When Seth Rogen recently went on Conan to promote his latest film, Neighbors, Conan’s first comment went right to the relationship of Seth Rogen to Zac Efron’s body: “Your costar Zac Efron, in this film, I…I didn’t know this but apparently…he’s in ridiculous shape.”
In response, Rogen says, shaking his head up and down, as if obsessed with Efron’s body: “Yes..It’s Insane. It’s freakish! The first time I saw him without his shirt on I thought there was something wrong with him…honestly…because he has so many bump sticking out of his body.”
Rogen then compares the “bumps” all over Efron’s body to his own body, which, “like is just one big bump.” To be sure, Rogen is telling us that his body, in relation to Efron’s body, is the punch line.
In the next joke about Efron’s body (in relation to his own), Rogen recalls a description he makes in the movie: “It’s like his whole body is an arrow…that points to his dick.” Rogen goes on to talk about how Efron is “without shirt in many scenes.”
(As I pointed out in my last blog entry, this is a key figure for Rogen in the movie. When, at the end of the film, Rogen (Mac) takes off his shirt and joins Efron (Teddy), they become “bros” again after, for much of the movie, being turned against each other. Their topless bodies, radically different from each other, in public are the basis for their renewed friendship. In the end, even though Rogen is a husband and father, he is now a bro.)
Playing on the topless-Efron-figure, Rogen discusses how the Efron would work out between one shot and another. This, for Rogen, is “psychotic.” Rogen points out if he were to work out between sets he would be knocked out for the day.
Rogen tops if all off by saying that every time he looks at Efron’s body he just wants to touch it (as he gestures outward toward the audience). But he adds that he sees his body in a psychotic manner, “as if it were a mirage.” But, in a moment of liberation, he passes from illusion to reality (“coming out of the closet,” so to speak) when he declares, in defiance of public standards, that Efron “is the sexiest mother fucker alive!” Since this is a comic-erotic revelation, which the crowd laughs loudly at, Rogen pulls back and laughs to himself. In comic shame, Rogen comes back and says, with a shrug, “I’m sorry…he brings it out in me.” This sets him up for the final joke of the evening on Conan.
Rogen goes for it when he claims that Efron’s body doesn’t just “bring it (the craziest-most-erotic-things) out” of himself; it brings “it” out in everyone. Rogen calls “it” a “sound” that comes out of women’s bodies (without their volition) when they see Efron. Then he moves on to describe how men’s bodies, when they see Efron on screen, also makes this “sound.” The punch line is that this sound, because it is automatic, must come from one’s penis. In other words, the sound people make when they see Efron is a kind of “mouth orgasm.”
What Rogen does here is speak what I call “body talk.” By making his body the foil of Efron’s body he engages in body talk.
While people – Rogen included – metaphorically ejaculate when they see Efron, they do chuckle when they see Rogen. The conceit is that, even though at the end of the film Rogen and Efron become bros-with-their-tops-off, this clip shows us that it is Efron that is the real basis of Rogen’s passion. Even though Rogen is caricaturing his sexual reactions to Efron’s body, the point of the routine is to leave the audience member with a sense that this may really not be a joke. There is, so to speak, a comic suspense of disbelief.
Rogen, it seems, gets very excited when he describes Efron’s body. Efron’s body is “insane,” “psychotic,” and a “mirage” that Rogen wants to touch. Efron is the “sexiest motherfucker in the world.” All of these expletives give the effect of a person who is erotically-and-yet-comically aroused by Efron. And in his comical passion, Rogen insists that men and women in the audience who see Efron on screen (or live) are just as obsessed as he is. Although we don’t make this “noise” over Efron’s body, Rogen’s insistence that we do is the insistence of a sexual schlemiel. It works like a charm because Rogen’s body – and not Efron’s body – is the punch line. That bodily and erotic difference makes Rogen’s….“body talk.”
But in a different setting, namely an interview with Movie Maniacs, the interviewer asks Rogen and Efron about their “bro moments” in the film and if, in real life, they have these moments.
In response to whether they have anything as “intimate” as the film suggests, Rogen speaks first and says “I don’t think we’ve had anything that intimate.” Efron says they “haven’t hooked up lately.” And Rogen adds “not since the movie.” But, in truth, they have no such interest.
Efron compliments Rogen and says (2:24) that he “really defines comedy for our generation in an honest and cool way…and in a way I’d like to do it someday and I’m learning now…Seth is a mentor.” In these moments, we see that Rogen, in real life, is Efron’s mentor. And to say that he “really defines comedy for our generation in a cool and honest way” is to give Rogen the greatest honors.
This, it seems, is what is behind all the body talk. In reality, all of this comical body talk and standing shirtless with Efron is about “defining comedy for the next generation in an honest way.”
But, ultimately, the irony of all this is that really Seth Rogen’s body is “defining comedy for the next generation in an honest way.” It’s the “other” body (which is closer to “our” bodies), not Efron’s body, which is the punch line that can possibly be said to “define comedy etc.”
I want to underscore the word “possibly” because this is quite a claim to make. It’s validity would have to be proven on the basis of Rogen’s body talk and its popularity. Can it really define “comedy for the next generation in an honest way”?