By Dennis Hartley
“Jerry Lewis is never just OK or adequate; he’s either very funny or he’s awful.” – Jerry Lewis, commenting on his film oeuvre.
Yes, I used “Jerry Lewis” and “oeuvre” in the same sentence. “Ouevre” is a fancy French word that means “Hey, LAAY-DEE!”
I’m kidding. Mirriam-Webster defines it as “…a substantial body of work constituting the life work of a writer, an artist, or a composer.”
Jerry Lewis, who died this morning in Las Vegas, certainly left behind a substantial body of work. From 1949 to 2016, he acted in over 50 films; out of those he directed 23, and wrote 20 of them. And, as Lewis himself observed, some were very funny, others not so much.
Some of Lewis’ early, funnier movies include 1952’s The Stooge, 1955’s Artists and Models, 1959’s Don’t Give Up the Ship (those three co-starring his decade-long stage and screen comedy partner Dean Martin), The Bellboy (1960), Cinderfella (1960), The Ladies Man (1961), The Nutty Professor (1963), and The Disorderly Orderly (1964).
Martin Scorsese gave Lewis a second wind when he offered him a juicy part in his brilliant 1982 show biz satire The King of Comedy (highly recommended). It not only introduced Lewis to a new generation of fans, but allowed him to demonstrate that he had chops as a dramatic actor (when he wasn’t pulling faces, that is). Two more post-Scorsese Lewis performances worth a rental are Emir Kusturica’s 1993 off-the-wall sleeper Arizona Dream, and Peter Chelsom’s 1995 dramedy Funny Bones.
While he had continued writing, directing and starring in films through the early 70s, Lewis floundered at the box office as his particular brand of shtick went out of vogue in Hollywood. “Hollywood” is the key word here; as everyone and their grandmother knows, it was the undying admiration by the French that ultimately kept Lewis’ rep as a film maker afloat during his wilderness years (they gave him the Legion of Honor award in 1983).
Despite all the joking and ridicule spawned by France’s love affair with Jerry Lewis, they were on to something. He was, by definition, an auteur, having written, directed and starred in so many films. A lot of people are not aware that he was also an innovator. He essentially invented the “video tap”, a signal-splitting device that attaches to a movie camera and allows the director to share the camera operator’s view in real time, via a separate video monitor.
I am aware that Lewis’ self-appraisal as being either “very funny or awful” as an artist could apply on occasion to his off-stage life. He didn’t always think before he spoke. That noted, stepping back to look at the big picture, this was a human being who devoted well over 70 years of his long and productive life to making people laugh.
And that’s a good thing. Going up?
