HomeActorJerry Lewis: An Appreciation in Three Films

Jerry Lewis: An Appreciation in Three Films

In the realm of comedy and entertainment, few names shine as brightly as that of Jerry Lewis. Lewis’s creative prowess extended beyond the stage and screen.

Born on March 16, 1926, in Newark, New Jersey, Lewis came into the limelight with an unparalleled blend of slapstick humor, charisma, and a boundless zest for performance.

His career, spanning over seven decades, established him as a comedic genius and solidified his status as an enduring icon in the entertainment world.

As we dig into the remarkable career of Jerry Lewis, we’ll explore the milestones, the laughter, and the legacy that continues to influence generations of comedians and performers.

Join us on a journey through the life and work of a man who not only made the world laugh but also left an enduring imprint on the very fabric of American comedy.

Read More: Erin Moriarty Weight Gain Reason: Is She Pregnant In 2024?

From Controversy to Commemoration: Rediscovering Jerry Lewis Cinematic Legacy

Given the controversies surrounding his persona, the prospect of feeling devastated over Jerry Lewis’ passing would have seemed implausible three weeks ago.

From a cranky attitude to outrageous statements and a divisive Trump endorsement, our perception of Lewis had soured over time.

However, on August 20, his demise marked the end of an era, resonating as a profound loss for millions, including myself.

While our generation grappled with conflicted sentiments towards him, Lewis, the last survivor of an ancient showbiz tradition, held a special place as “our comedian.”

Love him or hate him, Jerry Lewis left an indelible mark as an accomplished and innovative filmmaker with a distinctive visual style.

As we revisit his cinematic contributions, this exploration will focus on three lesser-known films that showcase Lewis’ often overlooked brilliance, surprisingly all revolving around the theme of death.

Living It Up (Paramount, 1954)

My choice for the standout among the 16 movies featuring the dynamic duo of Dean Martin and Jerry Lewis is undeniably “Living It Up.”

This film boasts an illustrious lineage, adapting the 1953 Broadway musical “Hazel Flagg,” which, in turn, drew inspiration from William Wellman’s 1937 screwball black comedy “Nothing Sacred.”

The latter starred Carole Lombard and Fredric March and was based on James Street’s short story, “Letter to the Editor,” with both previous scripts crafted by the esteemed Ben Hecht.

“Living It Up,” penned by screenwriters Jack Rose and Melville Shavelson, wisely adheres to Hecht’s original scripts, incorporating some tailored comedy routines for Martin and Lewis while preserving a substantial portion of Hecht’s authentic dialogue.

While many contemporary film scholars often laud “Artists and Models” (1955) as the duo’s most significant work, I beg to differ.

Despite the film being written and directed by Frank Tashlin, a former cartoon animator with a distinctive visual style, I find it problematic.

Tashlin’s endorsement of Dr. Frederick Wertheim’s debunked theory on comic books causing juvenile delinquency and his inclination towards maudlin sentimentality diminish the film’s appeal.

In contrast, “Living It Up” stands out as a pinnacle in the Martin and Lewis filmography, showcasing their comedic brilliance without succumbing to dubious ideologies or sentimentality.

Directed by veteran comedy director Norman Taurog, Living It Up begins with Dean and Jerry stuck in a decrepit shithole out in the Midwestern desert, appropriately named Desert Hole.

Homer Flagg (Jerry in the Carole Lombard role) dreams of leaving Desert Hole in his dust and seeing the big city, specifically New York.

His opportunity presents itself when the town’s only physician, Dr. Steve Harris (Dean in the Charles Winninger role), accidentally diagnoses Homer as dying of radiation poisoning.

(The glow Steve saw on Homer’s x-ray was his radium watch.)

Meanwhile, back in NYC, perpetually scheming newspaper reporter Wally Cook (Janet Leigh, looking exceptionally gorgeous in eye-popping Technicolor in the Fredric March role) proposes to her Machiavellian editor Oliver Stone.

Fred Clark, a far better cast than Walter Connolly, who played the role in the original, gives the dying boy an all-expenses-paid vacation in the Big Apple and exploits the story for publicity purposes.

When Wally shows up in Desert Hole to make the paper’s offer, Steve (who immediately develops a crush on Wally) and Homer (who’ll do anything to see Manhattan) decide to continue the ruse that Homer is living on borrowed time.

The dark humor and Ben Hecht’s caustic dialogue give Living It Up a bite missing from the other Martin & Lewis vehicles.

The best line from Hecht’s Nothing Sacred script is beautifully delivered by Fred Clark to Janet Leigh: “I am sitting here, seriously considering removing your heart and stuffing it… like an olive!”

And when Wally bursts out laughing at the karma of a couple of rubes taking the city slickers for a ride.

Poster for Living It Up
Poster for Living It Up

Oliver smugly responds with a line provided by scenarists Rose and Shavelson that might be the most suggestive line ever to be heard in a Jerry Lewis picture: “You were going to marry [Homer].

He would’ve done to you what he did to this paper.” Apart from Clark’s performance, one of the reasons that Oliver Stone’s role is funnier in this film than in the original is that Rose and Shavelson made the character more ghoulish.

When Homer passes out in a nightclub (he’s just secretly downed a quart of vodka), Oliver, looking like he’s about to burst out in crocodile tears, says to Steve,

“Doctor, I want to know the worst… We go to press in fifteen minutes!”

A distinctive feature that elevates “Living It Up” above its Martin & Lewis counterparts is the ample opportunity it provides for Dean Martin to showcase his comedic talents.

In many of the duo’s films, Dean often played second fiddle, relegated to singing a few tunes and delivering straightforward lines to complement Jerry Lewis’s antics.

However, “Living It Up” breaks away from this trend, allowing Dean to shine in several comedic moments.

Like Steve, Dean assumes the role of a proficient medical professional with a recurring gag involving horn-rimmed glasses and a lowered voice for pseudo-scientific moments.

Meanwhile, Jerry Lewis, in a solo comedic highlight, navigates an amusing encounter with an international trio of renowned doctors.

The scene unfolds as Homer confounds the experts by impersonating each of them, showcasing Jerry’s comedic prowess, albeit sometimes leaning into cringe-inducing stereotypes.

While Jule Styne and Bob Hilliard contribute new songs for Dean, such as the catchy “Money Burns a Hole in My Pocket,” the film’s musical high points are the three songs retained from the original stage production.

Dean serenades Janet Leigh in a nightclub scene with Styne’s romantic ballad “How Do You Talk to an Angel?”

Simultaneously, Jerry delivers an eccentric dance performance in a jitterbug number with Sheree North, demonstrating his unique gift for physical comedy.

Finally, the duo shares a memorable on-screen moment with the song-and-dance number “Every Street’s a Boulevard in Old New York” as they stroll through the city streets.

In “Living It Up,” Dean Martin takes center stage, adding depth and diversity to the comedic duo’s repertoire.

Cracking Up (Warner Brothers, 1983)

Jerry Lewis, an icon in comedy and filmmaking, faced a significant downturn in the late 1960s, mirroring the studio dismissals experienced by comedy legends like the Marx Brothers and W.C.

Fields in the 1930s. Despite attempts at other studios such as 20th Century Fox, Columbia, and Warner Brothers, Lewis’s efforts hastened his decline.

In a regrettable move in 1972, he ventured into a stark Holocaust drama titled “The Day the Clown Cried,” chronicling a circus clown’s haunting experiences entertaining child prisoners in Dachau.

The film’s abandonment and premise led to relentless criticism from Lewis’s detractors.

However, a glimmer of hope emerged in 1980 with Lewis’s directorial comeback in “Hardly Working,” a box office success overshadowed by an excessive dose of sentimentality that dampened the humor.

Cracking Up
Cracking Up

The renewed interest in Lewis’s career took a positive turn with his compelling performance as late-night talk show host Jerry Langford in Martin Scorsese’s black comedy “The King of Comedy” (1982).

A darkly comic variation on Scorsese’s “Taxi Driver,” the film depicted Langford being stalked by an unfunny comedian wannabe, played by Robert De Niro.

Jerry Lewis’s resurgence continued in 1983 when Warner Brothers greenlit “Cracking Up.”

Co-written with Bill Richmond, his longtime collaborator, the film departed from pathos, proving that Lewis still had one last comedic gem up his sleeve.

Despite the tumultuous phases of his cinematic journey, Jerry Lewis demonstrated resilience, leaving an enduring legacy that transcended the peaks and valleys of his illustrious career.

Returning to the episodic style reminiscent of “The Bellboy” and “The Ladies Man,” Jerry Lewis’s “Cracking Up,” initially filmed under the title “Smorgasbord,” embraced a series of unrelated, self-contained comedy routines and skits.

The film’s narrative centered on Warren Nefron (played by Lewis) seeking psychiatric help from Dr. Jonas Pletchick (Herb Edelman) after a series of unsuccessful suicide attempts.

The flashbacks and family stories shared with Dr. Pletchick set the stage for various comedic episodes, recapturing the essence of Lewis’s classic comedic approach.

In contrast to its predecessor “Hardly Working,” “Cracking Up” faced a limited release in France and an unceremonious debut on basic cable T.V. in the U.S., courtesy of Warner Brothers.

This underexposure obscured that Jerry Lewis’s comedic instinct and timing remained impeccable.

The film’s opening scene sets the tone, featuring Warren’s hilarious pratfalls on an over-polished floor as he navigates to a chair in Pletchick’s office.

In a nod to Lewis’s seasoned comedic status, the credits play over this sequence, with his name billed before the title “Jerry—Who Else?”

All the expected elements are present: Technicolor stylization, physical agility, flawless timing, and the accompaniment of swinging big band music.

Herb Edelman & Jerry Lewis in the movie Cracking Up
Herb Edelman & Jerry Lewis in the movie Cracking Up

“Cracking Up” shines in its most uproarious skits, such as Warren’s breakfast order fiasco with The Waitress From Hell, portrayed by comedienne Zane Busby.

Another standout moment involves Jerry Lewis playing a caricature of a redneck Southern cop causing chaos during a routine traffic stop.

The film also features Warren’s misadventures on the world’s cheapest and most incompetent airline, with Foster Brooks as the perpetually soused pilot and Buddy Lester as a heavily armed passenger.

While not every skit lands perfectly, “Cracking Up” showcases enough comedic brilliance to warrant a closer look at Jerry Lewis’s lesser-known farewell as a director.

Funny Bones (Hollywood Pictures, 1995)

While Jerry Lewis’ later career is often acknowledged through Martin Scorsese’s “The King of Comedy,” one film that tends to slip under the radar is Peter Chelsom’s “Funny Bones” (1995).

Not only is it deemed superior to other late-career works, including Scorsese’s film, but Lewis’s role in “Funny Bones” is central and pivotal.

Chelsom designed the role with Jerry Lewis in mind, emphasizing the actor’s unique contributions.

Scorsese had initially considered Johnny Carson for the role of Jerry Langford in “The King of Comedy” before turning to Lewis.

A dark comedy masterpiece, “Funny Bones” stands as the quintessential comedy movie.

Lewis plays George Fawkes, a world-famous and beloved veteran comedian who is the father of two sons, each with a unique journey.

The illegitimate son, Jack Parker (played by U.K. comedian Lee Evans in his film debut), displays a natural talent for pantomime and physical comedy—a genuine possessor of “funny bones.”

On the other hand, George’s acknowledged son, Tommy Fawkes (portrayed excellently by Oliver Platt), desperately aspires to follow in his father’s footsteps but lacks the inherent humor that defines true comedic talent.

Chelsom’s film unfolds as a very dark comedy, exploring the complexities of humor within a fractured family.

Unfortunately, “Funny Bones” suffered from a misguided marketing approach by Hollywood Pictures, a Disney subsidiary, which presented it as a family-friendly comedy despite its starkly different nature.

The film’s limited release in 1995 and subsequent disappearance from theaters were attributed to this misjudgment.

“Funny Bones” is a compelling exploration of comedy, family dynamics, and the pursuit of humor.

The intricacies of its plot, including the involvement of the Grim Reaper, are best experienced without spoilers.

For avid Jerry Lewis fans and those who appreciate black comedies, “Funny Bones” is a must-watch, offering a unique perspective on the art of humor and the legacy of a comedic legend.

Before we bid farewell to the “King of Comedy,” it’s worth reflecting on a cosmic irony that often unfolds in the entertainment world.

Despite enduring harsh criticism from movie critics spanning the 1950s to the 1970s, Jerry Lewis’s films, many of which were deemed critical failures, emerged as massive financial successes.

Interestingly, most of those critics had long departed the scene by the time Jerry Lewis left us this year, adding a touch of poetic justice to his legacy. As mentioned earlier, Lewis consistently had the last laugh.

Fred Clark, Janet Leigh, Jerry Lewis & Dean Martin
Fred Clark, Janet Leigh, Jerry Lewis & Dean Martin

During the heyday of his career, critics were unkind to his films, yet the public adored them, contributing to their significant box-office triumphs.

The irony persists as the critical voices that once panned Lewis’s work faded into the past, leaving behind a legacy of enduring comedic success.

As a fitting note, Jerry Lewis embraced humor even in his jokes, such as the infamous parrot joke he often shared.

While facing criticism from some quarters, Lewis thrived on connecting with audiences, and his ability to generate laughter remained his ultimate triumph.

Jerry Lewis’ Parrot Joke: “I find myself on the New York subway, and there’s this young guy across from me.

He’s wearing a tie-dyed t-shirt with many colors, and his hair is spiked in various hues. He sees me staring and asks, ‘What’s the matter?

Haven’t you ever done anything for fun?’ So I reply, ‘Sorry. I’m staring because I once had intimate relations with a parrot… and I was wondering if you’re my son.”

It’s interesting to note that Ruman played Dr. Egelhofer not only in “Nothing Sacred” but also reprised the role in Billy Wilder’s 1966 black comedy “The Fortune Cookie,” involving medical fraud.

The name Emile Egelhofer was also used for the psychiatrist in Ben Hecht & Charles MacArthur’s 1928 newspaper stage comedy “The Front Page,” showcasing the longevity and versatility of the name in Hecht’s works.

Also Read More: Kj Smith Weight Loss Journey 2024: Before And After Photos

Ashish Dahal
Ashish Dahal
Ashish is a prolific content writer, blends with the creativity with precision in his writing. His work, characterized by clarity and engaging storytelling has gathered a loyal readership. His passion for words fuels his constant pursuit of excellence.

Expertise: Anime Reviews Genre-Specific Blogs

Highlights

  • Ability to research on different topics to generate engaging content.
  • Proficient in writing informative content.
  • Analytical skills to interpret the content.
  • Experience

    Ashish Dahal has combined his interests and content writing. Through his work, he showcases enthusiasm and ability to deliver captivating content consistently. Ashish's writing demonstrates his passion for storytelling and content creation.

RELATED ARTICLES

LEAVE A REPLY

Please enter your comment!
Please enter your name here

- Advertisment -

Most Popular

- Advertisment -