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If the mechanism is not exact nobody laughs: here the gears are left in view.
Take an unsuitable person and drop them into a world with rules of its own: the comedy comes from the friction, the heart from the fact that the world ends up changing them. That is the mechanism of the first volume, and it holds up an agency processing aliens at a service window, a family house seen from the side of the people who work in it, a museum that gets to its feet after dark. The second volume works on the other great maneuver of the genre: showing up with the face of undemanding fun, getting the viewer to drop their guard, and handing them, defenses down, something that would never have got through head-on. Comedy is structure with a shorter fuse — if the mechanism is not exact nobody laughs, and everybody notices at once — and these ten leave the gears in view: comic premise, escalation inside the rules, the pairing that makes jokes, and the exact point where the laugh stops being only a laugh.
Two strangers get the wrong address and wreck a rug: it is the smallest wrong that could ever set off a mystery, and out of it come a kidnapping, a ransom placed in the wrong hands and three fake nihilists. Five protagonists who learn a rulebook or pay for it, and come out changed.
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Chicago, the winter of 1929: two musicians without a booking see something they should not have seen, and ten minutes later they are boarding a train in heels and a wig. Five films that charge for the ticket in laughs and deliver something else: a European grief, a freedom, a man who had never chosen.
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Two volumes on comedy as architecture. The first studies the friction between an unsuitable person and the rules of a place, the second the laugh that gets the contraband through. Ten films to work on comic premise, escalation, running gags built as setup and payoff, and shifts of tone that do not break the contract.