Harold & Kumar Go to White Castle Is Still the Right Mix of Smart and Dumb

Harold & Kumar Go to White Castle is the sort of fun, low budget stoner comedy that two decades ago got a chance to become a sleeper hit, instead of only playing theaters for 30 days before going straight to streaming. Yet unlike other bong-ripping late 90s/early 2000s brethren Dude, Where’s My Car?—also directed by Danny Leiner—and Half Baked, Harold & Kumar is an intriguing mix of stupid and smart, thanks in part to the script by Jon Hurwitz and Hayden Schlossberg (now co-creators of The Karate Kid sequel series Cobra Kai). This goofy road trip movie shares DNA with the picaresque while gleefully playing with stereotypes and the weird fringes of American life only found late at night.

Despite their dramatic credentials as working actors, by 2004, John Cho was most famous for popularizing the term “MILF” in American Pie, while Penn played Taj Mahal Badalandabad (get it?), the hero’s loyal, heavily accented assistant in National Lampoon’s Van Wilder. Hurwitz and Schlossberg based several characters on their classmates at Randolph High, and their screenplay gave Cho and Penn the chance to play the heroes for once, though studios didn’t get why Harold had to be Korean American and Kumar Indian American. One executive asked the writers: “Look, we really love this movie. Why don’t we do it with a white guy and a black dude?” Where many Asian actors in 20th century Hollywood played martial artists, silent monks, or hard-working students, Harold and Kumar are quasi-slackers who get stoned and laugh at bad anti-drug commercials on TV. “‘Harold & Kumar’ is a movie that shows that Asian Americans get to be hot messes, too,” Anthony Ocampo told NBC News in April 2024, echoing many viewers of Asian descent who identified with the characters.

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Cho and Penn immediately fit into a classic comedy double act with Harold as the put-upon straight man and Penn the impulsive, funny horndog. The movie even ties this dynamic into the racism the characters regularly deal with. In the opening, two white bros—the dudes who’d anchor most other 2000s comedies—dump their work onto Harold, who they think won’t mind as “the quiet Asian guy in the office.” Both Harold and Kumar struggle with how to subvert stereotypes and what society expects of them. Kumar has talent, but doesn’t want to follow in his dad and brother’s footsteps and be just another Indian doctor. The meeker Harold is continually bullied and mutters about getting called a Twinkie by Asian frat member Cindy Kim (Siu Ta): “yellow on the outside, white on the inside.”

Cho handles the bulk of the movie’s arc with Harold building up his self-confidence, and he pulls it off with aplomb. The duo’s baked misadventures trying to find a White Castle feature a Ryan Reynolds cameo (of course), stolen cars, hang gliders, and a gloriously, obviously fake rabid racoon puppet. The characters, however, might be stoned, but they’re not stupid, which only adds to their frustration with the bigoted cops and racist skate punks they encounter.

The most hetero character, Kumar, cracks some vintage homophobic one-liners (ironically, Penn came out in 2021), and nothing here is politically correct, as with many 2000s comedies. Still, none of the characters Harold and Kumar encounter on their quest are ever what they seem. There’s Anthony Anderson’s sinister Burger Shack employee, Freakshow (Christopher Meloni), the deformed swinger who happens to be pretty nice, Cindy Kim and the “lame” Asian frat that really knows how to party, and the surprisingly ruthless “business hippie.” Then there’s Neil Patrick Harris, famously playing a hitchhiking, horny, and drugged-out parody of himself. It’s a passionate, hilarious performance that relaunched his career and inspired a thousand other celebrities to veer into similar comedic territory. Harris, as with Carl Weathers in Arrested Development, remains the best because he never gives away for one second that he’s in on the joke. When he exits the movie, Harold and Kumar ask where he’s going. He puts his sunglasses on and dramatically intones, “Wherever God takes me.”

As with a lot of American road trip movies, including Paper Moon and Two-Lane Blacktop, the raw weirdness and promise of the country is always at play. Kumar’s speech connecting the American Dream to their dream of White Castle is supposed to be absurd, but it’s real too. The single best quality this terrible place ever had was the concept of somewhere seemingly free of caste or class, where you could pursue your dreams, even if it was just a sack of small burgers and crinkled paper bags filled with french fries.

When it hit theaters in 2004, White Castle was a modest hit and did very well on DVD, leading to two sequels, 2008’s Harold and Kumar Escape From Guantanamo Bay and A Very Harold and Kumar Christmas. But while they had bigger budgets and plotlines, neither movie had the same low-key charm as the first one. I’m a big believer in Manny Farber’s “white elephant art”—loud, obvious media where everything’s on the surface—versus “termite art”, something that burrows deep into the ideas at hand. The first Harold & Kumar has the characters ride a cheetah, smoke tons of weed, and get one over on the white Americans who see them as nothing but stereotypes and racist images. It’s a stoner comedy with something on the brain, and that’s worth more than its weight in White Castle.

C.M. Crockford is a Philly-based neurodivergent writer with poems, articles, stories published in various outlets. You can find him on Twitter and find his other work at cmcrockford.com. His book Birdsongs is out now via Alien Buddha Press.