The Family Jewels.

Review #2366: The Family Jewels.

Cast: 

Jerry Lewis (Willard Woodward / James Peyton / Everett Peyton / Julius Peyton / Capt. Eddie Peyton / Skylock Peyton / Bugsy Peyton), Donna Butterworth (Donna Peyton), Sebastian Cabot (Dr. Matson), Neil Hamilton (Attorney), Jay Adler (Mr. Lyman, Attorney), Anne Baxter (Actress in In-Flight Movie), Ellen Corby (Senior Citizen Airline Passenger), and Gene Baylos (Circus Clown) Directed by Jerry Lewis (#963 - The Nutty Professor [1963], #1404 - The Bellboy, #1710 - The Patsy)

Review: 

It's interesting, I had this movie on a DVD pack for several years and I can't exactly say that there were interesting reasons to get around to this movie. The Family Jewels was the sixth feature film directed by Jerry Lewis (of twelve in his career, with all but one having him as the star), which happens to be a bit of a swan song. It was the fifth (of seven) time he co-wrote the screenplay with Bill Richmond. It was the last one he directed for Paramount Pictures, as he would leave for Columbia Pictures the following year. In what might be a bit familiar for those who see enough comedies, you have our lead playing multiple characters (as evidenced by previous efforts such as The Nutty Professor and The Ladies Man), as one does when having a movie about a kid having to visit uncles and "choose" which one to live with (the uncles I suppose have no recourse to have a say), and it can't simply just be the family chaffeur. Opposite Lewis is Donna Butterworth, who starred in exactly one other film with Paradise, Hawaiian Style (1966). The movie made some money and probably didn't attract as much praise or criticism as one might read from the early (or late) parts of Lewis as a director, suffice to say*.

If you're big with Lewis movies, you might or might not find a bit of enjoyment even with a second-rate effort that is found here with a movie (runtime: 99 minutes) that is hit-or-miss with its gags because of the fact that it really is just a series of vignettes with little to really show besides Lewis in a costume and Butterworth making small observations. It basically could be construed as a coin-flip of what you might like from characters that are so, so, so clear to pick out from: a sea captain with a, um, interesting facial getup and a "story", a circus clown that actually sounds like Lewis not just doing a bit (which of course isn't there long), a photographer character that looks and sounds like Buddy Kelp (get it, because now he just take photos rather than being a professor?), a bumbling pilot in a plane (Ford Trimotor) more rare than the successful gags in the sequence, a detective character that gets, well, "Sherlocky" on a pool game, and a gangster character with goofy teeth. It really is hard to say in so many words the level of varying middle-ground stuff that comes from a movie that clearly has so many characters to try and hide the fact that this probably would barely hold mustard as a TV special. It is the kind of movie where you might start lifting your hand up in the "move on already" motion, because there can only be so many chances at sight gags (so basically, swing, whiff, swing, whiff, whiff, swing, whiff). Sometimes I was wondering if the movie would've somehow been funnier if it focused on either the Sherlock character or the decidedly non-happy clown entirely, because at least those would've invited the possibility of actually having more of someone like Hamilton (pictured one year before being Commissioner Gordon on the famed Batman show) or Adler for more than five minutes**. Butterworth is fine, but she doesn't exactly have much to do besides what you might call "plucky kid stuff", because this is a movie that loves its cheap gags to observe Lewis with, such as say, in-flight entertainment being affected by the turbulence of the plane or a military parade being shifted around or a car station having hijinks. To say nothing of the sheer predictable ending. Honestly, the more I think about the movie, the less I find myself liking it, really, because it stuck less and less in my mind when trying to make this review, and I generally think that if I don't feel like watching it again, it doesn't qualify enough to be thought of as a "good" movie. With that in mind, your milage will vary with a later-stage Lewis movie that just wasn't for me because sometimes, "hit-or-miss" just isn't enough.

Overall, I give it 6 out of 10 stars.

*Maybe this is petty, but in the opening, Lewis is seen with a Dodgers cap on a Giants jersey. Jeez, man.

**If someone actually times how long Hamilton or Adler are in this movie, you get a gold star.

The Patsy (1964).

Review #1710: The Patsy.

Cast: 

Jerry Lewis (Stanley Belt), Everett Sloane (Caryl Fergusson), Phil Harris (Chic Wymore), Keenan Wynn (Harry Silver), Peter Lorre (Morgan Heywood), John Carradine (Bruce Alden), Ina Balin (Ellen Betz), and The Four Step Brothers. Directed by Jerry Lewis (#963 - The Nutty Professor [1963] ,#1404 - The Bellboy)

Review: 

The working title of the film was Son of Bellboy, and I suppose it makes sense to do a loose connection with The Bellboy (1960), since each featured Lewis playing a bellboy named Stanley that got into hijinks. Of course, the previous film was in black & white while having Lewis speak minimally while this feature has quite an interesting main set filled with color (green carpeting, for example). At any rate, what we have here is a movie that dares to aim for amusement with a character that will occasionally bubble into that light of painful awkwardness without becoming fodder to grouse about. It just so happens to involve a patsy surrounded by yes men that might as well be still prevalent today with regards to carefully packaged entertainers fit for the masses (whether through television or video screen). Sure, times have changed in the past five decades when it comes how they come out onto our attention…think about it: in a time of influencers and products made for folks eager to consume product before next product, there is something interesting about seeing a movie where all the steps don't necessarily have to come together to make something people want to watch in public. I think in that regard it makes for a fairly decent movie, albeit one with a slightly less smooth hit-and-miss ratio of gags to time when compared to some of other films with Lewis, who also co-wrote the film with Bill Richmond (a frequent co-writer for films with Lewis as director, as Richmond, a musician-turned gagman, would work on seven of the twelve completed films); this was the fifth film that Lewis directed. But hey, if 101 minutes seem useful enough to go with a mix of guests with notable character presences, this will be right up your alley.

The toadies certainly make it count in pulling strings handily enough without over-reaching, although I am skewed positively because of my familiarity with Wynn, Lorre, and Carradine (even though the latter two basically are there to play yes-man and watcher, respectively). At any rate, this was the last film appearance for Lorre, who died five months before the release of the film along with the penultimate film appearance of Sloane. Of course, a film with a bit to say about show business has a few cameos (much as a star vehicle about Vegas just happens to have George Raft). They mostly come and go without seeming too ragged, at least when your list goes from Scatman Crothers to Hedda Hopper to Ed Sullivan - the middle cameo probably gets the most mileage, probably because of a silly hat that ties with artifice. I respect Lewis and his commitment to the bit when it comes to a character that isn't necessarily meant to be funny all the time but can still generate worthy curiosity without artifice (and no, it isnt just "being himself", it just means he plays his hand without standing to cliches). Balin plays okay as the straight toady that has some sensibility and makes a fair match for Lewis. The bit involving a makeshift tie, done without dialogue, is a fairly neat little sequence to help round the film down, clicking. The last gag is probably my favorite, since it takes down the last bit of artifice when it comes to making entertainment with awareness, and apparently it came about because Lewis couldn't think of a good ending. The film has touched of biting humor in poking at the star system within promoters and the very artifice of Hollywood without becoming a spiteful piece to shudder at. Folks familiar with the timing of Lewis in his execution of directing and acting will find it worthy for a look, and this also extends to those not as familiar with Lewis. Life goes on with or without a star or patsy to kick around, so enjoy as many pieces of entertainment with them, I suppose.

Overall, I give it 8 out of 10 stars.

The Bellboy.

Review #1404: The Bellboy.

Cast: 
Jerry Lewis (Stanley / Jerry Lewis), Alex Gerry (Mr. Novak, Hotel Manager), Bob Clayton (Bob, Bell Captain), Sonny Sands (Sonny, Bellboy), Eddie Schaeffer (Eddie, Bellboy), Herkie Styles (Herkie, Bellboy), and David Landfield (David, Bellboy), with narration by Walter Winchell. Written, Produced and Directed by Jerry Lewis (#989 - The Nutty Professor [1963])

Review: 
"I learned from my dad that when you walk in front of an audience, they are the kings and queens, and you’re but the jester. And if you don’t think that way, you’re going to get very, very conceited."

Creativity can be a funny thing. Jerry Lewis was a creative comedian that found himself with deserving nicknames as "The King of Comedy" and "The Total Filmmaker" that earned respect all around the world (with the most notable being France). The son of a vaudevillian and pianist, Lewis aspired to make people laugh from an early age, notably by doing a mime act involving a phonograph by the time he was 15. In the next five years, he tried his hand at burlesque houses, soda jerk, and theater ushering before being encouraged to try again in comedy. One person he met while performing in clubs that changed his trajectory was nightclub singer Dean Martin, and the two formed an act together in 1946. They soon succeeded with their performance of slapstick and vaudeville jokes, and they would soon make their way to radio, television, and films (which they would appear in sixteen films from 1949 to 1956). Their partnership ended ten years later owing to tension between the two, but both found new heights to reach in their respective fields of comedy and singing, with Lewis' first solo film being The Delicate Delinquent (1957), which was also his first film as producer and (uncredited) writer. In a long career that spanned from 1946 until his death in 2017, Lewis would star, write and direct in several films over the decades (primarily in the 1950s and 1960s) along with performing comedy on the stage, teaching film at the University of Southern California, releasing albums and most importantly raised awareness for muscular dystrophy through his hosting of the annual telethon of the Muscular Dystrophy Association (for which he served as national chairman) that he did for several decades that is estimated to have raised over two billion dollars in donations.

This was a key film for Lewis, since this proved to be his directorial debut. It occurred because of Paramount Pictures (who he worked for since the Martin and Lewis films began) wanted to release Cinderfella (1960) in the summer, while Lewis favored the winter. To settle this, Lewis was tasked to do another film for them for them to release in 1960, with the limited timescale to make it leading to Lewis taking the hands of directing, writing (done in eight days), starring and producing out of his own pocket. This film was done in four weeks by Lewis at Miami Beach's Fontainebleau Hotel, where he performed at night while doing the film during the day. It was in this film that he utilized a video-assist system of cameras and closed circuit monitors, which were pioneering for their time, since a shot scene could be checked instantly through the video-assist as opposed to having go through raw footage at the end of the day, which was important for Lewis as he was starring and directing at the same time. This especially is important for a film that describes itself as one without plot that seems reminiscent of silent films with its mostly voiceless main character played with excellence by Lewis, who apparently was offered suggestions by famed comedian Stan Laurel about the film (which seems to be reflected by a lookalike that appears from time to time in the film). In any case, the film finds a fair level of balance in its gags, reaching silly heights with sight gags and other means of amusing the audience for 72 minutes that utilizes its one main setting of a hotel to make for light fun. There are quite a few highlights present, such a cameo from Milton Berle in which they both play themselves and butlers, or perhaps a sequence involving him getting pulled into an family argument literally by both sides. It is a pleasant little experience to share curiosity over when it comes to wanting a good time with some gags that hit most of the marks required that make for timeless viewing as a silly gem for Jerry Lewis.

Overall, I give it 8 out of 10 stars.

The King of Comedy.

Review #992: The King of Comedy.

Cast: 
Robert De Niro (Rupert Pupkin), Jerry Lewis (Jerry Langford), Diahnne Abbott (Rita Keane), Sandra Bernhard (Masha), Tony Randall (Himself), Shelley Hack (Cathy Long), Ed Herlihy (Himself), Frederick de Cordova (Bert Thomas), Margo Winkler (The Receptionist), and Kim Chan (Jonno) Directed by Martin Scorsese (#990 - Taxi Driver)

Review: 
This is certainly an interesting black comedy film, in that it is a black comedy that doesn't invite itself for laughs, but it invites you to follow these strange but interesting characters while also feeling very relevant even after nearly 35 years since its release. When compared to Taxi Driver, one can see some similarities within the main character (both played by De Niro) in their loneliness, although their results definitely have a significant contrast (namely, one film has blood while the other doesn't); Scorsese stated this about the connection between the two characters: "Taxi Driver. Travis. Rupert. The isolated person. Is Rupert more violent than Travis? Maybe." De Niro undeniably pulls a great performance out of this aspiring (and deranged) character that reels you in with his passion and desire (as odd as that might seem). Lewis (in a role that was rejected by Johnny Carson) does a tremendous job as the beleaguered host who has an unquestionable subtle charm to him (even with all the things that happen around him). Bernhard pulls off a capably deranged performance, always managing to make you not take your eyes off and what offbeat thing she might be doing next. Abbott also does a fine job, having a naturally innocent charm to her that resonates well when paired with De Niro. For me, my favorite scene comes during the second half, with De Niro, Lewis and Bernhard acting together, involving some gum and cue cards which works because of how well each actor plays off each other and the way that the film plays with the circumstances and mood. The camera shots are also fairly fitting for the film's tone, where fantasy and reality not being particularly distinct from each other but also showing mayhem (such as the opening scene).

The rest of the cast are satisfactory in their roles, with my favorite being Herlihy (who had been the voice of Kraft Foods commercials for decades) and his richly distinctive voice. As stated before, there are some laughs, but the movie never really desires to let you absorb it because of how enclosed it seems with its dark aspects; one particular example is a scene where Lewis is accosted and told by an old lady that he "should only get cancer". It's a brief but useful scene in understanding this film, for better or for worse. It never strives to overstate itself nor focus on being just satire or thrilling. It blurs the line between fantasy and reality a few times throughout the movie (something that once again someone could compare to Taxi Driver), and it definitely has an interesting repel effect, with the ending also being an interesting point of discussion. It never goes for the jugular in laughter nor give you the satisfaction of seeing a character show their layers, but there is something about how it portrays the perspective of media culture and worship that certainly resonate even now. It shows an ugly side to the culture that without doubt leaves an indelible and unforgettable mark. It definitely is not a movie for everyone, but it definitely is a fine winner in my mind, laughter and all.

Happy to mark that this is the 100th film reviewed in 2017 on Movie Night, the fourth time that I've done at least 100 films since 2010.

Overall, I give it 8 out of 10 stars.

The Nutty Professor (1963).

Review #989: The Nutty Professor.

Cast: 
Jerry Lewis (Professor Julius F. Kelp/Buddy Love/Baby Kelp), Stella Stevens (Ms. Stella Purdy), Del Moore (Dr. Mortimer S. Warfield), Kathleen Freeman (Ms. Millie Lemmon), Howard Morris (Mr. Elmer Kelp), Elvia Allman (Mrs. Edwina Kelp), Julie Parrish (College Student), Milton Frome (Dr. M. Sheppard Leevee), Buddy Lester (Bartender), and Med Flory (Warzewski) Directed by Jerry Lewis.

Review: 
When I reviewed the remake back in 2013, I had given the film a 8/10 star rating while not comparing it to this film, due to not having seen it; in any case, the remake has aged finely for me, having a charm to it that worked just fine. I say all of this not to cast a shadow on this film, but because it wouldn't feel right to not do so. No matter which version you prefer, they both are good film, so let's move on to the original, which happens to be the first film on this show that features the late Jerry Lewis.

At any rate, this film (based on the novel Strange Case of Dr Jekyll and Mr Hyde) does tend to have more hits than misses while serving as good amusement, with Lewis being the key highlight. His high energy along with how he plays both characters make for good entertainment to watch, with both characters having their moments to shine. His performance as Kelp is certainly endearing and also fairly clever (with a particularly distinctive voice as well). Lewis had stated that Buddy Love was based on every obnoxious self-important hateful hipster that he had known, contrary to the perception from others of it serving as a lampoon of his former comedy duo partner, Dean Martin. In any case, there is something quite about his performance as Love that seems to captivate you and never let you take his eye off him, despite the nature of his character. Stevens does a fine job, being fairly capable in handling scenes with both of Lewis's characters consistently enough. Moore serves for some amusing banter scenes with Lewis while also being welcomely over-the-top. The rest of the cast serve their purpose fairly well. The nature of film is a bit of a double-edged sword: the film does take risks and has a variety of gags and characters while also being unpredictable at times, but the tone of the film occasionally feels uneven, with the climax being a mixed bag for me. On the one hand, the sequences at the dance are pretty effective, but the last scene and how it seals the film up with Lewis and Stevens's characters seems a bit murky. In any case, this is a successful film that certainly has enough laughs and charm to make for a good time.

Overall, I give it 8 out of 10 stars.