6821 Hollywood Boulevard

Once again, I find myself writing on a new subject for me – one I surely do not consider myself an expert!  Although, I have experienced enough Labor Day Telethons that one would presume me an expert – and that would be on Jerry Lewis.  I have seen a handful of Jerry’s work on film: “Li’l Abner” (1959, an uncredited role as ‘Itchy McRabbit’),  “The Nutty Professor,” (1963), “It’s a Mad, Mad, Mad, Mad World” (1963, another uncredited role as the hat smashing driver) and a film in ‘Denise’s Top 50 of All-Time,’ and “Hardly Working,” (1980, ‘Bo Hooper’).  So, other than knowing his general work with Dean Martin and seeing clips on television retrospectives over the years, I do not have a qualified working knowledge of his creative talent.  During the Christmas season last while spending a day wrapping gifts, I happened to watch a cable special entitled, “The Method to The Madness of Jerry Lewis.”  It was fascinating to watch, learn details from his son, fellow actors, and others in the film industry.  Throughout the documentary, many clips were shown from films I had never seen, and I challenged myself to open my home to a few films from Jerry’s body of work.

These films were “The Bellboy,” “The Errand Boy,” and “The Patsy.” Each having their own merits and faults, I decided I would look at them comparatively and contrastingly.  Jerry Lewis writes and directs all three of these films, and well, you “write what you know.”  It’s fairly obvious to see Mr. Lewis’ complaints with the major studios and how his repartee with these studios and their heads was so unfavorable.

Both “The Bellboy” and “The Errand Boy,” are mostly strings of individual events the occur to the main character. And although, “The Errand Boy” has a storyline, it is less of one that “The Patsy,” where there is at least a wading pool’s depth of character in parts played here.

  Here's how these three compare in my book:

I have to say my favorite of the three is “The Errand Boy,” mostly because I wanted to put myself in “Morty’s shoes” and be the errand boy (but without the bungling)!  It also begins with a narration by Paul Frees (the best voice in the biz!). Some terrific laughs, (mostly at the real studios’ expense), and an upbeat ending, as do all the films.  Jerry’s films are appropriate for anyone to watch, and in a day and age where the ‘super funny’ feel they need to be ‘super raunchy,’ Jerry’s heyday films are a breath of fresh air. The scene with the water cooler found me giving it the ‘old-fashioned belly laugh’! I did so not expect what happened to happen, maybe I should have, but I let myself go and had a blast!

“The Bellboy” has some great gags, too; Jerry’s scenes with Bill Richmond (as ‘Stan Laurel’) are simply the best! Bill is also in “The Errand Boy” and “The Patsy,” and his “man of a thousand faces” persona is terrific. He is an acting chameleon, and I so appreciate that kind of talent; I think Jerry did, too. Bill was also a writing partner with Jerry; the two work together in all three films like they are two halves of one whole.

“The Patsy” is an homage to what agents did and still do in the entertainment industry – make something out of nothing.  The supporting cast including Peter Lorre, John Carradine (another  (one of the best voices in the biz), Keenan Wynn, Ina Balin don't really get to shine like they should, even as supporting cast.  The laughs are not as hysterical as in the first two films, but the overall jousts to showbiz are definitely there, and certainly good for a handful of laughs.

I have not yet seen “Cinderfella,” another film discussed at length in the “Method” documentary.  I hope at some point to add this and many others to my Jerry Lewis film patchwork.

I leave you with the brilliant moment from "The Errand Boy." 

Here's Jerry Lewis as 'Morty S. Tashman' in "Blues in Hoss Flat" by the Count Basie Orchestra.