The time when Scorsese took another turn by making a disturbing dark comedy. This film turns the spotlight towards the show business industry by exploring the subjects of fame and celebrity and their influence over individuals and society as a whole. With a nice tone, excellent cinematography, good setting and a thrilling plotline, Scorsese crafted the perfect image of a delusional and obsessive sociopath portrayed by none other than Robert De Niro. I have to say that "The King of Comedy" along side "After Hours" are the most overlooked pictures in Martin Scorsese's catalogue.

"Better to be king for a night than a schmuck for a lifetime."

As Travis Bickle's universally known line of dialogue from "Taxi Driver" has a deep meaning ("Are you talkin' to me? Well I'm the only one here"),Rupert Pupkin's closing speech of his first-ever standup comedy routine in "The King of Comedy" finalizes the entire meaning of the film, wrapping it up in one short sentence. Is it better to have one great day versus nothing? Do the ends justify the means? Two questions all of us ask ourselves at one point of time in our life.

The comparisons to Travis Bickle seem stronger on paper than they do in the film. The most striking resemblance between the two stories is that both contain the central theme of a man snapping and doing something apparently crazy. Both films star Robert De Niro, and both are directed by Martin Scorsese, which makes for an interesting discussion of relation. Some may even say that it's a sequel in sorts.

Rupert Pupkin (De Niro) is a lonely man whose daily life and routines consist around one man: Jerry Langston, a talk show host and comedian who is followed by a horde of rabid fans, including Masha (Sandra Bernhard),a fan to rival Pupkin, who admits that he has waited nine hours at a time outside Jerry's recording studio to catch a glimpse of him as he is shoved into limos by fancy bodyguards.

Rupert is given a rare opportunity to speak to Jerry one day as he saves him from Masha, who assaulted Jerry with kisses and hugs. It is as they drive away together and Rupert talks to Jerry that he proposes his long-time dream, which is to appear on Jerry's show as an aspiring standup comic. Of course, he's had no experience. But Rupert swears he would be great on stage -- he's studied Jerry for years and knows timing.

Langston gets these psychos all the time, but he doesn't realize just how strong a fan Rupert is until he shows up at his private home with suitcases and a girl claiming to have been invited. "I made a mistake," Rupert says. "So did Hitler," Jerry barks.

Jerry Lewis plays Jerry Langston in a self-referential (and very unflattering) role. It's his finest to date. The guy is a scumbag who barely tolerates fans and is cruel. Lewis has lost his manic, energetic, annoying comedy rituals seen in films such as "The Nutty Professor" and has moved on to real acting that demands true skill. Gone are the squeaky voice and the crossed eyes. Here is perhaps the wretched soul who really exists behind Jerry Lewis, as we know him.

All of us exaggerate, but Rupert does so to an extreme. After being shoved out of Jerry's limo the night of their confrontation with an invitation to call Jerry's secretary to schedule a meeting, Rupert shows up at Jerry's office claiming to have an appointment. "Is Jerry expecting you?" he is asked by a clerk. "Yes, I don't think so," Rupert says.

Jerry and his workers, who deny his taped comedy routine that we never hear until the end, shun Rupert. "Oh, I see, this is what happens to people like you from all of this!" Rupert yells at Jerry. "No," he replies. "I've always been like this."

So Rupert breaks down and kidnaps Jerry with the help of Masha, demanding a spot on his TV show as a ransom payment. He commands that he will be referenced to as "The King of Comedy" (hence the title),and to further demonstrate the innocence of Rupert's character, when he shows up, he fails to see the gravity of the offence he has just committed.

Rupert is twisted, as you may have guessed by now, but not in a Travis Bickle kind of way. He doesn't see the bad in the world -- he's oblivious to it. "You're so naive!" Masha tells him. I wouldn't be surprised if he took it as a compliment.

Rupert lives in complete isolation, kept locked up with his mother and living his life by what he says on TV. His dialogue and mannerisms are all clichéd -- he says the kind of stuff one would expect a poorly written film to feature. When he tries to impress a female bartender, and when he tries to make small talk with Jerry, he frightens both individuals (similar to Travis Bickle frightening Senator Palantine and the Secret Service Agent).

As Rupert takes the stage at the end of the film, his entire dreams have been laid forth in front of him and he takes them by the throat. It is in that truly startling moment we've all been waiting for when we learn that Rupert is not only funny, but pretty darn talented. If the movie had used Rupert's life-long dreams as the butt end of a joke, if he had turned out to be an absolutely horrid comedian (which is what I honestly thought would happen),the film would have little effect. But as a filmgoer and critic, it ranks as one of the most surprising scenes I have ever laid eyes on.

5/5 stars.

• John Ulmer

Robert DeNiro wants to be "The King of Comedy" in this 1982 film directed by Martin Scorcese and also starring Jerry Lewis and Sandra Bernhard.

DeNiro plays Rupert Popkin, an aspiring, delusional comic whose idol is Jerry Langford, a Johnny Carson/Jay Leno comedian and host of a late-night talk show. DeNiro saves Jerry from a stalker, Masha (Bernhard) and gets into the car with him and tries to get on Jerry's talk show. Jerry tells him to call the office, talk to his secretary, and he will hear his material. Of course, a) Rupert doesn't do that - he continually goes to the office and insists on speaking with Jerry; and b) Jerry didn't mean it. Rupert is so delusional that he actually goes to Jerry's weekend home for a house party with no invitation and no house party.

Rupert gets sick of the brush-off from Jerry's assistant (Shelley Hack) and being removed by security, so he and Masha kidnap Jerry and take him to Masha's place. Rupert then holds Jerry hostage until he can do his material before Jerry's audience on national television.

There are many hilarious things about this film, not the least of which is that Rupert practices "The Secret" or the metaphysical "as if" - he has life-size cutouts of Jerry and Liza Minnelli sitting on Jerry's cut out talk show set, with a real chair in the middle where Rupert can sit and chat. He has a cardboard audience that he performs before. And, as one is promised in these metaphysical arts, Rupert's dreams come true.

The other thing I love is how nothing has changed in nearly thirty years - in fact, the celebrity cult has gotten worse. Today Rupert would have a reality show featuring himself, Masha, and his mother, not to mention the product endorsements and a chance to win the disco ball on Dancing with the Stars.

DeNiro is brilliant as Rupert, a loser who still lives with his mother but courts the big time at any cost; Jerry Lewis is sheer perfection as the serious-minded Jerry, a quiet man who likes to play golf and turns on the comedy for the cameras; and Bernhard is hilarious as Jerry's stalker, who, as he's duct-taped to a chair, sits across from him in a slinky gown and rhapsodizes about making love to him.

Having been in show business myself, I know only too well the frustration of getting seen by the right person and circumventing all the people in the front office. "The King of Comedy" speaks to the anger and frustration in everyone -- salesmen, performers, inventors, artists, reporters, anyone who is looking for access to the great and powerful. Rupert took it a little too far. But hey, he did what he had to do.