Jerry Lewis (The Joke Explained) video. Happy Anniversary!
Don’t try to sound wise or informed about Jerry Lewis, don’t try to shed light. He rejects being understood, quite properly, and his impulses live in darkness—a fact Jerry’s every twitch elucidated. The countless commentators who worked through the decades to label Jerry, judge him, pass sentence, never sat with him at the table, yet eagerly framed him in personal, not professional, terms. It is interesting that Jerry, an unwavering source of brilliance, was somehow not a source of illumination. Illumination was neither his method nor his path, although he was a blinding sun. The confession speech at the end of The Nutty Professor, where he breaks up during “That Old Black Magic,” then stands on the stage and tells the story of his life: it is pure sunshine, if also, simultaneously, degradation. One positively needed him to keep on, to be an ultimate survivor, a defier of time who would never lose his path in the desert of the real (Zizek). To claim that at the end he was no longer young is an immaterial lie, because he was young in a way that hurt us to consider: embarrassingly young, insouciantly young, proudly young, critically young, a person with young sensitivities, to whom rudeness was an attack.
Jerry was young against the tide. He had succeeded in retaining what so many of us are pleased to surrender. It was charming and affronting in Visit to a Small Planet that the alien he played was all of, and nothing but Jerry Lewis, and that, coming to earth for a short while (he liked to say, “I will not come this way again”) he did not offer the creepy sagacity of Robert Wise’s Klaatu in The Day the Earth Stood Still but gave instead unfamiliarity, wonder, awkwardness. Magic, which is not to imply that he acted without limit or responsibility, that he was always, somewhere underneath, “The Kid” audiences around the world came to know so well. Forget mnemonics, forget sensibility, forget pointing to something. Just use your mouth, and then recall how Jerry used his mouth, chewing and tasting language and soundfulness. It is possible to mean “saying” without meaning “that which one says.” Children do this all the time. And so do drunkards. And people suffering from certain neurological disorders. And comedians. Memories change in the winds, but their status as memories does not. They persist as iconic images. Iconic Jerry Lewis has permanence. Or the helpless, profitless attempts at well-behaved articulation, the wholly civil Jerry, as when Julius Kelp needs to explain something to his Dean (Del Moore), with the tongue emerging from the teeth. Meaning only goodness, trying very hard. But unable to meet the vicious demands of modernity, the heartless, incompassionate orders from above, and because of a nature over which he has no authority.
We have all been there, initiates to a much cultivated ceremony that we do not grasp, whose features are all mysteries, and surrounded by a coterie of uninterested insiders who have forgotten their own initiations and treat us like dirt. We have all been there, and have forgotten. When he invokes the memory, we resist. We say, with our lips turned down, “Such a clutz!” Indeed, clutzes we are all, but have forgotten, thinking now, in our elegance, that because we are socialized, because we survived the torture that Jerry never escapes, we were always naturally this way, always cool, and it is only with him that there is something very wrong. I love the delicate way he sings Arthur Schwartz and Howard Dietz’s “By Myself” in The Delicate Delinquent, because, as need hardly be said, in the late 1950s so many people took delinquency as a serious problem they were incapable of conceiving how a delinquent could be delicate. Hollywood or Bust, his previous film, had been his final collaboration with Dean Martin. Dean was a crooner, like Mel Torme, like Sinatra, like Tony Bennett. Jerry used a harshly tuned whine, like an animal in pain. Jerry was always in sympathy with the “animal” in pain. The question with Dean and Jerry was never who could sing better but which voice we preferred to hear. I was supposed to prefer Dean, but I preferred Jerry.
Life happens. Erosion happens. Jerry lived his life in his art, he gave his life in his art. Perhaps every Jerry fan has his own Jerry but I have surely never met a Jerry fan whose own Jerry was a Jerry I recognize. I learned to love the Jerry who was in love with Anna Maria Alberghetti in Cinderfella. The Jerry running up and down the stairs to carry a telephone message to Dean in Artists and Models. The Jerry sternly lecturing Robert De Niro in King of Comedy. My own Jerry—the single Jerry I find both impossible and wondrous—is the Morty Tashman who conducts an invisible jazz band in the “board room” sequence of The Errand Boy. It is mime, it is conducting, it is cigar-lighting and puffing to the beat, it is irony, it is sarcasm, it is desperation, it is supreme confidence, it is music. Oh, but Jerry was music. Jerry is music. The Jerry who was music has gone, but the music remains. Source: kinoslang.blospot.com.es
Olivia de Havilland, the recipient of two Oscars, for To Each His Own (1946) and The Heiress (1949), filed a lawsuit against the FX network and Ryan Murphy Productions over her portrayal by Catherine Zeta-Jones in last year’s docudrama Feud: Bette and Joan, about the rivalry between Bette Davis and Joan Crawford, a day before she turned 101. It was also just a few weeks after the Queen bestowed upon de Havilland, whose equally famous and estranged sister Joan Fontaine died in 2013, the title of dame for her services to drama. The last time de Havilland had a case before the California Court of Appeals was in 1944. Risking her career, she sued Warner Brothers to get out of her contract, which she had signed in 1936, and won.
“When Feud was first being publicised, but before it went on the air, I was interested to see how it would portray my dear friend Bette Davis,” de Havilland wrote in an email. “Then friends and family started getting in touch with me, informing me that my identity was actually being represented on the programme. No one from Fox had contacted me about this to ask my permission, to request my input, or to see how I felt about it. When I then learned that the Olivia de Havilland character called my sister Joan ‘a bitch’ and gossiped about Bette Davis and Joan Crawford’s personal and private relationship, I was deeply offended.” The FX network says that de Havilland’s consent was not needed, because Feud falls squarely under protected speech around fictional works in the public interest. Additionally, it contends that her portrayal is positive. “She is portrayed as a wise, respectful friend and counsellor to Bette Davis, and a Hollywood icon with a unique perspective on the past.” Source: www.independent.co.uk
'Feud' is a wildly overused Hollywood word. Did Bette Davis and Joan Crawford ever feud during the filming of Baby Jane? No! Joan Crawford and me got along famously much to the huge disappointment of the Hollywood press. Until we were cast as the costars of What Ever Happened to Baby Jane? I knew Miss Crawford only slightly. Our paths had seldom crossed, even though for three years we had adjoining dressing rooms at Warners. For reasons known only to herself, when she came to Warner Bros. from Metro-Goldwyn-Mayer she had asked for one next to mine. We did not compete for parts since we were opposing types of actresses. In truth, I did not know her any better after the film was completed. Twenty years after we had worked together, and years after her death, we are still a team in the public’s mind. Joan was a pro. She was always punctual, always knew her lines. I will always thank her for giving me the opportunity to play the part of “Baby Jane” Hudson.
The budget of Whatever happened to Baby Jane was under a million dollars—small by any standards. Before 1960 there were no thirty-million-dollar films. Then came a new and absolutely stupid age of megabucks, in which stars received salaries that once would have financed the costliest epic. Joan and I agreed to accept salaries of $50,000, far below our usual standards. Baby Jane was one of my favorite parts. During our first week of shooting, Henry Farrell visited the set and said, “My God, you look just exactly as I pictured Baby Jane.” Compliments from authors always mean the most to me. When I danced on the beach in the famous scene that ends the film, and my face seemed to glow as I twirled up to the ice cream stand, people swore I had changed my makeup. I had not changed a thing. I changed inwardly and it reflected on my face. I was nominated for an Oscar for my performance. Joan did everything she could possibly think of to keep me from winning. She campaigned openly in New York, contacting all the Oscar nominees who were in plays in New York that year. She offered to accept their Oscars if they won and were unable to attend the ceremony. She also contacted all the members of the Academy who lived in New York, requesting that they vote for one of the nominees then on Broadway.
Leaving aside the fact that I felt I deserved to win, the rule of thumb was that an Oscar winner usually added at least a million dollars to the box-office receipts of a film. Since Joan had a percentage of the movie, how Medean, how foolish she was to work against my winning. I was the actress and she was the big Movie Star. There is a need for both in this profession, but, my dear, at times the woman could be insane! For an actor, the Old Hollywood had one distinct advantage: the contract system, as much as we may have felt abused by it. With the contract system you made one picture right after another. It might take ten years, but with a little luck along the way you could become a star. You had to contend with a good share of inferior scripts in the beginning, but in spite of this the public gradually got to know you. There is no continuity to careers anymore. They no longer write scripts for actors, they just cast them. Reading a newspaper today you will see huge ads for films you never heard of, starring young players you have heard of even less. The world’s problems are wars, drugs, crime, political corruption—all the ills that involve men much more than women.
"Hollywood expected an eruption when Joan Crawford and Bette Davis got together for Whatever Happened to Baby Jane? But it turned out to be love in bloom," Hedda Hopper wrote in her column. Joan Crawford was famous for developing 'meaningful' relationships with either her male star or director. She felt these relationships gave her power, and there is no doubt in my mind they did. I have known men who consider it a test of manhood to show no more feeling than a Greek statue. I have often advised young women to beware of a man who never cries. When I was nineteen, I was proposed to by a student at Yale with the proviso that I give up my desire to have a career as an actress. He put a ring on my finger. I wore it for four or five days, then returned it, telling him it would be impossible for me to comply with his request. I never wanted to be a man. I always felt like a woman. I had no penis envy. I have loved it all and would relish living almost all of it over again. On my tombstone it should be written: “She did it the hard way.” That is an accurate description of my life and my career. —The Lonely Life (ekindle, 2017) by Bette Davis
Watch the final scene at the beach, wherein Crawford’s Blanche ‘admits’ to Davis’s Baby Jane that Jane was not responsible for the accident that crippled Blanche, but Blanche was. Concomitant with the raves accorded Davis’s Jane in that moment is the assumption that Blanche is telling the truth about how she got crippled. But we never see the two women’s faces during the accident scene that precedes the film’s credits. And, as Blanche describes things, it’s simply not a plausible scenario. She claims that she drove the car, wanting to crush Jane, and that the impact, after the drunken Jane got out of the way, snapped her spine. That’s hardly likely from a crash of several feet at a few miles per hour. Less likely is the claim that, with a severed spine, Blanche crawled out of the car to sit by the fence, after a dazed Jane ran away, to frame her sister. It simply is not a real possibility, even given ‘movie magic.’ More likely is that Blanche, after years of her sister’s abuse, is trying to get the final knife in her sister, as she believes she is dying, and thus trying to plant a final guilt of wasting her own life in Jane’s mind. Also, she may very well be looking to save her own skin, and believing that an ‘admission’ will buy her a reprieve. Either interpretation, though, makes more sense than the usual implausible one. Aside from the implausibility of a newly paralyzed woman having the strength and mind to pull herself from a wreck to frame her sister, there is a certain dissonance between Crawford's words and her facial expression in her final scene. Source: www.hackwriters.com
As David Cochran notes in America Noir: Underground Writers and Filmmakers of the Postwar Era, the role of the grotesque formed a key part of an American post-war critical modernism that attacked the institutional values of a repressive culture. Aldrich uses this form in a manner intended to destabilise normal audience perceptions as seen in Jane’s haggish, grotesque persona and Blanche’s depiction as a victimised post-Griffith heroine. For most of the film Jane appears to be the monstrous grotesque “other” until the climax reveals who is the actual monster but in a manner defying conventional audience identification and rendering any official moral judgment hypocritical. As Edwin T. Arnold and Eugene I. Miller recognise in The Films and Career of Robert Aldrich: “Despite appearances, despite unexpected revelations, we can never take absolute sides with either Blanche or Jane. They are both villains, and they are both victims. By the film’s end, to condemn either would be an act of supreme hypocrisy.” Source: sensesofcinema.com
Cal State University, San Bernardino, Palm Desert is doing a month-long tribute to the Rat Pack and they’re now presenting local writer Frank Furino’s stage fantasy of what could have caused Marilyn Monroe's death in “Marilyn, Madness and Me” at the school’s Indian Wells Theater. The story is “an intriguing fantasy that speculates on many rumors about legendary events in Marilyn Monroe's life and fits them into a pat, plausible hypothesis." The Rat Pack celebration continues March 16-17 with a tribute show to Frank Sinatra, Dean Martin and Sammy Davis Jr., and March 23 with cocktails at Melvyn's, where Sinatra held his pre-wedding party in 1976.
And watch for the world premiere of "Becoming Marilyn Monroe" at the next American Documentary Film Festival April 6-14. “Marilyn, Madness and Me,” a play by Frank Furino as part of the Rat Pack in the Desert celebration, 6:30 p.m. wine reception, 7 p.m. play, Indian Wells Theater, CSUSB Palm Desert campus, 37500 Cook St., Palm Desert. Source: www.desertsun.com
In All the Beautiful Girls (2018), a novel by Elizabeth J. Church's, Lily Decker becomes a Las Vegas showgirl in the 1960s. Her feathery, sequined reinvention on the Vegas strip introduces a world of romance, riches and fame, but perhaps only love and a true sense of agency can banish the shadow of her past. This touching and deftly written novel moves from the tragedy of untold pain into a glamorous world of Ratpackers and movie stars. Las Vegas in the 1960s with its neon lights, topless showgirls, high rollers, glamorous superstars like Frank Sinatra, is the glittering backdrop for this novel. Feeling guilty for the car accident that killed Lily's parents, ‘The Aviator,’ whom Lily nicknames Sloan, funds her dancing classes. As a showgirl in Vegas, she wears sky-high headdresses, stilettoes, and costumes dripping with feathers and rhinestones. Gaudy Vegas and life in the sixties at the dawning of more liberal times is conjured skillfully in a novel that also explores the complex issues that era presented for our loveable yet flawed heroine. Source: www.betterreading.com.au
Miami Beach, Florida, February 1965: Frank Sinatra was going to be performing at the Fontainebleau Hotel for a few dates and had invited me to fly over with him from Vegas. Frank never referred to him and the guys as the Rat Pack. That came from the newspapers. He always referred to their meetings in Vegas and their shows at the Sands, as the Summit. The limo took us along Collins Avenue, which ran parallel to the beach, and before long the hotel loomed ahead of us. It also fronted the beach and was the most lavish hotel in Miami Beach. Frank had filmed a scene from the movie A Hole in the Head at the hotel in 1959. In 1960 it was also the setting for Jerry Lewis’ movie The Bellboy. Jerry shrugged, looking up at the dancing stage. “I wouldn’t mind meetin’ some of them girls.” I said: “You’re such a bullshitter, Jerry.” He jerked his head back to me. “Huh?” “You’re way too much of a shy gentleman to meet those girls,” I said. “Maybe,” he said, almost indignantly, “I ain’t as shy as I used to be.” He’d been super shy with the likes of Marilyn Monroe, Ava Gardner, but maybe he had changed since then. I remember he was big brother friendly with those ladies. —"I Only Have Lies For You: A Rat Pack Mystery" (2018) by Robert J. Randisi
A new study by a group of psychologists at SUNY Buffalo led by associate professor of psychology Julie Bowker is the first to show that a type of social withdrawal could have a positive effect – they found that creativity was linked specifically to unsociability. They also found that unsociability had no correlation with aggression (shyness and avoidance did). Some people withdraw out of fear or anxiety. This type of social withdrawal is associated with shyness. This was significant because while previous research had suggested that unsociability might be harmless, Bowker and colleagues’ research paper showed that it could actually be beneficial. Source: www.sciencedirect.com
In most relationships we don’t encounter an entire person; we experience a composite of the bits of that person we want. The felt burden of this is what, in a poem, D H Lawrence termed ‘image-making love.’ The truth is we like to use people. For validation, for entertainment, for simple relief from boredom. Perhaps (as Marx argued) this dynamic is intensified by capitalism, which makes commodities of people, transactions of relationships. But our instrumentalism runs deeper than this. Capitalism only exploits what is already lurking there: our all-too-easy tendency toward a vicious, unwavering selfishness. Real love, the sort of love people wander through their lives craving, wants above all to distance itself from lust by shedding its preening self-regard. Falling in love is partly the terrifying realisation that you have stepped into reciprocity; that someone is now able to cause you terrible pain. Even if indiscriminate love is impossible, it is a glorious and gloriously daunting ideal. Even ‘in the mud and scum of things,’ said Ralph Waldo Emerson, ‘there alway, alway something sings.’ Source: www.aeon.co
Dorothy Dandridge has some fun with Jerry Lewis before she sings "Julie," at the 1957 Academy Awards ceremony. Ms. Dandridge, who was nominated for Best Actress for her role in Carmen Jones (1954) at the 1955 ceremony, had just presented the award for Special Effects with Mr. Lewis.
The idea that we are all roles played clumsily by our fantasies and desires is psychologically corrosive stuff, especially coming from a film as garishly colored as The Nutty Professor. The relationship between Lewis’ two performances—one an extreme version of a klutzy persona he’d been developing since the 1940s, the other an over-the-top self-parody—is open-ended. “You might as well like yourself,” murmurs Kelp in his climactic speech, the sweetest and most poignant moment in Lewis’ body of work. “Just think about all the time you’re gonna have to spend with you.” But which “you” is that exactly? One can debate The Nutty Professor’s merits as comedy (we here at The A.V. Club happen to think it’s pretty damn funny), but it’s definitely art. That’s more than you can say about most serious, Oscar-winning performances. Source: www.avclub.com
The publication of Ethan de Seife’s lively study of Frank Tashlin in 2012 provides an opportunity to reconsider the work and legacy of one of the most inventive practitioners of American screen comedy. Tashlin gained experience as a director by working for several key animation studios through the 1930s and early 1940s – including Disney, Columbia’s Screen Gems and the Leon Schlesinger unit at Warner Brothers, purveyors of the Looney Tunes and Merrie Melodies gagfests. Despite personal friction between them, Schlesinger clearly appreciated Tashlin's contribution to the stylized comic antics of Daffy Duck, Porky Pig, Bugs Bunny and company. As de Seife shows through his admirably detailed analysis, Tashlin brought a distinctive style to animated comedy. As cartoon historian Michael Barrier points out, Tashlin’s work for Warner Brothers was distinguished by an unusually ‘cinematic’ approach to animation, as he packed his 7-minute short films “with cartoon equivalents for claustrophobic closeups, deep focus, and oblique camera angles, in scenes that suggested F.W. Murnau more than Walt Disney”. In between engagements at the cartoon studios in the 1930s, Tashlin wrote material for comic performers at the Hal Roach lot, contributing to films featuring Laurel and Hardy. From the mid 1940s, he worked as a gagman-for-hire on films starring the Marx Brothers, Red Skelton, Lucille Ball and Bob Hope. His valuable input into the Hope vehicles Monsieur Beaucaire (1946) and The Paleface (1948) led to Tashlin being entrusted with directing retakes for The Lemon Drop Kid (1951)whichwas a box-office success and amply demonstrated Tashlin’s talent as a director of live-action comedy. He would helm 22 films over the next 17 years - ending his Hollywood career where he began, with Bob Hope (in the 1968 wartime farce The Private Navy of Sgt. O’Farrell).
Serving frequently as both writer and director, and sometimes as producer, Tashlin specialized exclusively in comedy. While several of his films rely on narratively articulated comic scenarios – especially the sexual comedies Marry Me Again (1953), Susan Slept Here (1954) and The Lieutenant Wore Skirts (1956) – half of Tashlin’s feature output is built around comedians who were trained in the performance milieus of US variety entertainment (vaudeville, burlesque, Borscht Belt resort hotels, or nightclubs). After The Lemon Drop Kid, he made two further comedies with Bob Hope – Tashlin’s most sustained comic partnership, however, was with Jerry Lewis, whom he directed in two of the final Martin & Lewis screen vehicles, and then in six of Lewis’s subsequent solo ventures. As de Seife suggests, Lewis’s hugely contested status, as both comedian and filmmaker, has tended to overshadow Tashlin’s critical reputation, but their collaboration was clearly crucial to both men.
During his late 1950s heyday, Tashlin was championed by critics of the influential French screen journals Positif and Cahiers du Cinema. Jean Luc Godard coined the adjective ‘Tashlinesque‘, which de Seife borrows for his examination of Tashlin’s cinematic career from his early cartoon work through to his final, faltering films of the 1960s. Tashlinesque offers a deft combination of textual analysis and historical research. Tashlin’s approach to screen comedy was influenced not by the European wit and sophistication of Ernst Lubitsch but by the distinctively American tradition of popular humor that was nurtured in the performer-centered realm of variety entertainment. This vaudeville aesthetic, as Henry Jenkins (1992) terms it, provides the common ancestor of the Schlesinger unit’s gag-based cartoons, the slapstick comedy of the silent era, and the films of subsequent comedians such as Bob Hope, the Marx Brothers and Jerry Lewis. For De Seife, Tashlin’s work “provides the most extensive, compelling case study of the deep generic connections between Hollywood animation and the American comic tradition”.
Recent years have seen a resurgence of critical interest in Lewis as a performer, a filmmaker and a hotly contested celebrity. For his part, Tashlin always referred to Lewis in friendly and respectful terms. In a recent interview with Fujiwara, Lewis distinguishes films such as Rock-a-Bye Baby (1958), to which the two men contributed equally, from Cinderfella (1960), which was more a Lewisian project, whereas in Who’s Minding the Store? (1963) and The Disorderly Orderly (1964) Tashlin was the main creative force. By contrast, de Seife argues that Rock-a-Bye Baby, Who’s Minding the Store? and The Disorderly Orderly are all closer to the films Lewis directed than to Tashlin’s work, asserting that Lewis’s input serves to jam the transmission of Tashlin’s comic specialties. As he sees it, these are schizophrenic films that are torn between Lewis’s sentimentality and modularity and Tashlin’s interests in bawdy humor and the gag-narrative axis.
As a director, de Seife comments, “Lewis pushed to extremes the use of a modular, gag-based narrative”. Instead of regarding this as a purely negative attribute, one could flip the valuation around to suggest that this approach liberated Lewis’s filmmaking from fictional constraints and allowed him to explore other structural possibilities. The Ladies Man (1961) and The Errand Boy (1962) are highly idiosyncratic and imaginative films that question orthodox understandings of comic practice and response, with Lewis refining Tashlin’s use of the non-gag and investing it with deconstructive purpose. It is simply not the case, as de Seife asserts, that Lewis jettisoned sex-oriented comedy to pursue a wholesome star image. Even a cursory glance at such Lewis-directed films as The Ladies Man or The Nutty Professor (1963) attests to the centrality of sexuality to his work, although he offers a far less conformist understanding of sexuality than is found in Tashlin’s films.
Joanna Rapf argues, for example, that The Ladies Man delivers a critique of patriarchal assumptions. In this film the woman-shy Lewis figure Herbert H. Heebert enters a stylized world of aspiring female performers, where he is allowed to shake off the demands of patriarchal masculinity. De Seife’s blindness in this regard seems a product of his self-appointed mission to rescue Tashlin from Lewis’s shadow, and this does impair his otherwise valuable study. One could even argue that the sexual humor de Seife values so highly, and so unquestioningly, may actually be one of the most significant limitations of Tashlin’s comic art. As Lewis’s directorial career flourished through the 1960s, Tashlin’s faltered. The book is rather tentative when it comes to identifying the causes of Tashlin’s decline, although de Seife does point to the presence of waning or unsuitable (Doris Day) stars. De Seife ends with two chapters that depart from the chronological structure that coordinates the rest of his monograph. Chapter 7 seeks to evaluate Tashlin’s contribution to US cinema by comparing him to auteur-directors such as Billy Wilder and Howard Hawks, who invested their films with their creative personalities and, on the other hand, to efficient technicians such as Norman Z. McLeod and Norman Taurog, who helmed more generic ‘program pictures’. He concludes that Tashlin was a director who blurred the line between the two groups, as “an auteur who directed program pictures.” —Spirited Vulgarity: Frank Tashlin as Comic (2013) by Frank Krutnik
The Age of Anxiety? Birth Cohort Change in Anxiety and Neuroticism, 1952-1993:Two new meta-analytic studies show that anxiety has increased substantially since the 1950's. In fact, anxiety has increased so much that typical schoolchildren during the 1980's reported more anxiety than child psychiatric patients did during the 1950's. The findings appear in the American Psychological Association's (APA) Journal of Personality and Social Psychology. First, large panel studies have consistently found that younger cohorts show more, and longer, episodes of depression. Some psychologists have gone so far as to label this effect a modern epidemic of depression (Seligman, 1995) or age of melancholy (Hagnell, Lanke, Rorsman). Other authors have noted that lack of connection in a society may produce alienation and feelings of loneliness and despair. Western societies have experienced a noticeable decrease in "social capital" (broadly defined as social connectedness and a sense of community) since the 1960s (Putnam, 2000).
"The results of the study suggest that cases of depression will continue to increase in the coming decades," says psychologist Jean M. Twenge, PhD, of Case Western Reserve University. The type of anxiety looked at in these studies is known as trait anxiety, the individual differences in anxiety-proneness, which is different than state anxiety, a temporary emotion experienced due to a particular situation. Why the increase in anxiety? In both studies, anxiety levels are associated with low social connectedness and high environmental threat. During the study period, social connectedness decreased because of higher divorce rates, more people living alone and a decline in trust in other people. "Our greater autonomy may lead to increased challenges and excitement, but it also leads to greater isolation from others, more threats to our bodies and minds, and thus higher levels of anxiety," said Dr. Twenge. The study also cites increased media coverage as a source of a greater perception of environmental threat since the 1950's. Social connectedness has not improved very much since the early 1990's. "Although divorce rates have decreased somewhat, the percentage of people living alone continues to increase, and levels of trust are still declining," said Dr. Twenge. "Until people feel both safe and connected to others, anxiety is likely to remain high." Source: www.apa.org
The film industry changed drastically during the mid-sixties involving a shift in the tastes of the audience, film techniques and also of the film production. During the fifties, each film studio would put out sixty films per year. In the late sixties and early seventies the entire industry put out roughly sixty films per year. Gloria Jean (born April 14, 1926) co-starred in 26 feature films between 1939 and 1959. Upon the (bad) advice of her agent, Gloria decided not to renew her contract at Universal in 1946, and when she returned to Hollywood, she found diminished interest in her career. Gloria began a second career with Redken, a national cosmetics firm, where she worked until 1993.
Jerry Lewis signed her for a singing role in The Ladies Man (1961), although Gloria appears only as an extra and has no dialogue. It was her last theatrical motion picture. "Jerry Lewis called me. When I walked into his office I saw him smiling. But the important thing is he wanted to help me, to give me a chance to get started on my career again. And as for Jerry's wife Patti, I am sure she realizes that he is one of the kindest, most unselfish men in the world. He's the only other man I've ever met I would compare to Dick [Powell]." Her authorized biography, Gloria Jean: A Little Bit of Heaven, was published in 2005. Gloria notes perspicaciously that there is a serious lack of original voices in today’s musical landscape. "When you hear somebody sing, they never carry the melody. I can’t believe that the singers today don’t really sing. To me, it isn’t music."
Quinn O'Hara (1941–2017) was born in Edinburgh, Scotland as Alice Jones. She co-starred in low-budget productions as The Ghost in the Invisible Bikini (1966) and Cry of the Banshee (1970). O'Hara's first official acting role that got her into the Screen Actors Guild was a commercial for Lifeogen, which was oxygen in a can in case of emergency. Her big screen debut was in an uncredited bit part in The Errand Boy (1961) directed by Jerry Lewis, where he plays a goofball· hired by the CEO of a movie studio, Paramutual Pictures, to spy on his employees. O'Hara would go on to work with Lewis again in The Patsy (1964), playing the minor role of a cigarette girl. "Jerry was fantastic to work with," exclaimed Quinn. "Of course he was a crazy man but also a real perfectionist. His office had clowns all around it. But Jerry is quite a deep person too and has a lot more depth than people think. He was quite different than he comes across on film." Lewis also hired O'Hara for a role in Who's Minding the Store? (1963), but her scenes were cut. Coincidentally, Lewis' costar in that movie is another fiery redhead, Jill St. John (whom O'Hara describes as a very cruel person).
Sue Casey began the '60's playing a party guest in the musical Bells Are Ringing (1960), starring Judy Holliday and Dean Martin. ("In the musical number 'Drop That Name,' Judy's character looks in this window, and we are all standing around wearing these gorgeous sleek gowns. The dresses were, so tight that we couldn't sit down in them so they had to provide leaning chairs for us.") In 1961, Casey did a bit role in The Errand Boy, her fifth time working with Jerry Lewis. "He is a fascinating guy and way ahead of the times," comments Casey. "He was the first director to use a monitor while filming if he wanted to save the shot. He was always very nice to me. I had been working with a children's charity called The Footlighters for years and he was always very generous towards us." During the '60s, Casey continued playing bit roles in such major MGM and Paramount productions as Where Love Has Gone (1964), and The Carpetbaggers (1964), directed by Edward Dmytryk. —"Drive-In Dream Girls: A Galaxy of B-Movie Starlets of the Sixties" (2012) by Tom Lisanti
“Somehow, the myth of Sinatra is very much alive. And you hear people in bars, restaurants, tell stories, tall tales. ‘Oh, I knew Frank. We were friends.’ And you wonder, wait a minute. This can’t be. Is this true?” wondered Leo Zahn, a filmmaker who has directed and photographed more than 600 commercials throughout his career. So he set out to make a whimsical film about all the myths surrounding Sinatra in the desert. But then he met socialite and philanthropist Nelda Linsk who actually knew Sinatra and was a close friend of his latest wife, Barbara Sinatra. “She connected me with a lot of people who I would not have been able to get otherwise,” said Zahn. What he created after two years of interviews, filming, editing and clip approvals, was the documentary “Sinatra in Palm Springs – The Place He Called Home.” It explores Sinatra’s deep attachment to the resort city and the Coachella Valley, which is where he lived for almost 50 years.
The documentary celebrates its world premiere at a sold-out screening on Feb. 20 in Palm Springs during Modernism Week. The film will show again on Feb. 25 as part of Modernism Week’s new film festival called the Architecture Design Art Film Festival which features about 26 films, documentaries and shorts, over three days.The 92-minute Sinatra documentary is Zahn’s second feature-length film. His first was a documentary on architect William F. Cody called "Desert Maverick." His film on Sinatra features more than 65 clips from movies and television appearances and includes interviews with some of Sinatra’s desert friends, family and people who knew him including comedian Tom Dreesen; entertainer Trini Lopez; Desert Sun reporter Bruce Fessier; Sinatra's wife, Barbara; and restaurateur Mel Haber.
Both Barbara Sinatra and Haber have died since the interviews. The documentary pays tribute to the unique lifestyle Sinatra led in Palm Springs and Rancho Mirage and takes viewers to a bygone era when Sinatra ruled the desert. Palm Springs was Sinatra’s retreat. His refuge from all the hubbub of Hollywood. It was also a playground for him and his Rat Pack buddies who visited and wound up living in Palm Springs as well. Source: www.desertsun.com
The Rat Pack: Neon Nights with the Kings of Cool by Lawrence J. Quirk and William Schoell, was written and published in 1998, just before the death of Frank Sinatra on May 14, 1998. It starts with Humphrey “Bogie” Bogart and his original Rat Pack, which was the shortened variation of “Holmby Hills Rat Pack,” which included Sinatra, Judy Garland, Lauren “Betty” Bacall, Sid Luft, Bogie, Swifty Lazar, Nathaniel Benchly, David Niven, Katherine Hepburn, Spencer Tracy, George Cukor, Cary Grant, Rex Harrison, and Jimmy Van Heusen. Following that, the book introduces Dean Martin and Jerry Lewis and does talk about their breakup, followed by the story of Sammy Davis, Jr., Peter Lawford, and lastly Joey Bishop. Some members came and went in the good graces of Ol’ Blue Eyes, but when you were finished, you were finished. Source: agentpalmer.com
Camille Paglia on Movies, #MeToo and Modern Sexuality: "The movies have always shown how elemental passions boil beneath the thin veneer of civilization. By their power of intimate close-up, movies reveal the subtleties of facial expression and the ambiguities of mood that inform the alluring rituals of sexual attraction. But movies are receding. Many young people, locked to their miniaturized cellphones, no longer value patient scrutiny of a colossal projected image. Furthermore, as texting has become the default discourse for an entire generation, the ability to read real-life facial expressions and body language is alarmingly atrophying. Endless sexual miscommunication and bitter rancor lie ahead. But thanks to the miracle of technology, most of the great movies of Hollywood history are now easily accessible — a collective epic of complex emotion that once magnificently captured the magic and mystique of sex." Paglia’s new book, Provocations, will be published by Pantheon Books in October 2018.
—Jerry Lewis: “When I’m directing, I become a father; when I write, I perform the man; when I act, I perform the idiot.” —Steven Alan Green, founder of The Laughter Foundation (2010): “You wanna know what fucked me up the most when it came to [meeting] Jerry Lewis? That perhaps in an unintentional way, Jerry Lewis took me through the fourth wall. If you know your comedy terms, that's pretty fucking incredible. I think my life perspective has almost been reversed. Because that's part of what Jerry Lewis did. He in fact, forced me to do that in order to deal with him; that man was not of this earth.”
The Real Jerry Lewis: Jerry was a master at candidly acting out personal vignettes about three areas of real life—relationships, situations, and predicaments. They form the backbone of his comedy. I tried to understand what he was saying, beyond the words, when I read the notes he sent me; the “I love you’s” written across my makeup mirror at home; and the longer messages I found on my desk. In 1966, one late summer afternoon, I found the following and took it to the garden to read: “To ask how deeply I feel is like asking, ‘Where is God?’ We can answer with nothing more than “if’s” and “maybe’s.” In other words, the answers are really intangibles. My feelings, where my wife is concerned, are very deep and very sacred…She is the very reason I live…for she is the only reason I know that makes living worth anything…and the boys that she produced for me are equally worth it, but one day they’ll leave and then there will be only us… She is the first human thing that has ever cared about me or for me…Oh, there were a few beings that cared, but not enough that I could have survived. It was only when she came into my life that I realized I had a life to live…”
“As I got older, I didn’t much care about being better than them anymore… I just cared about staying alive and getting some degree of respect as a human… After so many years of being made to feel like nothing I guess I worked on being something so much… The responsibility of taking care of the loves I had always had made me feel like, “Why should I care for what one day will discard me anyway?” I don’t know if that’s the case, but it sounds right…and coming from someone who loves those tremendous loves as I do, it certainly confuses me… My constant silence, I think, has been fear… of what my love would think of what I’ve done… fear of doing the wrong thing… and losing the respect I have always felt I got from her…to be placed in the position of being disrespected and disregarded again has always knotted up my insides so badly that silence seemed the only way to avoid the possibility of rejection… very often my hiding was part and parcel of that fear…The feeling of being nothing again, or being looked at with disdain, has, for as long as I can remember, been tearing me up inside… And those tears have come out looking like torment…Well, tormented I am, and have been, and pray one day soon I won’t know the feeling anymore…”
“My wrapping myself up so completely in my work helped for a while, but the “ego” that came across was never there… I have none. But I work desperately at displaying “ego” to cover the real emptiness I know inside… As a director I have found infinite peace because I am to so many an authority, a man who knows, and not someone who is treated with “pity” or “charity”…That’s the biggest reason for the love of creativity I have, for a man is free when he is creating. The feeling of “behind the camera” feels safe, and warm, and special, and certain…“Out front camera” has been very hard and trying for me…and for the first time in my life I think I can honestly admit I hated doing it and I still do… I need all the care I can get all the time… and I only seem to be able to get that from my love, my wife… I don’t ever want to appear “indifferent” to my wife… but that appearance, too, I think is just hoping not to be a burden and an annoyance to her… I just can’t remember ever being anything but an annoyance… and when I’m told I’m not, I can’t seem to recognize that is possibly the case.”
“I know I need help… but I really believe the help will come from within… Admitting to “hating performing” might help me adjust sooner… Admitting the love I have for writing and direction will, I’m sure, take me out of the depths of my depression… and will ultimately take me into the realm of peace and contentment. I want to talk more, I want to communicate more…I want to say so much, and get help from her, I want so much to scream the things that tug away at my heart and my soul…And when I try, the hurt is so strong, and deep, and festered that I clam up, and the relief I want doesn’t come… Now to bury that grief… I find someone who has equally as much or more than I so that I can be the helping hand… For if I can help, then my hurts can’t be so bad… And for years I made that a practice…to give of myself only to forget I needed more giving than anyone…”
“With it all I am a very lucky man…to have found the real, right, and perfect human being to spend my years with. I want so much to do the right thing to keep her straight and happy and healthy. When she is ill, the reaction to it isn’t any different than when the spike is forced into the vampire’s heart…it’s the only emotional thing that can kill me, and that’s when she hurts…or when I’ve caused her pain…but my intentions are never to hurt her, never to do her a moment’s pain…Never to create a frown on her lovely face…Why those things happen are a complexity to us both…And I will serve myself from here on in as a student of care and concern and caution as to how she gets treated and how I allow much of my feelings to affect her… I can only answer “God” honestly, and he knows my worth and my intentions, I have no fear of his wrath…for I know he knows I’m basically good, and fine, and honorable when it comes to my love for her… I have no guilt about what I have done thru my blindness… And “God” knows my heart is talking, not the typewriter.” —‘I Laffed ‘Til I Cried” (1993) by Patti Lewis
A primary mechanism underpinning the development of depression is perfectionism. Whilst this perfectionism-depression link has been widely documented, the present research focused on the possibility of self-compassion as a moderator of this link. Defined as setting extremely high standards, and accompanied by a highly critical evaluation of the self in pursuit of these standards, perfectionism is a complex multidimensional construct. Several studies have shown that the striving to attain high personal standards in and of itself is not necessarily destructive. But perfectionism that involves self-criticism and concerns about being negatively evaluated by others has been linked to various forms of psychopathology, thus lending credence to the conceptualisation of perfectionism as a premorbid personality type which increases vulnerability to depression. Indeed, perfectionism has been identified as a trans-diagnostic construct which underlies and maintains many forms of psychopathology including schizophrenia. The authors found that self-compassion partially mediated the link between perfectionism and depression. Positioning self-compassion to be a mediator theoretically suggests that the perfectionism reduces self-compassion and reduced self-compassion in turn increases depression. As noted by Kristin Neff in Self and Identity, self-compassion is ‘a useful emotion regulation strategy, in which painful or distressing feelings are not avoided but are instead held in awareness with kindness, understanding, and a sense of shared humanity.’ Source: journals.plos.org
Jerry Lewis: "I have my own particular analogy for “mature” and “immature.” Immature applies to those who run around proclaiming what men they are. And a mature male is the one who is going to proclaim very proudly there’s a lot of little boy in him. People fear comedy. Because the truth of it is like a bone coming through the skin. Comedy is nothing more than a mirror we hold up to life. And people don’t want that."
Focus magazine: In The Nutty Professor, how much of the tension between the professor and Buddy Love derived from your teaming with Dean Martin?
Jerry Lewis: I wasn’t portraying the role of any one person; I was portraying about five people that are like that. A small portion of Dean’s arrogance might have been there—subconscious, again, I was not aware of it. But I can name the five or six people that character was—that just repelled me on a human level—their inability to be just respectful to another human being. And these are all theatrical people that I have seen that I felt desperately sorry for. I have no feelings of dislike or hate other than… they’re just terrifying what lives they must live. And it was the one time that I had trouble directing myself—that was the only time—when the objectivity and all of the science and everything I had expounded upon earlier really didn’t work for him. I really had trouble.
Jerry Lewis was recruited for the project of "The Day the Clown Cried" by the producer Nathan Wachsberger, who, as it turns out, “definitely didn’t have the rights to O’Brien’s material.” The producer also couldn’t afford to finance the film, and Lewis put $2,000,000 of his own money into the production. Although Lewis thought he’d have no trouble with financing, that wasn’t the case once cameras started rolling. Wachsberger suddenly disappeared. Film equipment went missing. Financing was gone. Lewis repeatedly expressed his desire to work matters out and release the film, shot in Sweden in the early ’70s. Joan O’Brien, who was unhappy with some of Lewis’s changes to the script, never authorized the release.
Lewis’s sentimental vision of a clown who sacrifices his life in the interest of the ultimate consolation of children is possibly one of his best solo films. For Lewis, comic performance is the definitive act of solidarity in the ending. A little girl goes up to Helmut (Lewis) and wordlessly holds out her hand in a silent request to enter with him. In her eyes is the absolute certainty that he will. Shyly, she begins to withdraw her hand. Suddenly, Helmut reaches out and grabs her hand, clutching it desperately as he needs her innocence to control the panic that is tearing at him. After shooting wrapped, Wachsberger retaliated by threatening to file a lawsuit of breach of contract and stated that he had enough to finish the film without Lewis. Wanting to ensure the film would not be lost, Lewis took a rough cut of the film, while the studio retained the entire film negative. On August 5, 2015 the Los Angeles Times reported that Lewis had donated a copy of the film to the Library of Congress, under the stipulation that it not be screened before 2024.
The memorable and sadomasochistic mind games created by Jerry Lewis and his longtime partner Dean Martin in such gems as The Stooge, Living it Up, You’re Never Too Young and Frank Tashlin’s monumental Artists and Models & Hollywood or Bust were always quite disturbing. One could sense that this unlikely partnership of a Rat Pack god and a bundle of neuroses was based on need and the spirit of the era, not on personal closeness – their perfect alliance was more a result of shared antipathies than spiritual kinship. Once Jerry went solo, the resulting pictures move beyond the sitcom-style safety of Martin and Lewis. Especially in the films directed by Lewis but even in his solo outings directed by cinema’s great live action cartoonist Frank Tashlin we find comedy verging on chaotic uncontainability, of unmotivated mania, of the uncontrolled and uncontrollable; in short, closer not in tone but in overarching theme to the post-May ’68 touch points of bleakness, searching, schizophrenia, nihilism, and the need for reinvention that are to be found in experimental films such as Out 1 (1971). One of his most important works, the sardonically perverse Jekyll & Hyde variation, The Nutty Professor, is often viewed as an intimate reflection about Lewis's years with Martin: malicious gloating, inextricably linked with a dull feeling of loss, a kind of phantom agony.
The Patsy, perhaps Jerry's greatest film, bares the closest similarity to The Nutty Professor, also resembling the loose-limbed paranoia, wandering attention, zany, anchorless humor. Yet it bares pointing out that these very characteristics Lewis also channels into a profound sweetness, of an overly-human (superhuman, even) vulnerability, of the magic of innocent-childish thinking; in short, channeled into a profound humanism that exists simultaneously within the same body which expresses and inspires so much craziness. Charming Ina Balin transcends the limitations of Lewis’ usual girlfriend-cum-surrogate mother role to emerge as one of his finest female foils. Her serene bemusement sells a lot of his zanier gags. The film has a beguiling philosophical undertone as Ellen argues the hardships we endure in life play a bigger part in shaping decent human beings than success does. After directing and starring in the dramatic story of a clown in a Nazi concentration camp, The Day the Clown Cried (1972), Lewis mostly retired from the cinema. Hardly Working (1980) and Smorgasbord (1983) were, in their aversion for the present day, not so much comeback attempts as grumpy signs of life. Source: www.filmmuseum.at
Contrasting the romantic personae of Jerry Lewis and Dean Martin in Frank Tashlin's 1956 satire, "Hollywood or Bust": Jerry Lewis and Dean Martin dynamic functions with Martin being charismatic and street-wise, and Lewis is the sympathetic goofball. This contrast is accentuated in Frank Tashlin’s Hollywood or Bust (1956), since the film is an emphatic and cartoonish erotic fantasy. By the end of the film, Lewis’s clumsy, childish protagonist ends up with his Hollywood crush, Anita Ekberg. If this, by itself, requires a great effort in suspending disbelief, it’s also worth mentioning that before the Martin & Lewis characters settle into their monogamous relationships, they get a lot of female attention. Literally dozens of women wave to them as Martin & Lewis drive through the USA smiling and singing, and in their every scene that’s set in a populated space (backstage, casino), they end up surrounded by fresh-faced female onlookers.
The Lewis/Ekberg romance is sparked by a ridiculous plot twist: his hound promptly seduces the actress’s lap dog, and their owners eventually follow their mating call. However, if we were to see the film as a satire of precisely this script-guaranteed female attainability of Hollywood cinema, it becomes a pretty interesting text. In this sense, Lewis’s romantic plot is the more progressive one—he certainly embarrasses himself often enough to let us conclude that he gets the girl through sheer, Forrest Gump-level dumb luck. Martin’s romantic plot remains more problematic throughout. He ends up seducing a chorus girl—a less glamorous, proletarian woman—and in spite of the jolting near-rape scene of his early attempt to get into her favors, her caution toward him inexplicably gives way to warmer feelings. By casting Martin—the presumed object of many female spectators’ fantasies—in the role, this development seems less troubling: after all, regardless of plot evolution, what woman would turn him down?!
To structure this video essay on the contrast in the two actors’ film personae. By giving a skewed reading of the visual evidence, I intend to suggest the complexity of consuming a a traditional Hollywood narrative—how the cognitive work of watching it (and evaluating it, for merit and plausibility) intertwines with personal biases and indulgence in wishful thinking. Since infatuation and lucid observation are often antithetical, I needed a second line of discourse—a colder, crisper, written “voice”—to carry the commentary further than the voice-over could possibly take it. Hollywood or Bust is about the two men’s conquest of women, but also about the spectators’ privileged access to these two men—and it is due to Hollywood’s cunning exploitation of desire that it took so long to clear up the haze.
Money from Home (1953) directed by George Marshall, is neither a canonical work nor a philosophical treatise. It is, though, worth remarking on when a sweet-natured movie explores the gap between a transactional approach to social life and an altruistic, cooperative one. Honeytalk tries to get things on credit, Virgil does what he can to loan himself out. Virgil’s romantic transformation comes when he meets a veterinarian and fellow vegetarian, Autumn Claypool (Pat Crowley). A lovely scene involves the two of them visiting a vacant lot that will host their future clinic. They know that they are not at this place yet, but hope to get there. Someone calls Virgil “unusual” in Money from Home, and indeed he is. The promise of a place where Virgil, too, might receive as he gives makes for a wonderfully, disproportionately moving sentiment. Home, or bust. Source: mubi.com
