John Candy, a name synonymous with heartwarming comedy and captivating screen presence, boasts a filmography as intriguing for its overlooked gems as for its blockbuster hits. Among these lesser-known treasures lies Delirious, a 1991 comedy that, while commercially and critically unsuccessful upon release, offers a unique and fascinating cinematic experience. Delirious, starring John Candy, firmly resides in the category of films that deserve a second look, proving that even box office disappointments can hold considerable artistic merit. Despite bombing with critics and audiences alike, grossing a mere $5 million against an $18 million budget, Delirious stands as another testament to Candy’s willingness to embrace quirky and unconventional roles, alongside films like Only the Lonely and Who’s Harry Crumb?. While the film itself may be imperfect, John Candy’s performance in Delirious is undeniably a standout, making it a compelling watch for fans and cinephiles alike.
Diving into the Dream World of Delirious
Perhaps the most unjustly forgotten entry in John Candy’s filmography is Delirious. This is a shame, as the movie presents a genuinely compelling narrative centered around Jack Gable (John Candy), a soap opera writer for the fictional show Beyond Our Dreams. The plot takes a surreal turn when Jack suffers a head injury and awakens to find himself immersed in the very world of Beyond Our Dreams. This world revolves around the Hedisons, a wealthy and scheming family that epitomizes soap opera drama. As Jack navigates this bizarre reality, he soon discovers he possesses the power to manipulate Ashford Falls, the fictional town setting, by altering the soap opera’s script. This meta-narrative device becomes the central comedic engine, driven by Jack’s personal frustrations and the chaotic attempts of the show’s production team to counteract his narrative interventions.
Alt text: John Candy as Jack Gable in Delirious, bewildered and holding a soap opera script, symbolizing his entry into the fictional world.
The narrative of Delirious unfolds with a soap opera-like complexity, mirroring the genre it satirizes. Jack is infatuated with Laura Clayborne, a star of Beyond Our Dreams, and, upon entering the soap opera world, finds himself pursuing her character, Rachel. Adding another layer of romantic entanglement is Louise, played by Mariel Hemingway, Jack’s real-world love interest. Her character, somewhat awkwardly integrated into Beyond Our Dreams by the show’s inept producers, and her real-life counterpart both contribute to the escalating chaos in Jack’s life.
John Candy Shines in a Chaotic Comedy
Delirious is, admittedly, a personal favorite obscure comedy, despite its acknowledged flaws. Its charm is undeniable, even as the film wrestles with the weight of its numerous characters and interwoven storylines, all anchored to a high-concept premise that strains to accommodate them all within a feature film’s runtime. Contrary to the harsh critical reception it initially received in 1991, Delirious is far from a bad movie. Instead, it’s a misstep that possesses significantly more redeeming qualities than failings.
John Candy is, without question, the film’s strongest asset. His inherent charm and remarkable versatility, demonstrated by his simultaneous appearance in Oliver Stone’s dramatically different JFK, anchor Delirious amidst its narrative complexities. The premise, while convoluted, is engaging, and watching Gable grapple with the unfolding madness, much of which he inadvertently orchestrates, is inherently entertaining. This central comedic conflict sustains the movie even when its intricate plot threatens to become unwieldy. While Delirious arguably attempts to juggle too many elements, Candy’s performance, among others, provides a crucial focal point, preventing the film from completely losing its way.
Alt text: Mariel Hemingway and John Candy in Delirious, highlighting the delightful chemistry between their characters and the film’s romantic comedy undertones.
A Flawed Gem: Delirious’s Strengths and Shortcomings
The script of Delirious is rich with clever ideas. The soap opera characters and scenarios are particularly sharp parodies of the genre, playing on the audience’s familiarity with soap opera tropes to create moments of surreal and unexpected humor. The film effectively operates on both soap opera logic and dream logic, creating a world where Gable is perpetually out of his depth, a relatable comedic predicament.
The dialogue in Delirious is also a significant strength. The scenes between John Candy and Mariel Hemingway, though perhaps too few, are genuinely sweet and offer moments of heartfelt connection amidst the comedic chaos. Their on-screen chemistry is palpable and represents the strongest romantic dynamic in the film, even though neither of Gable’s relationships with Hemingway’s characters fully blossoms as the viewer might desire. Watching Delirious again, one can’t help but imagine the potential of a straightforward romantic comedy starring Candy and Hemingway. Despite a varied filmography, Hemingway consistently elevates her material, and her performance in Delirious, particularly as her soap opera character morphs into a Hedison family villain, demonstrates her comedic range. She even holds her own against the legendary Raymond Burr, in his final film role.
Despite its many appealing aspects, Delirious can be a frustrating viewing experience at times. The characters are engaging and worth following, even as the film falters in its final act. However, the core premise of a writer trapped in and controlling their own creation remains compelling and full of potential. The film often capitalizes on this potential, especially in scenes featuring Raymond Burr as the Hedison patriarch, playing soap opera absurdity with deadpan seriousness, highlighting the inherent ridiculousness of the genre. Simultaneously, the performances and script imbue these characters with a surprising depth, allowing them to react to their outlandish circumstances in a way that feels grounded and relatable, despite the inherent silliness. One might even wish for a longer runtime to further explore this world and its eccentric inhabitants.
Alt text: Raymond Burr as the Hedison family patriarch in Delirious, portraying the character with a straight-faced demeanor that enhances the film’s comedic satire of soap operas.
Why Delirious Deserves a Second Look
The talented cast of Delirious could have steered the film in numerous successful directions. This is especially true of John Candy, who could have truly excelled in a film that concentrated on a more focused aspect of this story. By attempting to balance the soap opera satire with Jack Gable’s personal life and broader comedic elements, Delirious ultimately delivers a remarkable, albeit flawed, final product.
There’s a unique appeal to ambitious comedies that don’t quite achieve perfect execution. Often, these films are more captivating than outright failures or flawless masterpieces, adding a peculiar charm to their successful moments and intriguing elements. Delirious exemplifies this. While occasionally frustrating, it’s a film that deserves a wider audience. It’s highly probable that many viewers would appreciate this genuinely funny early 90s comedy, and that discussing art that challenges expectations, rather than simply fulfilling them, is ultimately more rewarding.
A film that flirts with greatness, like Delirious, offers more conversational depth and invites deeper analysis than films of lesser or greater quality. Even on a superficial level, Delirious remains a well-crafted comedy, boasting a strong ensemble cast and an unparalleled leading performance by John Candy. It’s a film ripe for rediscovery and appreciation.
