While it is easy to look at them with disdain and concern for their present work, there was a very brief moment when Peter and Bobby Farrelly were amongst the most acclaimed directors working in comedy, with their input in the 1990s entailing quite a few films that would become classics of the genre – the idea of an auteur is certainly thrown around far too much these days when describing any director with something of a consistent vision, but when it comes to this brand of off-kilter comedy, the Farrelly Brothers certainly held a considerable monopoly on the genre, putting together out several great films over the first decade of their directing career. There are large portions of the audience that support the likes of Dumb and Dumber and The Mask, but it is almost undeniable that their greatest achievement is almost certainly There’s Something About Mary, which many consider to be their best work. A recent revisiting proceeded to make it abundantly clear that this was an extraordinarily special film, a hilarious and irreverent example of how the romantic comedy can sometimes be absolutely engrossing when it is done right, which is unfortunately not too often in a landscape that seems intent on churning these kinds of populist films out without too much thought. I don’t normally praise directors whose films were produced under morally ambigious circumstances, and whose later behaviour hinted at something slightly more questionable – but taken for what it is, and considering the extent to which the film has been embraced as a true classic of the genre, its difficult to avoid falling for its charms, which is almost entirely what propels There’s Something About Mary and makes it so effective.

In trying to understand the appeal of There’s Something About Mary, we need to break it down to its most fundamental components, and ask what it is specifically that makes this such an enduring film, something that becomes increasingly more interesting when we look just below the surface in an attempt to comprehend the limits to which the film is going to explore certain ideas that are not new to the genre, but still seem so unique to this specific story. Much of this comes in the combination of comedic styles, which we find elevates it beyond simply being the run-of-the-mill romantic comedy we have grown accustomed to seeing. At the forefront, we find the film to be a mercilessly funny blend of gross-out humour and earnest, genuinely likeable comedy that work together to create a very distinct kind of story, one in which both the bold strokes and minuscule details are of equal importance. One of the most admirable traits of the Farrelly Brothers when it comes to all of their films (not only the radically successful ones) is their refusal to let a single scene go by without finding some way to extract every bit of potential humour from it – and while this can become quite exhausting in some of their films, it works in There’s Something About Mary purely because of the amount of authentic heart that contrasts the off-the-wall humour. Taking their cue from their comedic predecessors, who made sure that every moment was entertaining in some way (even those that were designed to be more intentionally serious, since it is important to find a balance), the directors make sure that every moment of these two hours the audience sits with this film are well-spent and entertaining, proving to be quite an effective comedy that never neglects to find the humour in any situation. 

If there is one flaw when it comes to this film, it would be that absolutely everyone in There’s Something About Mary is so incredibly likeable, which includes the actors who are supposed to be playing more villainous characters, which poses a slight problem when it comes to how we respond to the film – but perhaps that was the point entirely. While she wasn’t new to the industry by the time she was cast in the film, Cameron Diaz solidified herself as the embodiment of charisma with this performance, proving herself to be one of cinema’s most dynamic actors. For the first half of the film, she is relatively subdued, appearing only sporadically while the focus is more on Ben Stiller and a couple of other characters – but this is all leading to when she starts taking over the film, and there have rarely been more charismatic performances committed to film, so much that not even Stiller (who is doing genuinely good work) can match her – but considering he’s always been the kind of steady comedic actor who is most effective when he allows his co-stars to command the screen, it makes sense that he’d be overshadowed by Diaz, who is undeniably excellent and the foundation of the film. However, the entire ensemble is fantastic – Lin Shaye and Lee Evans are outrageously funny, and Matt Dillon is exceptional as the sleazy private investigator who also falls for Mary’s beguiling charm, and develops the character to the point that he almost comes close to stealing the entire film himself – one of the merits of casting a slightly more dramatic actor in a role that allows him to show a lighter side, while bringing a certain weight to the proceedings himself. It’s a very strong film that is only elevated by its wonderful cast.

Considering all these elements individually points to the specific aspects of There’s Something About Mary that make it a special film, but to truly comprehend why it was such an enormous success, and one that has aged remarkably well, we need to look at them all in tandem. The comedy is fresh and invigorating, but it has a lot of heart, which means so much when we’re looking at something seemingly so straightforward and undemanding. There’s an argument to be made that, when confronted with the choice to be simple or complex, audiences will obviously be more invested in the latter, but more likely to remember those that adhere to the former, which is the principle that the directors are working from when constructing this film. There seems very little reason to deviate from the general structure that has worked for so many comedies in the past, with the emphasis being less on subverting the successful formula, and more on seeing what can be done in terms of restructuring it to the specific ideas embedded in this particular film. We can easily predict where the film is heading, and it sticks to the precise structure that they know works, only differing in the areas in which it found room for improving on what is a tried and tested system. This all leads to a film that knows exactly how to find the balance between romance and comedy, which was vital to the entire film – far too many entries into this genre either lean on one more than the other, or they simply just neglect one in favour of emphasizing the other, which is not a particularly endearing quality when it comes to films that are defined less by the content and more by their execution.

There are numerous reasons behind the resounding success of There’s Something About Mary, both as a cultural phenomenon at the time, and how it has lingered as an unforgettable work over the years. There is still a lot of merit to the argument that this is amongst the greatest romantic comedies ever made, which is likely due to the amount of work put into ensuring that both sides of that label are honoured, which was pivotal to the film’s lingering on through the culture. There are many justifications for watching and rewatching this film – it could be because the performances are so charismatic and magnetic, we can’t help finding ourselves being drawn into the lives of these character, or we might find the blend of outrageous comedy and more subtle, gentle humour to be very endearing, or we could be invested in seeing it again in order to catch the many intriguing details that lurk in every frame. However, the most simple way to describe the appeal of There’s Something About Mary is quite simply that it is a radically entertaining film, a hilarious and offbeat comedy with a lot of heart and all the right jokes in the places that matter the most. It’s not particularly complex, and it is slightly overlong (which isn’t helped by the fact that there is an extended version, which is often viewed as definitive, since there are some genuinely good jokes that were removed from the theatrical cut, but have now been restored, enriching the entire film as a result), but it doesn’t matter much, at least not when it comes to the pure amount of joy and enthusiasm that exudes off this film and makes it such an unforgettable work of unhinged, raw comedy that proves that excess and exuberance can be entertaining when done right.