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Comedies are more satisfying

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Comedies are more satisfying
It is often said that in the end tragedies leave the audience more satisfied than comedies. This is particularly wrong in most movies because comedies show life in a different perspective than tragedies do. Comedies often have a different impact on the audience simply because of the way tragedy is portrayed in comedies. Comedies are very popular for making the audience laugh, which is the most powerful expression of feelings. Comedies also show the audience true life, in a way that the audience feels attracted to the movie therefore making them satisfied. These three reasons are to be analyzed to prove that comedies leave the audience more satisfied than tragedies.
“Dodgeball: a true underdog story” directed by Rawson Marshall Thurber is one of the funniest comedy movies of all time, it is not because of Vince Vaughn playing the protagonist, but because of the laughs brought by the movie. This is without a doubt one of the funniest movies in the comedy genre. The movie does an excellent job in affecting the audience with a powerful feeling, the feeling of amusement, pleasure, and laughter. The feeling brought by the movie leaves audience happier than a tragedy would simply because of the fact that the audience is able to leave the movie with a smile on their face.
“Happy Gilmore” directed by Dennis Dugan is among the most extremely successful comedies in the late 90s, despite the fact that it is an old movie, it still does an amazing job at portraying comedy in a way very few movies have been able to do in the past. This movie portrays tragedy in a very comedic manner. Gilmore has what most people would call an “anger management problem” but at the same time it leaves the audience not feeling sorry for the character but instead it makes them feel satisfaction and pleasure. The fact that someone has a mental illness is not funny at all but the way the movie depicts it is. The way a tragedy is shown affects the audience’s satisfaction; it is better to leave the

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