All That Glitters
The films hogging all the hype and hoopla don’t necessarily count long-term. Otto Preminger‘s Saint Joan is more highly esteemed than Victor Fleming‘s Joan of Arc. A Song Is Born is generally regarded as a lesser version of Ball of Fire. Nobody except for fans of Nick Tosches‘ Dino: Living High in the Dirty Business of Dreams even thinks about Dean Martin and Jerry Lewis, much less 3-Ring Circus. And I’d never even heard of Edge of Doom or Our Very Own before seeing this photo. They both starred Farley Granger.
I would be the fan of Tosches’ Dino book in this scenario.
The Tashlin Martin/Lewis films (not so much 3-Ring Circus) are objectively great, couldn’t care less about that book or “Dino” generally
Exactly, Bob. Wells is in classic passive/aggressive mode here: he’s DYING to throw a gratuitous insult at the “dweebs” and “monks” who value those Martin/Lewis films, but he’s also a little mindful of coming off like a closet Eloi. So he yokes the enthusiasm to the Tosches book, which he takes as some sort of signifier of cool, and posts, believing that he’s having it both ways. Insufferable, really.
Glenn, I think I remember you telling me to fuck off somewhere else on the internet, likely when you were being a douche about Polanski or something, but I think you totally nailed it here.
I made the comment above backhanded, because I couldn’t just let you telling me to fuck off lie there all this time.*
*Actually, I only just remembered it.
shit just got real
Re Martin and Lewis: I thought that THAT’S MY BOY and THE STOOGE were films generally liked by nonfans–probably those looking for subtext about their actual working relationship.
Re Bob Violence’s earlier post: Joseph Peveney, if I recall correctly, directed 3-RING CIRCUS (aka JERRICO THE WONDER CLOWN).
In the Charles Higham/Joel Greenberg book THE CELLULOID MUSE, Mark Robson called the films he made for Samuel Goldwyn “awful.” And that included EDGE OF DOOM.
Re Bob Violence’s earlier post: Joseph Peveney, if I recall correctly, directed 3-RING CIRCUS (aka JERRICO THE WONDER CLOWN).
yeah I know, and it wasn’t anywhere near as good as the Tashlin ones
That’s My Boy and The Stooge aren’t bad, and The Caddy is better than average too
@ Pinko Punko: Um, fair enough, I guess.
Wells to Kenny: I don’t know my Martin & Lewis films like I should (I’ve seen & liked Sailor Beware and Artists & Models), but Nick Tosches‘ Dino: Living High in the Dirty Business of Dreams — which IS an eternal signifier of cool as it continues to enjoy renown as one of the finest showbiz bios ever written — turned me on to the fabled genius of their live act when they were really hot & crackling — in the mid to late ’40s (and perhaps the very early ’50s).
Martin & Lewis movies never really captured what they created onstage, he wrote. All I was saying in the post (and because of the disparity between nightclub act vs. their film) is that Martin & Lewis were comics of their time who aren’t, it seems, generally regarded, much less worshipped, as legendary world-class film comedians. Maybe the tide is turning and one day Average Joes will think of them in the same light as the Marx brothers or Laurel & Hardy. All I was saying is that right now that particular regard doesn’t seem to be out there. Am I wrong?
“In 1945, Dean Martin met a young comic named Jerry Lewis at the Glass Hat Club in New York, where both men were performing. Martin and Lewis’ official debut together occurred at Atlantic City’s 500 Club on July 24, 1946, and they were not a hit. The owner, Skinny D’Amato, warned them that if they didn’t come up with a better act for their second show later that same night, they would be fired.
“Huddling together out in the alley behind the club, Lewis and Martin agreed to go for broke, to throw out the pre-scripted gags that hadn’t worked and to basically just improvise their way through the act. Dean sang some songs, and Jerry came out dressed as a busboy, dropping plates and more or less making a shambles of both Martin’s performance and the club’s sense of decorum. They did slapstick, reeled off old vaudeville jokes, and did whatever else popped into their heads at the moment. This time, the audience doubled over in laughter.
“Their success at the 500 led to a series of well-paying engagements up and down the Eastern seaboard, culminating with a triumphant run at New York’s Copacabana. Club patrons were convulsed by the act, which consisted primarily of Lewis interrupting and heckling Martin while he was trying to sing, and ultimately the two of them chasing each other around the stage and having as much fun as possible.
“The secret, they have both said, is that they essentially ignored the audience and played to one another.
Neither Joan of Arc film is held in high regard, maybe on par with 3 RING CIRCUS. Preminger and Fleming undoubtedly wished that similar crowds had filled Times Square for their Joans.
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