The notion of “punching up” — directing humor at those of higher status — is often a guiding principle for comedians. But in the realm of film and television, few would argue that this should always be the case. In fact, some of the most memorable comedic characters thrive in defiance of this rule. Case in point: Charlie Chaplin’s iconic Tramp, who subverts expectations by elevating the everyday struggles of the underdog.
Enter Johnny “Spit” Spitieri, the perpetually bumbling, bleary-eyed ex-criminal and former heroin addict portrayed by David Wenham. Spit first appeared in the 2003 Australian film Gettin’ Square, and now, in Spit, a spin-off of the original, he returns to the screen in a story brimming with laughs and a few poignant moments.
While the film occasionally treads familiar comedic ground, such as a courtroom scene reminiscent of Gettin’ Square’s standout gag, it manages to carve its own niche. The comedy continues to land, especially when the irritable authorities around Spit struggle to extract anything resembling cooperation from him, resulting in laugh-out-loud moments.
The film opens with Spit stumbling through Toowoomba airport, attempting to sneak back into Australia with a fake passport after years spent overseas. But his return quickly turns sour as he is caught and placed in an immigration detention center, where much of the first act unfolds.
Spit’s humorous interactions with the authorities on both sides of the law form the foundation of the early comedy. The police view him as a potential asset for cracking open a cold case, while criminals like corrupt cop Arne (David Field) and kingpin Chicka (Gary Sweet) fear his return will lead to their downfall. As the plot unfolds, the humor shifts into more absurd territory, especially when director Jonathan Teplitzky explores the harsh realities of immigration detention centers. One of the film’s more memorable moments involves Spit teaching fellow detainees how to speak “proper” Aussie English, all while remaining true to his good-natured but clueless persona.
While these comedic elements are entertaining, the film stumbles slightly in its attempt to tug at the audience’s heartstrings. The emotional beats, particularly Spit’s reunion with his family, feel somewhat contrived, as the filmmakers insist a little too forcefully that Spit is a fundamentally good person. This adds layers to the character that might detract from the original, enigmatic charm that made Spit so fascinating in Gettin’ Square. The mystery of who Spit truly is, and where he fits into the world, was one of the film’s greatest strengths, and by filling in his backstory, the filmmakers lose some of that allure.
Nonetheless, Wenham’s performance is a highlight. His portrayal of Spit remains delightfully discombobulated, with the actor physically embodying the character’s confusion and awkwardness. Spit walks with a strange, almost comical swagger, embodying the character’s inner disarray. Wenham’s mastery of the physical comedy is evident, particularly in moments like Spit attempting to ascend a downward-moving escalator or fleeing from his pursuers in exaggerated fashion. While these sight gags are funny, the overall pacing of the film occasionally feels uneven, lacking the quick-paced energy required to make the gags truly pop.
One of the more amusing aspects of the film is its defiance of the “punch up” rule. In a particularly hilarious scene, Spit defends his past criminal activities by arguing that the drugs he sold — marijuana and heroin — are “natural,” in contrast to the more dangerous substances like amphetamines or ecstasy. Is the joke on Spit? In part, yes, but it’s clear the filmmakers intend for the audience to love him despite his flaws, and that sentiment is reflected in the film’s overall tone.
Ultimately, Spit succeeds in delivering a story about a deeply flawed but endearing character who continues to captivate with his unique brand of charm. While it may not entirely recapture the magic of its predecessor, the film stands as a worthy continuation of Spit’s saga, showcasing Wenham’s continued brilliance in the role and providing plenty of laughs along the way.
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