective way for the film to have its cake and eat it, too, and the writers deserve recognition for that. Jerry Juhl returns from The Muppet Show and The Muppet Movie, but he’s assisted this time by Jack Rose (who wrote for Bing Crosby and Bob Hope, among others), Jay Tarses (with The Bob Newhart Show and The Carol Burnett Show under his belt), and, funnily enough, Tom Patchett of ALF fame. They’re a great team, and I can honestly say that the screenplay for this film is tighter, punchier, and more clever than The Muppet Movie‘s.

The dialogue isn’t the only kind of writing that improved, though: the soundtrack is also a nice step up.

I imagine I’ll get some pushback for this, but I don’t mean to imply that the Williams / Ascher songs from The Muppet Movie weren’t great. I mean only to say that the songs Joe Raposo wrote for this film are better.

That may have something to do with the fact that Raposo was no stranger to composing for Muppets; he was probably best known for writing tunes for Sesame Street, including its legendary theme song. He knew Henson’s creations well. He knew how they sounded, how they acted, and how to craft a perfect song for them that would appeal to children without boring (or irritating) adults.

He wrote far too many songs for that show to list them here, but to give you an idea of just how deeply he understood the Muppets, he wrote “It’s Not Easy Bein’ Green.” That immediately became — and still remains — Kermit’s signature song.

Raposo was an absolute treasure, and an invaluable asset to Sesame Street, and ceding the score to him here gave us some of his best compositions. (Why he didn’t also provide songs for Follow That Bird in 1985 is a mystery to me, but the songs in that movie are also great so let’s not worry about it too much.)

“Happiness Hotel” is a cynical, snappy paean to the film’s dingy central setting. “Hey, a Movie!” is an infectious celebration of Hollywood magic in general. And “Steppin’ Out With a Star” is an absolutely charming tune that feels like it was dug out of a forgotten 1930s songbook. But “The First Time It Happens”…

Oh, man. “The First Time It Happens.”

What a gorgeous, incredible song. It’s an absolutely beautiful composition. Moving, sweet, memorable…a genuinely lovely track that by no means feels like it was written for a pig and a frog, and therefore helps to elevate the sequence (and the pig and the frog) to something more general, more relatable…something we’ve all felt, however briefly. Something we remember. Something we reflect on. A perfect moment that just feels right before life gets in the way, time runs out, and we’re back where we were.

That song was actually nominated for an Academy Award, and the fact that it didn’t win invalidated the Oscars for the rest of time.

Look, I like The Great Muppet Caper, but even I’ll admit that a movie about some puppets beating the shit out of Charles Grodin didn’t deserve a set of songs as catchy, as funny, as sharp, or as beautiful as what we got. And I doubt there have been many composers in the history of film that could have pulled it off.

But Joe Raposo, clearly, was one of them. And I can’t imagine what the film would have sounded like without him.

One other way that The Great Muppet Caper improves upon The Muppet Movie is its portrayal of Fozzie Bear. In the first film, he’s just a not-very-good comedian. Which is true to the character, for sure. But there’s more to Fozzie than that. Specifically, there’s his fragility.

In fact, I would argue that the two traits are deeply related. Fozzie may struggle to make others laugh, but, really, his jokes are no worse (and no more hacky) than anything the other Muppets sling out. So why does he bomb so notably and so often? His lack of confidence. Fozzie feels like a failure, and his audiences pick up on that. The other Muppets don’t feel that way, so they don’t receive the same kind of scorn.

Fozzie’s constantly thwarted standup aspirations might be his main character trait, but it’s his fragility that explains it. And The Great Muppet Caper gives that important side of him — the self-doubt, the anxiety, the worry that he’s going to do or already did something wrong — some very effective breathing room.

That’s something that The Muppet Movie largely ignored. It was a comedy at all points, with only a handful of introspective scenes throughout the entire thing. (Gonzo singing in the desert, Kermit asking Doc Hopper who his friends are, and…actually, that might be it.) But The Great Muppet Caper finds room for both, and that’s important. It gives the entire film an identifiable emotional center.

There’s a great moment around the midway point when Kermit is getting ready for a date with Piggy (who he believes is Lady Holiday, the woman he’s come to England to interview). Fozzie preens alongside him and offers advice for their date…until he’s told that he’s not invited.

And, son of a bitch, if you’ve ever wanted to see a puppet’s heart break, that is the moment for you.

It’s a childlike misunderstanding. In Fozzie’s mind of course he’d go with Kermit. He always goes with Kermit! What makes tonight any different?

We know. And Kermit knows. And Piggy knows. But Fozzie doesn’t. And when Kermit tells him he can’t come, he’s quietly devastated. He doesn’t understand, but he respects Kermit’s decision. At some point, after all, won’t Fozzie have to live his own life?

Maybe. But does it have to be today?

It’s a gorgeous little moment, and it’s perfectly acted. It also sets up the great punchline to the scene: Kermit lets Fozzie come anyway. He knows it’s inappropriate. He knows it could put a damper on the evening. But he also knows that Fozzie’s feelings matter. And if he has to whiff on a date with Lady Holiday to avoid hurting his friend (and colleague, and identical twin brother), he’ll do it.

It’s a sweet resolution that becomes a comic one when Fozzie excitedly invites the entire Happiness Hotel to join them. Once again, The Great Muppet Caper has its cake and eats it, too. It gets to be both heartfelt and funny.

And Fozzie’s emotional arc culminates in a great speech toward the end, in which he chides the other Muppets for backing out of the plan to catch the jewel thieves. Fozzie’s still scared, but he’s going to do it. And he rallies the troops on his friend’s behalf…something he could not have done any earlier in the film.

He grew up…just a little.

In fact, The Great Muppet Caper gets to be both heartfelt and funny throughout, as exemplified by the movie’s best scene, which brings meta comedy to the fore, and spotlights the film’s artifice at precisely the same moment that its emotions turn real.

The scene is a deceptively complicated one. The Muppet Movie toyed with meta comedy (most notably by having its own characters read the screenplay to solve problems), but The Great Muppet Caper takes the joke even further.

It opens with the characters in a hot air balloon commenting on credits they shouldn’t even be able to see. (In a sweet joke to set the tone for the entire film to follow, Fozzie asks, “Nobody reads those names anyway, do they?” Kermit replies, “Sure. They all have families.”)

Later, when Kermit’s boss asks him why he thinks he’ll get another chance after botching the story about the jewel heist, the frog replies that if he doesn’t, “it’ll be a real short movie.”

And later still Kermit has to shoo a rambling Peter Falk out of the scene so they can shoot the rest of the film. (Falk’s role, by the way, sees him delivering a masterfully dry shaggy dog story, and it’s the second best cameo in the movie. Which says something, because in any other movie it would easily be the best.)

But the big meta moment…the perfect meta moment…one of my favorite moments in any movie ever…comes when Kermit confronts Miss Piggy about her deception: she’s not Lady Holiday. She lied to him. And he’s hurt.

He spurns her at the park, and refuses to listen to her explanation…at which point she picks up on something. He’s not just angry; he’s jealous. She danced with Nicky Holiday, and it upset him.

So she prods. And he walks away. And she prods some more until he lashes out by insulting her acting ability.

Not Piggy the character…but Piggy personally. She gets hurt, and lays into him personally as well. They break character. She threatens to walk out on the film. They shout at each other. They fight.

It doesn’t feel playful. It feels angry.

…and she cries.

And he realizes he hurt her feelings. Her real feelings. And he feels terrible.

He apologizes. She’s sorry, too. And they slip right back into character…the fight and the apology working also to address the problem the characters were having in the film. An apology for hurt feelings in real life doubles as the apology for deception in the film.

It’s brilliant.

In that moment we slide out of one layer of fiction and into another, and then back into the first without missing a beat. The fight works because it’s the real Kermit and Piggy who are upset with each other, behind the scenes, which is why it matters. They first argued in the second layer of fiction and it didn’t hit us the same way, because we know they’re just playing characters. But when that particular reality breaks, the emotion is real. And they hurt each other.

And they feel awful about it.

They feel so bad about it that they stop dead where they are, and they apologize. As they make amends, so do their characters.

It’s absolutely perfect.

I’m calling attention to Kermit’s relationships with Fozzie and Piggy not just because I enjoy how they’re handled here, but because they’re crucial to understanding Kermit and who he is. They’re the two most important relationships in his life, and while they may both frustrate him, he cares deeply about them both, how they feel, and their happiness. And, ultimately, they care about the same things for him as well.

It’s interesting, because both Fozzie and Piggy were played by Frank Oz, one of Henson’s earliest and strongest collaborators. Their real-life friendship and shared experiences informed the way these pairs of characters interact, because as well-drawn as many of the other Muppets are, it’s difficult to imagine Kermit being this close to Gonzo or Scooter for instance.

There’s an element of sincerity between Kermit / Fozzie and Kermit / Piggy that I don’t think someone other than Oz, no matter how good the performance, could pull off. It comes from a real place. A place that can’t be faked.

It’s also observable in Sesame Street. Most notably there’s the Bert / Ernie dynamic, a contentious but clearly loving relationship, but we also see it whenever one of Henson’s characters interacts with one of Oz’s in a non-standard pairing. See, for instance, the times Kermit hangs out with Cookie Monster, or Grover. In the latter’s case, especially, there’s an awful lot of hugging, and one imagines that if Kermit were primarily a Sesame Street character that Grover would have been his Fozzie Bear.

Character relationships like this are what make Muppet productions what they are. They’re not just movies and TV shows about puppets doing puppety things. In fact, the things I love most about them don’t require them to be puppets at all.

I like it when they talk. When they argue. When they apologize and come back together. I like it when they interact, and tell silly jokes, and support each other through difficult times. I like Gonzo pontificating in the desert. I like Piggy and Kermit breaking the fourth wall with their strained relationship. I like Scooter getting his radio frozen to his wrist.

These are all things people could do, which is part of what makes the Muppets real. They’re not all that far removed from human characters at all.

And The Great Muppet Caper has the best human characters as well, including, of course, the film’s absolute best cameo: former Muppet Show host John Cleese. (Also, he was apparently in some other things, but I’m sure you haven’t seen them.) Cleese’s scene is a perfectly pitched, perfectly dry comedy of dullness.

He and his wife (played by Joan Sanderson, his problem guest from the “Communication Problems” episode of Fawlty Towers) make distracted small talk while Piggy sneaks around their home, waiting for Kermit to turn up. That’s just about all that happens, but Cleese and Sanderson play off of each other very well, either mishearing or outright ignoring what the other says, while feeling obligated to keep some kind of conversation going. (“And the butler’s dead?”)

Then the doorbell rings, and Piggy seethes as these two then start talking about how nobody visits them, who should answer it, and so on. She gets more and more frustrated until she breaks, standing up and shouting, “I’ll answer it!”

It’s a great moment, and afterward Cleese stalks Kermit and Piggy through the house with a fireplace poker…just to put it away when he finds them and offers a restaurant suggestion.

It’s exactly the kind of scene that could have fit into The Muppet Movie — it is, after all, very much a self-contained comedy sketch — but it feels of a more natural part with The Great Muppet Caper. It doesn’t seem at all like an excuse to have a funny guest star do funny things, even though that’s exactly what it is. It feels like a very deliberate part of a very particular film, and that’s how all of The Great Muppet Caper feels. It feels cohesive. It feels complete. It feels like a movie that knew exactly what it wanted to be before it ever started shooting.

Whenever I think about these characters, it’s this incarnation I land on first. Kermit, Fozzie, Piggy, Gonzo…they’ve been many places and they’ve done many things, but the group of silly, well-meaning misfits that they play here, who travel around to make things right, to band together, to catch the bad guys red handed…these are the ones I believe in.

It’s a shame to me that The Great Muppet Caper never really set a precedent for films to follow the way it could have. Sticking these guys into a new, original adventure every few years could have brought us to a lot of fun places, especially while Jim Henson himself was still alive to guide them.

But I can’t complain. Or, at least, if I can complain it’s only because I want more of this.

The Great Muppet Caper is one of my favorite films. It holds up. It’s every bit as funny today as it was when I was a kid, even if I’m laughing at different things.

Very early in the film, Kermit tells the audience, “I wish I were you people, seeing this for the first time.”

I’m with him on that. If you haven’t seen the movie yet, do yourself a favor and check it out. It’s full of great surprises, excellent gags, and joyously sweet moments. It is itself a celebration of film, of entertainment, and of imagination.

And it’s my favorite of the many gifts Jim Henson left us.

Each of us finds that one Henson project that resonates most deeply with us, and we each find it in our own time. It comes to us when we’re ready, and it stays with us forever.

Nobody can tell you ahead of time which one it will be, but the first time it happens, you’ll know.

So! Rule of Three. This something that I’ve been meaning to start as a complement to Trilogy of Terror. In that series we look at three related horror films in the runup to Halloween, so I thought Rule of Three could serve as a nice balance in which we look at comedies. Like the Trilogy of Terror selections, these could be films in the same series, films by the same director, films with a common theme, or films with any relationship, really. The title Rule of Three refers to the comedy theory that if you say the same thing three times, Beetlejuice will appear.

Anyway, I had a few ideas for how to kick off this series, but, really, there’s only one way I knew I’d be happy with: by looking at the three Jim Henson-era Muppet films.

Well, the theatrical ones, anyway.

…and not Follow That Bird.

And…you know what? It’s The Muppet Movie, The Great Muppet Caper, and The Muppets Take Manhattan. Now leave me alone.

I’ve been running this site for around five years, and I’ve still, somehow, never properly covered a Muppet production. That’s…kind of crazy to me, and I have genuinely no explanation for that. But now, just as we’ve said goodbye to several thousand weeks of ALF reviews, I think it’s right to celebrate the much better puppets, much stronger writing, and much more effective characterization from the mind of Jim Henson.

These reviews won’t be unbiased. I mean, they can’t be, since I’m one man sharing my opinion on another man’s art. So, y’know, if you’re looking for unbiased reviews of anything you’re in trouble. But what I want to say up front is this: the Muppets mean something to me. They mean kind of a lot to me, actually. So much so that I can’t watch anything Jim Henson did without misting up a little bit, as every bit of footage he left behind reminds me of the profound loss that was his death.

Henson passed away in 1990. He was 53. I was nine. His death was the first that ever affected me. I hadn’t lost any family members before that. Or any friends. Or any pets. But I lost someone whose death, I truly feel, hit me as hard as I could possibly have been hit at the time.

Had I lost a family member or a friend or a pet, I would have been sad. I would have been overcome with emotion. I would have been inconsolable for some period of time. But with Jim Henson, I didn’t just lose someone I was close to. I lost someone who created worlds for me to inhabit. Places that felt like home. Multitudes of characters I loved and cared about.

At nine years old I wasn’t close enough to anybody to feel the true sting of their death. I absolutely felt it for Jim Henson’s, though, and I still feel it today. He was a visionary who, in large part, shaped the world for me. Made it seem less scary. Created an environment of limitless magic, imagination, and camaraderie. To this day, writing about his death is one of the most difficult things for me. I never met him, but I knew him. He never met me — or so many fans like me — but he did so much for me.

Watching The Muppet Movie as an adult, though, it’s not only a reminder of the great creative mind we lost; it’s an acknowledgment on his part that he knew what he accomplished. And that’s tremendously reassuring, as the only thing that would make Henson’s death sadder would be the suspicion that he wasn’t aware of how much he meant to so many people.

I feel comfortable saying this, because The Muppet Movie is framed as a sort of loose autobiography. By Kermit, of course, but also by Henson behind him. And it says a lot that, in both Jim’s case and Kermit’s, when they’re given this platform with which to tell their stories, they decide instead to tell a lot of stories. Not just about themselves, but about everybody who helped them get there. Kermit may have started out on his own, with a little bit of talent and a genuine desire to make people happy, but he ends the film with a legion of enthusiastic collaborators that accomplish so much more together than any of them could have accomplished alone.

The same goes for Jim. He may have been the center of these productions, but he was never the center of attention. They were group efforts. Ensemble pieces. Everybody got a spotlight, and nobody was any more or less important than anybody else. There’s very little ego in The Muppet Movie. There’s no room for it, because it’s much too full of love.

Early in the film, Kermit’s nephew Robin asks if this is how the Muppets really got started. Kermit replies, “Well, it’s sort of approximately how it happened.” And, just like that, Kermit’s biopic becomes Jim’s as well. (Or…vice versa?)

The Muppet Movie, for better or worse, is largely plotless. But what it lacks in narrative it makes up for in charm. Whether or not that’s a fair exchange, though, is up to you. For me…well, I like The Muppet Movie, but I think I respect and admire it a bit more than I actually enjoy it. It wouldn’t be until the troupe’s next theatrical outing that I really think they struck gold, but that’s a story for next week.

This film’s plot is admirably meta, if not necessarily complex. I mentioned the dual, fictionalized biographies of Kermit and Henson, but even if you discard that entirely and focus only on what we actually see, we’re watching a movie in which the Muppets made a movie about how they met in which the Muppets make a movie about how they met.

Parsing that sentence is more difficult than parsing the actual film, so that’s good, but The Muppet Movie definitely delights in poking fun at its own recursive narrative structure. The most notable meta gag is probably the one in which Kermit and Fozzie give The Electric Mayhem a copy of the screenplay so that the band can catch themselves up on the story without boring the audience. And the gag becomes an actual plot point when The Electric Mayhem show up later in the film to help Kermit, being able to find him by reading ahead in the script.

That’s a cute enough moment in itself, but my absolute favorite thing about it is that the screenplay is clean and crisp when the band first gets it, and dog-eared and doodled-upon when it turns up again later. It’s a completely unnecessary weathering of the prop that makes the entire production feel more real, even as it draws attention to its own artifice. (The screenplay reminds you, after all, that these are characters going through a scripted routine.)

It’s also an example of the kind of thought that goes into a great Muppet production from all angles, and it’s a layered instance of why the characters resonated (and continue to resonate) with so many different audiences and age groups. The smallest children enjoy the novelty of seeing puppets and listening to their silly voices. Older kids enjoy the coyness of the meta joke. Adults, and those who have seen the films multiple times, are rewarded for paying attention to detail.

The experience unfolds on several levels, and I don’t think that’s by design; I think that’s a natural outcome of having so many people involved with the production that genuinely enjoy what they’re doing. The more the filmmakers have fun, the more opportunities for the audience to have fun.

The Muppet Movie begins when an agent notices Kermit strumming his banjo alone in the swamp. The world’s most beloved frog is perfectly happy to stay just where he is. Maybe he’ll catch a movie now and then. Maybe he’ll match wits with a passing fisherman. But, on the whole, this is his life, and he is content.

He doesn’t want fame, or fortune, and the agent (Dom DeLuise, in the first of the film’s many great cameos) can really offer Kermit only one thing: the chance to make millions of people happy.

Kermit’s trip to Hollywood isn’t one of greed (like Piggy’s) or opportunity (like Gonzo’s). It’s just a way for him to bring joy to countless people he will never meet. That gives his life meaning. And that’s what gets him moving…the knowledge that he can help people just by being himself, but only if he gets out there and does it.

I don’t know how much The Muppet Movie syncs up with Henson’s own personal journey to stardom, but I do get the sense that Jim had a very similar desire. He had, as Kermit puts it at one point, “the kind of dream that gets better the more people you share it with.”

Admittedly, I don’t seek out scandalous information about celebrities, so I’m not the guy to say this conclusively. But I’ve read enough about Jim Henson through the years that I doubt he was motivated by fame, money, power, or anything along those lines.

His collaborators loved him. His family loved him. His fans loved him. He was, so far as I’ve ever known, a humble guy who worked incredibly hard to make a lot of people happy. And that was, also so far as I’ve ever known, enough for him.

I know also that Lew Lord (Orson Welles, in the last of the film’s many great cameos) gives Kermit his big break just as Lew Grade gave Jim Henson a real-life big break by commissioning The Muppet Show. But between those bookends, I think it’s less of a matter of mapping the biographical touchpoints than it is relishing the journey.

Sure, we know that there are general similarities between Kermit’s experience and Henson’s. We know that at some point Jim would have linked up with collaborators that each brought something unique to the team and therefore helped to define the Muppet experience as we know it. But try as I might I can’t seem to find any information about a villain who stalked Henson with the intention of eating his delicious, delicious legs.

As you see, I keep drifting away from describing the plot, and that’s because the film really plays like a feature-length episode of The Muppet Show that happens to take place outside the theater. (Or, well, in a different kind of theater.)

The Muppet Movie is a celebration rather than a story, a kind of victory lap even before its parent show drew to a close. (The Muppet Show would continue until 1981. Specifically it would end one month after I was born.) It even retains that show’s loose variety format, though it does its best to mask it.

Each character (or group of characters) gets some opportunity in the spotlight. Then we get a musical number. Then we get some winking feat of impressive puppetry. A famous face shows up to lend an air of legitimacy to the silliness. Then we cycle back through those things, not necessarily in the same order.

This can make for a fairly odd viewing experience, as it’s somewhere between sketch comedy and a road movie, without really being either. But if you’re willing to surrender to the scattershot format and ignore abrupt segues — such as when Kermit goes from singing with a piano playing dog to being enthusiastically tortured by Mel Brooks — there’s a lot to enjoy.

The Muppet Movie needs to be appraised as a series of scenes rather than as one coherent experience, and that makes me wonder how newcomers must feel seeing it. As an introduction to the Muppets, it’s probably pretty lousy. As a chance to spend an extended amount of time goofing off with them, though, it fares much better. I do have to admit that I’m in the camp that prefers the stronger narrative of The Great Muppet Caper, as I feel that the jokes land better when there’s some kind of identifiable plot behind them.

None of which is to say that the jokes in The Muppet Movie don’t land. It’s more, though, that they take the form of zingers and one-liners…comedy based in the moment rather than in the character or the larger situation. They’re jokes that play just as well on paper as they do in performance, because there’s little to them beyond the joke.

That’s due to the screenplay being written by Jack Burns and Jerry Juhl, two of the head writers for The Muppet Show. On that show, the jokes came fast and needed to register quickly, as no one skit got much breathing room. Subtlety was uncommon, and wit was paramount. Puns were often the order of the day, as those could be counted on for some kind of reaction, even if it was just a groan or a chuckle of recognition.

It worked on The Muppet Show (I mean…obviously now…) but I do think that films benefit from a wider comic perspective. We’re spending more time with these characters and in these situations, after all. The jokes have room to breathe; it’s just a matter of whether or not a writer takes advantage of that. Burns and Juhl for the most part do not, and that’s fine; The Muppet Movie is funny enough as it is. But the shift in approach for The Great Muppet Caper was, for my money, an improvement that better served the big screen format.

So that’s the writing, the performing, and the variety format from The Muppet Show accounted for…and that’s not all. When Henson celebrates, he invites as many people along as possible. That means we spend time with some human Muppet Show veterans, and it’s time well spent for sure.

Madeline Kahn, Bob Hope, Milton Berle, and Edgar Bergen hosted the show and cameo here. The film is also dedicated to the memory of the latter. (Bergen died not long after filming his scene.) The Muppet Movie is therefore tribute paid to one important puppeteer by another, keeping the spirits of both alive for new audiences.

Paul Williams also hosted The Muppet Show and cameos here, and was even invited to compose the soundtrack. You have him (and Kenneth Ascher) to thank for “The Rainbow Connection,” “Movin’ Right Along,” and “I’m Going to Go Back There Some Day”…three of the best original songs the Muppets ever had.

But the best human in the bunch?

Steve Martin, who hosted the show in season two, shows up here as a brilliantly irritable waiter. There’s just something about the way he delivers innocuous lines like “May I help you?” and “Thank you” that manages to suggest an entire, hilarious character that we barely get to see.

I can’t overstate his impact. Martin is perfect, working so much comic business into such a small (and, strictly speaking, unnecessary) role. His demeanor is so rude and dismissive that he almost seems bigoted against pigs and frogs, and resents having to serve them on principle. (Something made a hundred times funnier by the fact that neither Kermit nor Piggy seem to pick up on this.)

It’s the careless way he tears the foil from the bottle of wine. It’s the way he tastes it and immediately spits it on the ground. It’s the way he announces Kermit’s selection as “one of the finest wines of Idaho.”

It’s just…funny.

And that’s where The Muppet Movie both lives and dies. It’s either funny enough that we’re along for the ride, or not quite funny enough and we start wondering where we are in the plot, or trying to remember what these guys are even trying to accomplish.

But I’m not here to pick at the flaws. And, hey, even if I did, I’m sure someone else would disagree. A scene that leaves me largely cold could be somebody else’s highlight. Or a cameo that means almost nothing to me could hit somebody else in a way that I’ll never know. (Richard Pryor smoothly selling Gonzo an excessive number of balloons was an unexpected highlight from my most recent viewing, though I’m not sure I ever even laughed at that moment before.)

If I did have a concern worth discussing, it would probably be Doc Hopper, who doesn’t register as much of a villain. I hate to keep talking about The Great Muppet Caper ahead of its actual review next week, but a character like Nicky Holiday — nuanced, conflicted, willing to engage with the Muppets rather than endlessly push against them — really shows how to do a foil to these guys correctly.

Charles Durning does well enough, but I think Doc Hopper is just too relentlessly and transparently evil. It’s hard to care much about who he is when he’s hiring assassins to shoot Kermit through the brain, and while the basic idea of tempting Kermit to betray his species is an interesting one, it’s pretty clear that Kermit would never be tempted by that in the first place.

And indeed he isn’t. Hopper tries to tempt Kermit with something Kermit would never want, so it’s a bit deflating to that entire plot. Hopper is less Satan on the mountaintop telling Jesus “All these things I will give you,” and more some guy at the bus station asking if you want the pickle he found under the bench.

I’m really not sure why Hopper’s scheme wasn’t finessed in later drafts into something a little more interesting, or at least more difficult for Kermit to outright dismiss. Where’s the conflict?

It’s odd that Hopper is so one-dimensional, especially since none of the other characters are. That goes all the way down to Mel Brooks cathartically playing a gurning German scientist, Bob Hope getting an awed smile from Fozzie Bear, and Milton Berle trying to sell the gang a lemon with “detachable fenders, for narrow garages.”

There’s character in these characters, however small or thankless their role could have been. And that makes Hopper stand out in unfortunate relief.

And that’s without even looking at our Muppet characters. Henson, obviously, does incredible work as Kermit, selling every ounce of his pie-eyed confidence, and selling it even more effectively when that confidence falters, and he begins to wonder if a setback means he’s let everybody down.

Frank Oz does predictably solid work as Fozzie and Miss Piggy, two of the richest characters in the Muppet arsenal. Well-rounded and perfectly defined, with absolutely zero overlap between them, either in how they act or how they think, and that’s always been deeply impressive to me. (Eric Jacobson, I feel compelled to add, does an incredible job of keeping those characters, as well as Oz’s others, alive and with perfect continuation of their personalities. Jacobson is stellar at not just nailing how they sound and how they act, but what makes makes them who they are.)

Jerry Nelson (Floyd, Robin) and Richard Hunt (Scooter, Beaker) don’t get to do as much, but Dave Goelz as Gonzo gets an incredibly moving and unexpected spotlight. In fact, it’s probably the highlight of the entire film, which is pretty surprising as it’s just Gonzo singing about some balloons.

…okay. It’s not just that at all. And that’s what’s so wonderful about it.

At one point in the film, Gonzo gets swept away by the breeze while holding his balloons. It’s a nice bit of puppet stuntwork, there’s a brief encounter with Doc Hopper, and then Gonzo falls down and the show (literally) gets back on the road.

It’s nice, but not much different than any other death-defying antics Gonzo got up to on The Muppet Show.

Except for one detail: something clicks for him. Something feels right. Something feels…almost like home.

And then the balloons pop, before he can finish his thought. The movie goes on, and Gonzo keeps whatever awakening he’s had to himself. Until the car breaks down, and the gang is forced to spend a quiet night in the desert.

He says, “I wish I had those balloons again.” And if we don’t understand what he means by that — what he really means — he elaborates in song.

Rowlf plays a gentle harmonica. Fozzie strums a ukulele. Gonzo sings “I’m Going to Go Back There Someday.” The entire song is a tangle of half-formed thoughts expressed earnestly…a character struggling to find words for something he can feel, but can’t explain. It’s heartbreaking and inspiring at the same time…a doomed attempt to describe an emotion too complicated for the singer to even fully comprehend.

But he sings anyway. And somewhere between the lines, we know what he feels.

Of course we do.

We’ve all felt it, too.

And it’s here that Gonzo, of all characters, occupies the emotional core of the entire film.

He doesn’t get to do much after “I’m Going to Go Back There Someday.” But, well…what could he possibly do after that?

The Muppet Movie may or may not be a great comedy film. I don’t know that I’d call it one. But I’d absolutely call it an invaluable document.

It’s a record of something we had, too briefly. A glimpse into a universe Jim Henson wove together from nothing, with the help of friends and colleagues who understood his vision and each, with their own voices and talents, brought it successfully to life.

It’s a silly movie about a frog who meets a bear and a pig and a whatever and a dog and a bunch of other things and brings them to Hollywood, but it’s also, itself, evidence of the fact that somebody did that in real life, too. One guy who wanted to bring a little more happiness into the world, surrounding himself with those that could help him do it, and bringing them all along for the adventure.

The Muppet Movie is overflowing with love. With gratitude. With appreciation.

And when we lost Jim Henson, we lost a man who put so much of those things into everything he did. We lost an artist who cared. One who changed the world several times over. One who could have kept changing it. Kept bringing happiness. Kept making life a little brighter for those who needed it.

I’ve said before that I owe my creativity to Jim Henson. I’ll always stand by that. I grew up, after all, watching his productions. Watching him take pieces of felt and ping pong balls and glue them together to make something that was alive. I watched a man of profound imagination bring the things he imagined into the real world. Where they really existed. Where they’d continue to exist long after he was gone.

He didn’t care if you saw the rods moving the arms around. He didn’t care if a puppeteer’s head popped into frame. He didn’t care that you could see the seams.

He knew that a character’s life was deeper than that. It wasn’t on the surface, in the object; it was in what you brought to it. He had the not only the gift of imagination, but the ability to bring the things he imagined to life.

And that’s the word I’d use to describe his legacy. Imagination.

He showed me what imagination was, and then taught me countless times over what I could do with it. He taught me that imagination had value, and then you didn’t have to be afraid to share it.

I was watching a man bring his ideas to life. He made me think, for the first time, that I could do something, too. That achievement was not out of my reach.

Like Kermit, he believed in himself. He didn’t think he was fated for anything, or that he even deserved anything. He just worked hard and surrounded himself with people who understood. Little by little, the world opened itself up to him.

Who better to follow?