Storyline for 'Man on the Moon':
Man on the Moon is a biographical movie on the late comedian Andy Kaufman. Kaufman, along with his role on "Taxi," was famous for being the self-declared Intergender Wrestling Champion of the world. After beating women time and time again, Jerry Lawler (who plays himself in the movie), a professional wrestler, got tired of seeing all of this and decided to challenge Kaufman to a match. In most of the matches the two had, Lawler prevailed with the piledriver, which is a move by spiking a guy head-first into the mat. In one of the most famous moments in this feud was in the early 80s when Kaufman threw coffee on Lawler on "The Late Show with David Letterman," got into fisticuffs with Lawler, and proceeded to sue NBC. | Jim Carrey gives the performance of his career as the insanely inventive comedian Andy Kaufman. Best known as lovable mechanic Latka Gravas on the 1970s sitcom "Taxi," Kaufman shocked audiences with his caustic, off-the-wall routines that often crossed the line from comedy to performance art. Director Milos Forman vividly recreates the era (with help from Lorne Michaels and David Letterman playing themselves). | "There is no real you," jokes Lynn Margulies (Courtney Love) to her boyfriend, Andy Kaufman (Jim Carrey), as he grows more contemplative during a battle with cancer. "I forgot," he says, playing along, though the question of Kaufman's reality is always at issue in Milos Forman's underappreciated Man on the Moon. The story of Kaufman's quick rise to fame through early appearances on Saturday Night Live and the conceptual stunts that made his club and concert appearances an instant legend in the irony-fueled 1970s and early '80s, Man on the Moon never makes the mistake of artificially delineating Comic Andy from Private Andy. True, we get to see something of his private interest in meditation and some of the flakier extremes of alternative medicine, but even these interludes suggest the presence of an ultimate con behind apparent miracles of transformation. Screenwriters Scott Alexander and Larry Karaszewski (The People vs. Larry Flynt) allege that transformation was Kaufman's purpose more than a shtick but less than a destiny. As we see him constantly up the ante on the credibility of his performance personae (the obnoxious nightclub comic Tony Clifton; the insulting, misogynistic professional wrestler), Forman makes it harder and harder to detect Kaufman's sleight of hand. But it's there, always there, always the transcendent Andy watching the havoc he creates and the emotions he stirs. Carrey is magnificent as Kaufman, re-creating uncannily detailed comedy pieces etched in the memory of anyone who remembers the real Andy. But while Carrey's mimicry of Kaufman is flawless and funny, the actor probes much deeper into an enigmatic character who, in life, was often a moving target even for those closest to him.
