My Cousin Vinny

Proper procedure.

The correct steps to be taken in the precise order.

Never wavering from the script's strict imposing code.

Inviolable structure.

Airtight renditions.

Vinny Gambini (Joe Pesci) possesses the argumentative wherewithal, the incisive logic reasonably applied to ascertain guilt or innocence, but when it comes to the specific testaments concerning how to traditionally proceed, he's somewhat at a loss, and struggles to acclimatize. 

It's like the stellar unwritten rules which drive unorthodox independent filmmaking, have been transferred to a court of law, in Jonathan Lynn's My Cousin Vinny.

Vinny's held in contempt several times to punish his undisciplined disorienting candour, but he takes it in stride unconcerned with pejorative principled checks and balances. 

It was a different time (1992) breaking down barriers which upheld uptight and rigid formalities, in order to accommodate sociocultural differences which hadn't been raised in plutocratic splendour.

Then again, Lydia Berman in Thunder Force invigorates similar non-linear spirits, perhaps a Foucauldian study needs to be conducted regarding American comedy's progressive intentions. 

A lack of room for alternative dispositions can provoke a cynical malaise, nevertheless, and widespread support for flagrant difference which challenges dismissive pretension. 

Of course codes of conduct need to be respected within reasonable non-farcical bounds. 

But if people possess the content but lack the formality trouble will brew if they're left by the wayside (I'm not writing about myself, I like my jobs and oddball inclinations, but there are people much more ambitious than me who may be looking for answers from rowdier sources).

Accommodation works both ways and peeps can't just say and do whatever they feel like all the time.

But if procedures prevent competent employees from competing because they're not wearing an acceptable tie or discussing esoteric topics, with abstract obscurity and orthodox disdain, doesn't the resultant managerial gene pool banally stagnate, and innovation fail to materialize? 

I imagine it's not like that in many spheres, however, and sometimes I forget the multiple representations of provocative difference found in the credits of Michael Moore films.

Exceptions multitudinously grounding.

Alternative visions materialistically conveyed.

I saw My Cousin Vinny in my youth (at Christmas) and was so impressed with Marisa Tomei (Mona Lisa Vito). 

I was happy to see her nominated for an Oscar too.

And was super impressed when she won. 

*A classic.