“Girls wouldn’t even let me draw them,” recalls Robert Crumb of his early cartooning days. Of course, he can’t resist adding, “All that changed after I got famous.” Crumb, the brilliant and biting documentary by Terry Zwigoff, is a masterpiece of neutral ambiguity. Crumb, who for five decades has been the unwilling godhead of underground cartoonists, uses his art to name and release the demons of modern life. He uglifies most of his subjects, especially himself, so those who know him only from his shrill, bug-eyed self-portraits may be surprised to meet him here as a presentable, soft-spoken family man. He embodies Flaubert’s advice to be dull and bourgeois in one’s life so as to be violent and original in one’s art. But Crumb’s life wasn’t always dull.
By now, Crumb’s mastery is a given; he has more or less retired, but his last major work — his no-nonsense, no-comment adaptation of the Book of Genesis — is notable for the excellence of its draftsmanship and, weirdly, the almost total absence of Crumb himself. For the most part, Crumb is known outside comics circles for a few contributions, accidental or otherwise, to the larger pop culture: his cover for a Janis Joplin album; Fritz the Cat, subject of a Ralph Bakshi animated film that Crumb despised; his “Keep on Truckin’” cartoon, which was stolen and used for a hundred different applications. Crumb speaks for him as an outlaw artist and a suffering if mordant human born out of time. He can’t stand American bombast, especially rock music; he can listen only to obscure folk or blues records.
Zwigoff, a longtime Crumb friend and collaborator, gives proper due to Crumb’s art and all the mixed responses to it. Nobody argues that the art has no worth; again, its worth is a given. The argument is whether Crumb is on the side of the angels or devils with his eyebrow-raising portraits of fearful lust (his Devil Girl) or racist stereotype (Angelfood McSpade). If any thought or impulse crossed his mind, despite being repugnant to society at large, Crumb was going to be honest about it. He had no choice. Partly it was due to his repressed yet deranged upbringing, yet Zwigoff doesn’t do anything so banal as to handwave the wildness of Crumb’s art by excusing it due to his sad childhood. It’s just, This is how he is and who he became.
Crumb introduces Robert’s brothers — Maxon, who meditates on a bed of nails, and Charles, a recluse who lives with their mother in a fog of medication. All three brothers were artists, but only Robert found popular recognition, an outlet that allowed him to connect, while Maxon and Charles withdrew into themselves. Critics who cluck over Robert’s unstable brothers — “There but for the grace of God goes Robert” — miss the point of Crumb. The fickle finger of fame, which Crumb loathes, may have pointed him away from madness and obscurity. Yet we also see Maxon’s and Charles’ work, and it’s far more striking than Robert’s ferocious but relatively rational work; it has the purity of artists isolated from reality.
There’s immense irony in this. Robert escaped, and he’s still miserable: Success has its own agony. We watch him rebuffing a fan who asks for an autograph, or packing up his wife and daughter to move to France because America has become intolerable, or wearily answering the charges of misogyny leveled against his work, and if we listen carefully we may hear Terry Zwigoff saying, There but for the grace of God go Maxon and Charles. Crumb isn’t only about the famous Crumb, and the soul of this odd and mesmerizing film is in its glimpses of the brothers Crumb laughing over shared memories of childhood terrors, seeking solace in gallows humor about their own lives.