Sarah Silverman is unique. Just compare her to mainstream's latest darling comedian Dane Cook, for example. Though Dane Cook recently starred in "Employee of the Month" (2006) alongside two other renowned thespians, Dax Shepard and Jessica Simpson, he really is not a very good actor.
Sarah Silverman, however, has only had a handful of acting roles - let's not forget her appearance on "Seinfeld" - and yet it is not a reach to suggest that she is a gifted actress. Her abilities are what make her comedy so appealing, and that is what makes "The Sarah Silverman Program" one of the funniest sitcoms this year.
Those among us who caught "Rent" (2005) while it was in theaters noticed Sarah Silverman as Alexi Darling, an odd choice for such a serious film. Her performance harkened to her delivery of the titular joke in "The Aristocrats" (2005), in which she delivered a deadpan accusation of rape against a comedy legend to the camera. While much has been said about Silverman's use of taboo subjects as fodder for her jokes, to dwell on that does a disservice to Silverman's main talents.
Although in the latter instance Silverman, like Stephen Colbert, plays a character with the same name as herself, the prior mentioned creative performances were both marked by complete self-confidence within the characters she played. In many ways, she outpaces several of the more well-respected actors of her generation, as she never reveals the person behind the comedy. If she laughs (something Colbert himself has been guilty of), it is in character, not a dropping of the mask. When she looks away, it is not because she cannot find the right words, it's because her character cannot.
As to the content of the character itself, it is generally odious. Her remarks are insensitive, egotistical, racist, misogynistic and homophobic. Unlike Sacha Baron Cohen, however, she does not rely on outdated methods of cultural mocking. Her character alone is the butt of every joke, as far as we can see. When she says something racist, we obviously notice how ridiculous it sounds. In the first episode of her self-titled sitcom, she concludes her litany of lessons learned with "all young black women are prostitutes."
Indeed, all the young black women that have appeared on this episode have been prostitutes, but for her to jump to such a conclusion is preposterous, of course. Then again, the social commentary occurs when those of us interested in looking deeper may notice that many television shows do tend to only show black women when they are in lockdown.
Why don't we ever notice it? By shaping a character that works as the sum of all of our prejudices and willful ignorance, Silverman does outstanding work, drawing attention to the injustices people are forced to endure from those who are too stupid to examine their own privilege.
She is also rambunctiously enthusiastic about almost everything. Her emotions range from complete joy to childish disappointment. She behaves like a child who has never grown up. When her sister, played by her real-life sister, Laura Silverman, begins dating, Sarah resents the attention she is losing from her sister and ends up running riot through the streets. At the end of the episode, Laura begins a long speech about growing up, but Sarah shushes her. "I forgive you," she says. "Thank you," Laura replies.
A television show can live or die based on the appeal of its protagonist. That said, "The Sarah Silverman Program" is completely pleasurable, for not only is Silverman a joy to watch, but her comedy is worth the time it takes to hear, and subsequently ponder and process.
