MovieChat Forums > Psycho (1960) Discussion > "Det. Milton Arbogast"

"Det. Milton Arbogast"


That's the character billing here at moviechat(and also, I believe, at imdb) for the character played by Martin Balsam in Psycho.

And it isn't quite right. In a couple of ways. And why it is used is perhaps worthy of a little discussion.

The first aspect I've covered before, but a return visit never hurts:

Balsam is listed as "Milton Arbogast" in many cast of characters data bases for Psycho, in books and on the internet since that was invented. But in the film, we never learn Arbogast's first name. He always introduces himself by his last name only:

To Sam and Lila: "My name is Arbogast, I'm a private investigator."

To Norman: "I'm a private investigator. My name is Arbogast."

To Sam on the phone: "Loomis, this is Arbogast." (A telling moment, that one -- he calls ANOTHER MAN by that man's last name only.)

Now, out here in real life, I have to introduce myself for business reasons all the time. And I always give my first AND last name. It would seem strange just to offer my last name.

But Arbogast ALWAYS goes by his last name only. I think we've done some guessing that this is 1960, and perhaps Arbogast has a military background(he's forty, so WWII and Korea are possible), and never lost it. Or maybe he was a cop at one time.

When Hitchcock's Psycho is over, all we get are the words "The End." No cast of characters crawl...Hitchcock often did NOT have a cast of characters crawl. Perhaps he felt that it broke the spell of the story.

So...Arbogast never gives his first name in the movie. There is no cast of characters crawl at the end with "Milton Arbogast" listed.

Arbogast is listed as Milton Arbogast in all those places because in Robert Bloch's NOVEL, he is "Milton Arbogast." And in the novel, he INTRODUCES HIMSELF as Milton Arbogast (which blows the idea of this being a 1960 cultural thing out of the water.

In Joseph Stefano's screenplay for Psycho, at the hardware store where he is introduced, Stefano has the detective say "My name is Milt Arbogast." Milt. Hmmm...a diminuitive of Milton. Kind of a Bronx sort of thing.

But it seems that nobody -- Hitchcock, Stefano in writing the script -- was comfortable with Milton Arbogast.

Given that the script directed Balsam to say "My name is Milt Arbogast," it seems to me that a brief huddle must have been taken on the soundstage, possibly like this.

Balsam speaks his line:

Balsam: My name is Milt Arbogast. I'm a private detective.
Hitchcock: CUT. Marty, let's talk a moment.
Balsam: Yessir.
Hitchcock: I'm not sure I like the name "Milt."
Balsam: I think he's Milton Arbogast in the book.
Hitchcock: I'm not sure I like that either. (Pause) Just call yourself Arbogast. In this scene and in your later ones. Are you alright with that?
Balsam: Sure. I guess so.

A character name is actually pretty important in fiction. Especially if that character becomes famous. Like Norman Bates(who can split into "Norma" and "Normal.") Or Marion Crane(named Mary Crane in the book, but there was a REAL Mary Crane from Phoenix, so the change was made.) Or Milton Arbogast.

Who became just Arbogast for who knows what reason. My guess has always been that the very famous Milton in 1960 was...Milton Berle. And Milton was thus a "funny name" AND Milton Berle was pretty famous for dressing up like a woman as part of his TV act.

Just the year before in North by Northwest, the two main henchmen to James Mason's Philip Vandamm were....Leonard(Martin Landau) and Valerian(Adam Williams.) Valerian got no first name either, and with Leonard...well, we couldn't be sure if that was his first name OR his last name, could we? In any event -- as with Arbogast on film later -- the character guys didn't get first names(or two names, in Leonard's case.)

The Milton Arbogast/Milt Arbogast/Arbogast whittle-down in Psycho has always intrigued me. I think given our craving for more detail about Arbogast as a man, knowing his first name(in whatever fictional mode) was information we valued getting. Somewhere.

But this: that name all by itself - Arbogast -- was a pretty cool name. Wrote Raymond Durgnat -- "Arbogast is a slightly scary man...like his name." Sheriff Chambers makes hay of the name later in the film when he says "Fellah name of Ar-BO-gast" to Norman on the phone. He really stretches the name out and hits that "O."

I think the character names of Psycho ALL Became pretty famous in film buff circles. Norman Bates above all. But Marion Crane , too(THAT name is on the movie posters and opening credits, "And Janet Leigh as Marion Crane." Arbogast. Sam Loomis(THAT name was later given to Donald Pleasance in Halloween; the contrast between hunky strapping John Gavin and mousy bald Pleasance sharing that name told us what IS in a name.)

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Some of the other names in Psycho got famous in our circles, I think. Lowery and Cassidy(rather a yin-yang of semi-rhyming names; they are rather an uptight Ego and a drunken, lecherous Id.) Caroline (no last name.) California Charlie(so named to clue the viewer in that Marion has left Arizona.) Sheriff Chambers(no wait -- he's a DEPUTY Sheriff. The REAL Sheriff is one of those two guys in the DA's office near the end.)

And of course , the psychiatrist, who goes UNNAMED in the film (he is introduced by Chambers, "maybe the psychiatrist can tell us what's going on.") I think he is listed in the screenplay as "Doctor Simon," but in cast lists for Psycho as "Doctor Richman." I have NO idea what's going on there.

And a little more on Arbogast:

The other characters pronounce it this way: "Arbo-GAST." (rhymes with "past.")

Arbogast himself(Balsam) pronounces it : "Arbo-GOST." (rhymes with "lost.") Which is pretty strange, really, doesn't sound right. It is as is Psycho has all these little dissonant nuances all the way through, things that don't sound right or feel right.

And this: Marion Crane's murder is usually called "the shower scene" or the "shower murder." (In re-release print ads, it was called "the shower bath murder.")

But the murder of Arbogast is often called "the Arbogast murder" (when it is not called "the staircase murder.") Perhaps because Psycho has ANOTHER great staircase scene(Norman bringing mother downstairs), the Arbogast murder was coined to separate it out. I dunno.

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Which brings me to this:

"Det. Milton Arbogast."

We end up with a character listing here that is not only wrong in that Arbogast is never called "Milton" in the whole movie, but in that "Det. Milton Arbogast" would be his proper title if he were a POLICE detective..but not as a private detective.

I think the reason the phrase "Det." has been placed before Milton Arbogast is to remind us all that Arbogast's character is so famous BECAUSE he's a private detective. He is THE private detective in movies outside of the Philip Marlowe/Sam Spade star types...famous in this regard as the most major SUPPORTING private eye in movie history. The simple plot of Psycho has always boiled down to "a beautiful young woman is murdered at a motel, and the private eye sent to find her is murdered, too." Simplicity itself. Arbogast exists AS a detective. As THE Detective.

I recall as a young pre-teen reading the cast list of Psycho in TV guide that I was never sure which one was the detective. Kids on the playground were abuzz with "the bloody killing of the detective on the stairs," and I would look at the male names on the list and see "Milton Arbogast" and guess...nothing. Was Milton Arbogast the boss Marion steals the money from? I did not know. I recall wondering if "the detective who got killed" was played by John Gavin, Martin Balsam, John McIntire, or Simon Oakland.(Those were the four male names on the TV Guide cast list other than Perkins.) Well I got my answer not when I saw Psycho(years after reading that TV Guide piece.) I got my answer when I saw my first copy of Hitchcock/Truffaut in a book store: "Oh, the detective is Martin Balsam! And...ewwwww...look at the blood!"

But I digress.

So think about it. Martin Balsam is listed as "Det. Milton Arbogast" here at moviechat(and on imdb) but its really a false premise. He's not a "Det." and he's not Milton.

He's just -- and unforgettably -- a fellah name of Arbogast.

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I like the name Milton, EC. It's rather distinguished sounding, leaving aside "Miltie/Milton" of TV comedy fame. There was Dr. Milton Eisenhower (Ike's brother) and a few others as well. In our time it became associated with Jewish men, mostly middle aged, and I've never known a single Milton of the Boomer generation. It's seldom used now, although I can imagine there's a major league ballplayer, a third baseman maybe, out in Chicago or St. Louis somewhere, likely a black man, with a name like Milton Cook, and who's a rather austere, dignified fellow who'll answer to Milt, doesn't like Miltie, which no one who knows the man would ever call him (shoot, that's a good outline for a character in a movie, huh?).

Back to "our Milton": I think the first name might have worked with a more "midwestern" actor, someone along the lines of Macdonald Carey or Warren Stevens. Carey was maybe too tall. Stevens would have been fine. Harry Townes might have worked but for his non-macho persona. I've seen him play assertive but never tough. Ray Teal, on the cusp of joining the cast of
regulars on Bonanza, was the right type, and not tall. King Donovan's another. He looked rather like Henry Jones, was more a regular type guy.

But names are funny things in movies and on television. We often know characters by their titles, especially on the small screen: Dr. Kildare, Lieutenant Tragg, Sergeant Carter, Capt. Kirk, Marshal Dillon, Capt. Binghamton, from McHale's Navy, Col. Hall from Sgt. Bilko. Also interesting is how on some TV shows characters were referred to by their full names. This was almost always the case with The Untouchables' Eliot Nitti. Or Frank Nitti, for that matter. In the case of Paladin we only knew him as Paladin. His real name was never revealed. Now imagine calling Dr. Richard Kimble just the Fugitive. Perry Mason observed the punctilios of names and naming. When a client was in trouble on Perry Mason the latter would say to Della "this is a case for Paul Drake"

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I like the name Milton, EC.

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Telegonus, how the heck are you! Greetings.

I like the name Milton, too. Specifically, I like the name Milton Arbogast. I'll get into that a little, later.

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It's rather distinguished sounding, leaving aside "Miltie/Milton" of TV comedy fame.

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I hit that note about Berle "in search of the reason" Hitchcock rejected Milton being said. Or even Milt, evidently. But I'm not sure if my guess is true, and certainly there were other Miltons in those days.

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There was Dr. Milton Eisenhower (Ike's brother) and a few others as well. In our time it became associated with Jewish men, mostly middle aged,

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Which is a kinda/sorta "hidden fact" about Arbogast , isn't it? Martin Balsam was Jewish and from the Bronx. I always figured that Arbogast was a "transplant" to Phoenix, made his way out from the East somehow(maybe as an insurance company transfer), and that he's a "New York guy." Which makes him perfect counterpoint to Country Cousin Norman Bates and his prairie surroundings.

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and I've never known a single Milton of the Boomer generation.

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So its a name from our fathers' generation?

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It's seldom used now, although I can imagine there's a major league ballplayer, a third baseman maybe, out in Chicago or St. Louis somewhere, likely a black man, with a name like Milton Cook, and who's a rather austere, dignified fellow who'll answer to Milt, doesn't like Miltie, which no one who knows the man would ever call him (shoot, that's a good outline for a character in a movie, huh?).

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Go for it. The movies need more Miltons!

Which reminds me. The movies have few OTHER Arbogasts. I can count only one -- Danny DeVito was Dr. Arbogast in that 90's movie where Arnold Schwarzenegger gets pregnant. I took note of DeVito's name and I tell ya...it felt a little sacraligious. (sp)

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Why I like "Milton Arbogast":

In the TV Guide "Special Close-Up" on Psycho published in both 1966(for the aborted CBS nationwide showing) and republished in 1967 (for the local LA ABC showing), there was a cast of characters list, and there it was:

Milton Arbogast.....Martin Balsam.

I didn't know he was the detective, but I caught the name.

As the years went on and articles about Psycho became more prevalent, that Milton Arbogast was the detective who got killed became more known to me. And I found that name very movie-ish, very "solid": Milton Arbogast.

I recall, myself, writing a sentence in a school paper on Psycho(I wrote a FEW of those) that went something like this "The abrupt demise of Milton Arbogast is another great scene in Psycho." Somehow the sentence doesn't feel as good done: "The abrupt demise of Arbogast is a another great scene in Psycho." It took me years to "unlearn" Milton Arbogast.

If we keep the name Milton Arbogast, behold: he matches up to a real "streak" of M-names among the Hitchcock heroines and heroes of the 50's/60s cusp:

Madeleine Elster
Midge Daniels
Marion Crane
Melanie Daniels
Marnie Edgar

Milton Arbogast
Mitch Brenner
Mark Rutland
Michael Armstrong

...ya think Hitchcock liked those "M"'s?

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Back to "our Milton": I think the first name might have worked with a more "midwestern" actor, someone along the lines of Macdonald Carey

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MacDonald Carey, the POLICE detective who falls in love with Young Charlie in Shadow of a Doubt? 17 years later , Carey would have had a bit more gravitas(and better hair - is a curly pompadour in SOAD) as Arbogast...and Santa Rosa was rather Fairvale like.

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or Warren Stevens. Carey was maybe too tall. Stevens would have been fine.

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I always found Warren Stevens to have rather severe, almost rodentoid features. He was handsome , but it seemed "carved sharply" on his face. I'm not sure he could have found the warm angles(even the "fake warm" angles) that Balsam brought to the role. But I can see Stevens there.

Or perhaps I'm getting off point...Carey and Stevens could play men named "Milton," but not necessarily Milton Arbogast.

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Harry Townes might have worked but for his non-macho persona.

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Those marvelous hooded eyes. He seemed born to play undertakers; as a TYPE, he'd fit Psycho.

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I've seen him play assertive but never tough.

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Well, Hitchcock rather carefully developed Arbogast as SOMEWHAT tough, but not REAL tough. Lila dresses him down at the hardware store("I don't care if you believe me or not!"); Norman throws him off the property with ease. Harry Towne could handle that.

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Ray Teal, on the cusp of joining the cast of
regulars on Bonanza, was the right type, and not tall.

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I know the name, but I can't recall the face right now. I'll go looking.

And again, we are talking guys who could play men named "Milton," right?

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I like 'em.

Also, Manny in The Wrong Man

Maxim de Winter in Rebecca


Then there are characters known mostly by their last "M" names, such as Robert Young's playboy, referred to mostly by his last name, Marvin, in The Secret Agent.

In Spellbound Leo G. Carroll's psychiatrist was known only as Dr. Murchison.

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I'm okay. Literally under the weather, or rather in storm watch mode since late last week, with another dumping expecting later today and tonight. Lots of power outages, much more than usual in urban areas in eastern New England. I live in the city of Boston and we had some major blackouts that lasted almost two full days, Friday and Saturday. Next door, Watertown, had major damage done by falling trees.

Two days after the worst of the storm, coming home from work Sunday night I took a different bus than usual that took me out of the city through Watertown so that I could get a transfer and make my way home the long way, and it was re-routed, as the driver had to drive a mile or two around strange corners to avoid smashed cars and dangerous downed electrical wire. The worst of the storm was over by more than a full day by then and many streets were still flooded. These things don't get me down, though. I find them exciting even when they're a gross inconvenience, as on Friday night, in over 70MPH wind and rain I was walking down the street with my trusty ten year old umbrella, which the wind turned inside out and pretty much wrecked in a few seconds putting me in what felt like a Wizard Of Oz moment, as when Dorothy and her friends were pursued and then taken airborne by those sinister flying monkeys. For a brief while I thought I might take flight!

A friend of mine in Arizona has been e-mailing me to see if I'm alright. As he's a local guy, from Gloucester, and had heard the news, he wanted to do a check-in. Nice. Today is my birthday, btw, and my sister was going to have a family dinner party, a semi-regular late winter things, for me, which is also a nice way to get our cousins together without a formal holiday. I sent her a message late Sunday suggesting that it might be wise to change the day, and she agreed. It wasn't me, I said,--I travel by bus and train--but the others I was concerned with. She agreed, so it's off till next month. Fine by me.

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Oops! Ran out of space. They really limit you here on Moviechat. I didn't want to dwell overmuch on personal stuff but this has been an eventful few days, and in a way like a movie (The Imperfect Storm?). I actually like stormy weather movies and like so-called inclement weather provided that it doesn't last too long. The Blizzard Of '78 was fun (and yet people, older people, most of them, died on the New England coast). Some twenty plus years ago I and a lady friend spent some time on the roof of a smallish (for the city) four story apartment building we both lived in ( though not together) but were in no danger, as it was built with walls that came up to our waists. Still, sometimes one of us had to hug--forget one another--something more solid, like a chimney, to keep from blowing away.

Such events are very cinematic, and I enjoy a good movie in which the weather becomes, in effect, a character; and also, more broadly, the landscape, the natural world; even a cityscape. There's something romantic in that; a kind of enforced intimacy, even when the ending has to be tragic, as in A Night To Remember/Titanic. It draws the viewer in, tugs at the heartstrings, in a manner of speaking, as we worry along with the characters as to what will happen next, to whom, and how many, if any, shall survive. Strong scenes like that in classic films: the plane trip to Shangri-La in Frank Capra's Lost Horizon, the storm at sea in Hitchcock's Lifeboat; John Ford's Hurricane; some of Howard Hawks' Only Angels Have Wings and his western, Red River. A childhood favorite of mine, the Jule Verne adapted Mysterious Island, began with a hot air balloon trip taken by Union soldiers escaping from a Confederate prison camp that takes them all the way across the U.S. and half-way across the Pacific ocean as well, to the wonderful eponymous island, where there's more adventure in store.

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I didn't want to dwell overmuch on personal stuff but this has been an eventful few days,

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Hell, why not dwell? That's an interesting few days! Some OT sharing is allowable in a space where folks get taught about Hitchcock...and life...and Hitchcock's connection to life (and storms, we might add, see below in an On Topic way in a thread about Psycho.).

You amade of hardy stuff, telegonus. I've lived in varying climes, but mostly mild ones save some winter cold and gray. I'm glad you made it through this bout ok, and I wish you well, til spring springs.


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and in a way like a movie (The Imperfect Storm?). I actually like stormy weather movies and like so-called inclement weather provided that it doesn't last too long. The Blizzard Of '78 was fun (and yet people, older people, most of them, died on the New England coast). Some twenty plus years ago I and a lady friend spent some time on the roof of a smallish (for the city) four story apartment building we both lived in ( though not together) but were in no danger, as it was built with walls that came up to our waists. Still, sometimes one of us had to hug--forget one another--something more solid, like a chimney, to keep from blowing away.

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Platonic closeness under harrowing but exhilarating circumstances...its a good thing!

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Such events are very cinematic, and I enjoy a good movie in which the weather becomes, in effect, a character; and also, more broadly, the landscape, the natural world; even a cityscape.

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Absolutely. Its one thing when the "disaster" is man made or with bombs. But the weather is its own force -- considered God's work in some beliefs, "nature" in others(with a chaos theory attached) but always the ultimate master of us all.

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There's something romantic in that; a kind of enforced intimacy, even when the ending has to be tragic, as in A Night To Remember/Titanic. It draws the viewer in, tugs at the heartstrings, in a manner of speaking, as we worry along with the characters as to what will happen next, to whom, and how many, if any, shall survive.

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The disaster movie hit its stride with a cheesy series of films in the 70s -- but The Poseidon Adventure (for its central tidal wave) and The Towering Inferno(for its cast and its technical-intelligent script) were exceptions.

Titanic added the love story and a certain override tragic horror: as the ship sank, the majority of the people were doomed and so the analogy was to the coming of death in ALL our lives. So many of them trying to stay alive for as long as possible -- Jack trying to keep Rose alive to the bitter end(they are literally the last two people to go into the sea on the stern.)

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Strong scenes like that in classic films: the plane trip to Shangri-La in Frank Capra's Lost Horizon, the storm at sea in Hitchcock's Lifeboat; John Ford's Hurricane; some of Howard Hawks' Only Angels Have Wings and his western, Red River.

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The wind and water machine used for the Lifeboat storm at sea, almost killed Hume Cronyn -- the "real deal."

Its a bit of a "cheat," but the plane crash into the sea at the end of Foreign Correspondent put the protagonists at the mercy of Mother Nature.

Psycho had a harrowing rainstorm - though its lethal power was in the port in that storm that Marion Crane was sent to.

But the film that I think most ties into "the power of nature" -- with a very big "storm" analogy is: The Birds.

Their attacks are hardly chaotic and haphazard...they come in big sudden waves and then...they subside. For a long time. Then the birds build in number and...they attack again.

Its very much in the pattern, I think, of thunderstorm patterns over a few days, and suggestive that the killer birds -- however "psychotic" -- are attuned to the natural order of things.

And talk about your "forced intimacy" : Melanie and the Brenners trapped in that house, alone, with power going out and lights going off....

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Though your weather travails were harrowing, telegonus, you seem to have taken it all in stride, hearty Northeasterner you are. I won't say it was enjoyable to read your narrative...but I felt your connection to what was happening, expressed in a nicely personal way. And with good cinematic good humor.

Thanks for the read!

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A childhood favorite of mine, the Jule Verne adapted Mysterious Island, began with a hot air balloon trip taken by Union soldiers escaping from a Confederate prison camp that takes them all the way across the U.S. and half-way across the Pacific ocean as well, to the wonderful eponymous island, where there's more adventure in store.

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Ah, telegonus...Mysterious Island! One of the great "formative fantasy films" of boomer youth. Its part of that "Golden Run" from Ray Harryhausen(on the "monster effects") with Bernard Herrmann -- magnificently -- on score.

There are three of them:

7th Voyage of Sinbad (1958)
Mysterious Island (1961)
Jason and the Argonauts(1963)

...with a "Gulliver" movie in 1960 that wasn't quite as good.

As you can see, the four films pretty much hit in that same 50's/60's cusp where Vertigo through NXNW through Psycho through The Birds appear, and thus hit my nostaligic mind with a double dose of great feelings.

In the 70's, film-savvy specialty record labels put out collections of Hermann's music for Hitchcock and Harryhausen, and I had 'em all. "Mysterious Island" has a particularly thunderous and enthralling Herrmann overture -- scored to the beat of the massive storm that sweeps a balloon with a small contingent of Union and Confederate officers, friends and likely lovers from a prison camp to...where?

Once they get to the mysterious island, the 1961 boomer child and the 2018 nostalgic adult are confronted with a true "land of the giants": a giant crab that rises out of the sand on the beach(the first monster, and the best one), a giant chicken-bird(rather comical, but they kill it anyway, fried chicken tonight!); a honeycomb of giant bees(who seal up a romantic couple in temporary wax tomb) , and a giant Nautilus octopus.

And, oh, Captain Nemo is there, hiding out with HIS Nautilus. (Its not James Mason, its Herbert Lom.)


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Thanks for responding, EC. I've seen two of the three Harryhausens you listed together. For some reason Jason has always eluded me, or maybe I eluded it. Sometimes I just take a pass on a highly regarded film, even a widely loved classic,--genre doesn't matter-- and never get around to seeing it. A long list it is: American Madness, Broadway Bill, The Ghoul, anything starring Wheeler & Woolsey, The Story Of Louis Pasteur, Lloyd's Of London, The Ebb Tide, The Awful Truth, Holiday (either version), A Yank At Oxford, Made For Each Other, Unfinished Business, Mr. & Mrs Smith, The Shanghai Gesture. I may as well quit at 1941.

As to the Gulliver picture, I loved it. I was familiar with the children's version of the novel, was charmed by what seemed at the time the movie's faithfulness. (Another Gulliver, the 1939 Max Fleischer animated feature, I saw on the early movie as a child, and I like it, too.) Back to Mysterious Island: my all-time favorite from Ray H. It's about as close to a perfect movie that I can think of, I mean, really, movie movie, suitable for kids and family viewing. For some reason I found, even as a child, that even the best Disneys had a way of falling short. Maybe it was they felt like they got a pass, even more, a rousing endorsement from the PTA and local family and church groups.

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Thanks for responding, EC. I've seen two of the three Harryhausens you listed together. For some reason Jason has always eluded me, or maybe I eluded it. Sometimes I just take a pass on a highly regarded film, even a widely loved classic,--genre doesn't matter-- and never get around to seeing it.

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An interesting point -- certainly I'm a victim of the same plight, and mainly with films from before 1950.

But just the other night, I caught up with one I kept reading about and finally saw: "Bigger Than Life" (1956) a rather disturbing film in which Regular Guy Teacher James Mason starts taking cortisone for an ailment and pretty much turns into a madman -- terrorizing a PTA meeting, his wife and his little boy(who James decides must be sacrificed ala Abraham's son, to death!) The surprise hero is ...Walter Matthau!...about ten years before he became a star but already dependable Walter Matthau(he's an Average Joe gym teacher who physical prowess proves the only way to physically fight and stop Mason in his final homicidal rage). Director is Nicholas Ray, so the film has a following. And now I've seen it. Once was enough.

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A long list it is: American Madness, Broadway Bill, The Ghoul, anything starring Wheeler & Woolsey,

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A childhood memory(I HAVE memories from after then, but I guess this is the richly remembered period for now):

A local LA station ran Wheeler and Woolsey films once a week, on Friday nights, one summer. Probably 1961 or 1962. They were on in my household because my father grew up on them during HIS childhood, and he wanted to remember and share. I'm afraid I can't remember much of them beyond those two guys names. I'm sure a trip to You Tube or thereabouts would bring them back intact for me.

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As to the Gulliver picture, I loved it.

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Ooops. Well -- a few backpedals:

I only saw it once or twice, so I don't quite remember how it "flowed." Gulliver is giant for part of the movie, and tiny for the rest. There is one disturbing fight he has to have with a small alligator when he is tiny(he kills it, but it seemed like an unfair fight as I recall.) In any event, the "episodic man vs monster" episodes of 7th Voyage of Sinbad, Mysterious Island, and Jason and the Argonauts went missing in Gulliver -- I guess Harryhausen wanted to tell a deeper tale(he was working from a classic.) The animated Gulliver made the rounds indeed around the same time, I think I rather confused the two versions.

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Back to Mysterious Island: my all-time favorite from Ray H. It's about as close to a perfect movie that I can think of, I mean, really, movie movie, suitable for kids and family viewing.

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Yes. I do like how it opens in a POW camp during the Civil War and establishes the characters and the realities of the War before sending them off in a balloon for adventure(as a "balloon adventure movie" this one beats both Around the World in 80 Days and Five Weeks in a Balloon, to name two.)

Captain Nemo remains a "sympathetic villain." So righteous in his anti-war beliefs, so murderous in imposing them.

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For some reason I found, even as a child, that even the best Disneys had a way of falling short. Maybe it was they felt like they got a pass, even more, a rousing endorsement from the PTA and local family and church groups.

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Well, I think a lot of those Disneys were a special kind of "Assembly line B picture," which Walt would occasionally break up with "something bigger(Swiss Family Robinson, and eventually Mary Poppins.) Walt's Buena Vista productions always seemed to have the same music, the same tinny sound systems, the same rather cheapjack effects when Walt wasn't thinking big budget (The Absent Minded Professor, had GOOD effects, though.)

I speak often of my 1960's Hitchcock jones, but he showed up rather late in the sixties for me and was rather forbidden in certain ways(I couldn't stay up for his TV show or see Psycho.) Uncle Walt is the one who got me "trained to want to see movies."

It worked like this. At the end of every "Wonderful World of Disney(Color)" there would be a trailer for a Disney movie. The first time a new trailer played: excitement("OH! A new Disney movie!") A rush at the parents to get to go see it. That same trailer might play at the end of three or four episodes in a row and then -- voila! -- you'd get a NEW trailer ("OH! ANOTHER new Disney movie!) A rush at the parents to get to go see it.

And my parents took us to all of them. The trade was us kids having to sit through movies like Advise and Consent and The Four Horsemen of the Apocalpyse(understanding nothing of what we were seeing.)

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Swiss Family Robinson, Pollyanna, The Absent-Minded Professor and the magnum opus of Mary Poppins are what are remembered from the sixties, but we also got:

The Adventures of Bullwhip Griffin, Grayfriars Bobby, The Fighting Prince of Donegal, Summer Magic, In Search of the Castaways(with a nifty "roller coaster ride on a broken ice cliff down a mountain" scene), Son of Flubber, The Ugly Dachshund (perennial Disney guy Dean Jones and Hitchcock vet Suzanne Pleshette) and...

...That Darn Cat, which had a bit of mystery to it. Dean Jones again(as an FBI guy), with Hayley Mills grown up and some bad robber guys(Neville Brand and Frank Gorshin as I recall).

All over the map these Disney live action films were in the 60's. They rather weirdly were like "quality-controlled cheapo movies." But I saw 'em all. And so did my parents. Rarely was I dropped off for a kiddie matinee.

I recall the death of Walt Disney in 1966 hitting hard. Would there be any more Disney movies? Would Disneyland stand? Yes to the latter -- but yes to the former, too. They just didn't have Uncle Walt supervising them. I recall finally leaving my childhood behind when The Boatniks came out(1970) -- I was just too old for it, and it seemed too cheap. But I had younger siblings with whom I saw things like "The Computer Wore Tennis Shoes."

But it just wasn't the same.

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Let's not forget The Parent Trap, and the one where Macmurray and family went off to Paris (can't recall the title) but remember Macmurray getting lost in the Parisian sewers.

It seemed like every summer in late 50s and early 60s we'd get a DIsney live action comedy and a Jerry Lewis film, like clockwork.

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Bon Voyage! I saw that one in the theater and it was very funny and charming.

Yup. Movies were made and released like clockwork, in the best sense of that word: they were well crafted, they delivered,--the good ones, that is--what they promised to; and they got to the theaters on time. There was far less hype back then, far more buzz. Advertising, yes, though word of mouth was somewhat stronger, and most kids knew what they liked.

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Bon Voyage! I saw that one in the theater and it was very funny and charming.

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I have a warm memory of that because we saw it on a trip to a Midwestern state to visit my grandparents -- who we rarely got to see. We saw Bon Voyage in a big palace theater.

I am told that my grandmother spent the entire movie not watching the movie -- but watching her little grandkids watch the movie.

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Yup. Movies were made and released like clockwork, in the best sense of that word: they were well crafted, they delivered,--the good ones, that is--what they promised to; and they got to the theaters on time.

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And we were TRAINED. "Hey, the new Disney movie is here!" "Hey, the new Jerry Lewis movie is here!"

But there were differences. As we have discussed, certain movies might take months or even years to reach "a theater or drive-in near you."

In the high school years, I recall how "Deliverance" was a 1972 summer release in LA and other big cities, but not released until Xmas 2972 in smaller cities(such as the one where I lived.) I spent six months waiting for "Deliverance" -- and wondering if I'd actually get to see it. (I did, having tricked the old man into thinking it was a river run adventure. He was not pleased.)

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There was far less hype back then, far more buzz.

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That's a great phrase, telegonus. It explains why we used to have "word of mouth" blockbusters like The Sting and Rocky, whereas today we have "guaranteed blockbusters" like The Avengers...which everybody sees but few seem to enjoy. (Well, I can't speak for youth, I guess.)

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Advertising, yes, though word of mouth was somewhat stronger, and most kids knew what they liked.

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Me, I had this one boyhood friend who practically got to see every movie released before I did. He'd see it, tell me about it, I'd recommend to my parents....done. I recall that working for The Guns of Navarone and The Man Who Shot Liberty Valance.

I for some kids, I was that kid.

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It seemed like every summer in late 50s and early 60s we'd get a DIsney live action comedy and a Jerry Lewis film, like clockwork.

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This boomer kid remembers that. I was always VERY excited about a new Jerry Lewis picture, in my unformed mind there was something a bit magical about him, indeed Disney-like.

It was only as I got older that I found his persona obnoxious on the one hand, and his films rather weird-arty on the other(which is why the French like him.)

In 1960, Lewis scored one big hit at summer -- The Bellboy -- and one big hit at Xmas: Cinderfella. He kept scoring until roughly that same "doomsday" year for Hitchcock and Wilder and others -- 1964, when something about JFK's death and the Beatles rendered the usual entertainers "passe" overnight(this happened to the Rat Pack , too -- their movies started tanking; Dino became a monster TV star because, well, he was Dino.)

My favorite Jerry Lewis movie is "Its Only Money," a rather low-budget crime comedy with a decided Hitchcock influence(he's a junior private eye who is actually a missing heir to a fortune, the bad guys are trying to kill him, at the end he gets chased all over a mansion by robot "monster mowers.")

I have regard for The Nutty Professor. He's such a nice guy as the professor, but his "Buddy Love" is tough guy lounge lizard psychopathy personified. That was in 1963. Pretty much the Last Time Jerry Lewis Mattered.

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The Bellboy was my first Jerry Lewis picture, and very funny. I didn't even know who he was before I saw it (at the age of eight, saw it with my sister and cousin).

Agreed on It's Only Money, which seems a lot smarter than most of the kid-geared pictures Jerry made back in those days. It actually drew me in. The story, I mean; while most Lewis flicks tend to run hot and cold this one actually had some focus, by which I mean who was doing what to whom. Oddly, I totally forgot the title, remembered the movie, caught it on television a few years later.

Maybe my favorite of all is The Patsy, from the start of the period when Jerry was ceasing to "matter". I find it maybe his smoothest film of all, with a killer cast. Ina Balin was lovely and sympathetic. the supporting guys, mostly villains, nearly all Hollywood veterans, with some nearing the end of their lives (Everett Sloane, Peter Lorre).

After that I continued going to the movies, grew more discriminating in my tastes. I was less inclined to go to a movie for a star, Bogart excepted, and I suppose guys like Vincent Price, Boris Karloff and Basil Rathbone in horrors, whether serious or funny.

I wonder if the darkness that settled over the land like a black curtain around 1964 was entirety due to the JFK assassination. It was referenced in many a Twilight Zone prior to that; and in shows like Hitchcock's, Route 66 and Naked City. You can see it in Psycho, sort of; and in films like The Young Savages, The Manchurian Candidate, maybe The Birds, and in many of the films Paul Newman appeared in.

Many of those dark films from '64 had been in the planning stages a year or two. Think Fail-Safe and Seven Days In May. Or could it be, just to indulge in some playful-morbid mysticism, that JFK somehow brought his assassination on himself by his actions? Gore Vidal contended till his own death that Kennedy was fatalistic in the White House. As to himself, he meant.

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The Bellboy was my first Jerry Lewis picture, and very funny. I didn't even know who he was before I saw it (at the age of eight, saw it with my sister and cousin).

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An interesting idea: "not knowing who these stars were" when first we saw their films.

I suppose a lot of this talk about the sixties for those of us of this age now is about, in a certain, how a child develops and what "locks in" in the learning process about the culture around them.

One starts, of course, with the kiddie shows and the kiddie show stars. Sesame Street for later generations; Captain Kangaroo and Romper Room for earlier. And then other elements kick in.

Those were likely Disney and Jerry Lewis for me, to start. The Harryhausen pictures were a big deal on the "monster side." As were monster, horror and SciFi films in general. (In LA in the sixties, there were two main monster TV movie franchises a weekend -- "Chiller"(home of House on Haunted Hill and The Giant Behemoth") and "Strange Tales" (Home of The Thing and IT The Terror Beyond Space.)

Hitchcock came creeping up. The TV show. The mystery books for kids. And slowly but surely , his fifties films arriving on network TV.

Came the 70's, all those tropes were in place in my mind...and suddenly BEING replaced. Eastwood, Nicholson, Redford. Friedkin, Coppola, Bogdanovich.

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Back to The Bellboy:

In that Anthony Hopkins/Helen Mirren picture called "Hitchcock," about the making of Psycho, this exchange between a studio exec and Peggy Robertson:

Exec: How is Psycho coming along?
Peggy: Well.
Exec: I hear its a dog with fleas...well, at least we have Cinderfella coming out to save us.

Another fact misfire in that strange movie. In the summer of 1960, what they had was The Bellboy coming -- evidently whipped up fast by Lewis to make sure he HAD a summer movie.

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And "Psycho" and "The Bellboy" are twinned in many way: Paramount resisted them(Psycho we know why, The Bellboy for its silent movie artiness). Hitch and Jerry both funded the films largely out of their own pockets, made each of them for around $800,000...and made big personal bucks.

And back when Psycho got its 1967 LA debut on local TV, The Bellboy got one on the same channel -- with billboards placed in town where the Psycho on TV billboards had been placed.

I like "The Bellboy" for the way it captures 1960 in a way totally divorced from the Psycho ambiance. We're way over on the East Coast, in Miami Beach at the Fountainbleu hotel, and you can just FEEL the Rat Pack/Jackie Gleason ambiance. Milton Berle(not Milton Arbogast) figures in the film as himself, as does Jerry Lewis briefly as Himself.

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Yes, EC: The Bellboy might have been, for all we know, the inspiration for Jackie Gleason moving his base of operations to Miami a couple of years later. What appeared to be his attempt to make Miami L.A. East and Florida the California of the East had been happening all its own even before that movie came out, and I doubt that just one film can have that effect

Jerry Lewis was an odd case as a movie star, closer in some ways to the ex-Saturday Night Live players who left the original show and enjoyed careers in films for five, ten years or thereabouts, were never,--Eddie Murphy aside--really top names in the movies and yet bankable all the same. Jerry was somewhat bigger than that, but as the SNL alums appealed mostly to Boomers and young adults, Jerry was somewhat ghettoized as a kidflick star. His vehicles played at times like "racier" Disney flicks. Jerry was for the Young Ones, not grownups.

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Yes, EC: The Bellboy might have been, for all we know, the inspiration for Jackie Gleason moving his base of operations to Miami a couple of years later. What appeared to be his attempt to make Miami L.A. East and Florida the California of the East had been happening all its own even before that movie came out, and I doubt that just one film can have that effect

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The Jackie Gleason show was a staple in our household in the 60s and it "taught me" about Miami Beach. I have a vague childhood memory of a trip TO Miami Beach and seeing a big sign with Jackie Gleason's face on it near a building -- possibly his show HQ?

Miami Beach (and Florida in general) are famous as the sun destination of cold New Yorkers, but indeed Gleason tried to give the city a "show biz capital" ambiance. It didn't take; it seemed to fade with Gleason and the Rat Pack(Sinatra was a close Gleason pal) as the 70's took over. Came the 80's: Scarface and Miami Vice became the template.


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Jerry Lewis was an odd case as a movie star, closer in some ways to the ex-Saturday Night Live players who left the original show and enjoyed careers in films for five, ten years or thereabouts, were never,--Eddie Murphy aside--really top names in the movies and yet bankable all the same.

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As a sidebar, I've been contemplating how SNL hasn't generated a true movie star in some time, now. Their current funniest player -- Kate MacKinnon -- has been relegated to supporting parts in flops. Kirsten Wiig is a "name," but not a very big one.

The First SNLers hit so big that it was inevitable Hollywood would cast them -- Chase , Belushi, Murray -- all became stars fast. Eddie Murphy was a phenomenon unto himself. Thereafter it seemed that a new star would emerge from SNL at the rate of about "one out of ten players"(Sandler, Myers, Farrell.) Mostly men -- though Wiig and McKinnon "took." Tina Fey and Amy Poehler seem more like sitcom stars.

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Jerry was somewhat bigger than that, but as the SNL alums appealed mostly to Boomers and young adults, Jerry was somewhat ghettoized as a kidflick star. His vehicles played at times like "racier" Disney flicks. Jerry was for the Young Ones, not grownups.

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One of the better showbiz biographies I have read is "Dino" about you know who. The book takes up the initial surge of success of Martin and Lewis....then edges into how Jerry kept pushing Dean out of the picture until Dean did the quitting.

Famously, when they broke up, Hollywood figured that Jerry would remain a superstar and Dean, the "straight man lounge singer" would fade out.

But it was not to be. Jerry was, indeed, a kid's star whose kids were growing up on him. Dean found himself proving an excellent actor in Some Came Running, The Young Lions, and Rio Bravo, and a delightfully cool foil to Frank and the rest of the Pack. (The real surprise is that Dino turned out to be a much funnier guy than Jerry.)

Dean Martin made too many bad movies in the sixties for me to worship the guy, but I sure do/did like him. NBC bent over backwards to give him a TV series on his terms(he worked on it one day a week, period) and big money once it hit. He's a cool enough presence in the Matt Helm movies and Airport, a handsome guy with a great sense of humor.

Most importantly, Dino seemed to literally give off the effect of a man who "just didn't give a BLANK." He made a ton of money from TV, movies, and Vegas; owned about 1/3 of California, had a ton of kids and spent his off-hours playing golf and watching Westerns on TV.

While Dino's star ascended in the 60's, his erstwhile partner Jerry's descended. Several cancelled TV series. The end of the Paramount contract. And ignomy: being fired off of his "new" late 60's Warners contract. (A studio boss told Jerry to his face: "Its not personal -- but you aren't box office anymore.)

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Agreed on It's Only Money, which seems a lot smarter than most of the kid-geared pictures Jerry made back in those days. It actually drew me in. The story, I mean; while most Lewis flicks tend to run hot and cold this one actually had some focus, by which I mean who was doing what to whom.

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Its one of those movies that -- I am willing to bet -- was written "generic" so that any comedy star of the day could have done it -- Danny Kaye or Bob Hope maybe, though they were aging.
Lewis seems a bit shoehorned in.

Zachary Scott is the main villain -- he's a bit Gavin Elster-ish -- and Jack Weston is hilarious as his butler henchman(the butler DID do it in this one.) Jesse White gives us a "slobby" private eye(but nonetheless a tough guy) grudgingly mentoring Lewis.

Hitchcock often compared his "broad daylight" scene of the crop duster attack in NXNW to the "cliché" of an attack staged on a dark street on a dark night. Well, Its Only Money has that -- a car trying to run Jerry over on a dark, empty street -- but what's funny is it is staged in "the Hitchcock tradition" -- long silent pauses, sudden action, etc.

And as for the "monster mower attack and chase climax" -- this was the kind of action chase climax that I loved as a kid, and which was perfected with Rushmore in NXNW.

There's also a surreal bit where, to prove that he's the missing heir, Lewis "shaves" the beard off of the portrait of an ancestor and voila...its Jerry!

Its Only Money was directed by Frank Tashlin, who was known for his sharp visual comedy skills and that surrealism.

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Oddly, I totally forgot the title, remembered the movie, caught it on television a few years later.

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I saw it first run at the drive-in and then on TV a lot after. The title isn't that strong, really -- hard to remember.

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Maybe my favorite of all is The Patsy, from the start of the period when Jerry was ceasing to "matter".

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I should point out that while Lewis did start to "not matter" come 1964, that doesn't mean he wasn't still making some good comedies. And he DID cannily cast all those veterans. I recall recognizing them as a kid from the old horror and mystery movies I'd been watching on TV(Peter Lorre, especially.)

I've seen a clip of Jerry in an empty conference room "miming" a big boss pointing at invisible underlings and ordering them around, to jazz accompaniment. Is this from The Patsy? Its a great, skillfull, superfast super-precise routine and proof positive that Jerry had a talent.

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Ina Balin was lovely and sympathetic.

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And at the end of the movie, Jerry breaks character and goofiness, becomes himself for real, and walks Ms. Balin off the set in a gentlemanly manner as "The End" comes up.

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Around 1966, Jerry Lewis did what can only be called a "space age sex comedy" called Way Way Out. We went as a family to it and I found it rather arousing(for that age.) Lewis and Connie Stevens are man and woman sent to a space station to replace two male astronauts who are bent on killing each other(Howard Morris and Dennis Weaver). Soon, a lusty Russian co-ed tem of astronauts arrive(Dick Shawn and Anita Ekberg) and the US/Russian couples are in a race to create "the first baby in space." Lewis plays it pretty cool and the whole movie is about sex(discussed, not shown.) There's a pretty funny scene where the two desperate male astronauts(Morris and Weaver) go nuts while Connie Stevens is showering.

Why do I remember THIS Jerry Lewis picture? Because it was sold as a family show and ended up being quite titillating. Its like Our Boy Jerry is introducing us kids to the world of grown-up sex.

It was about his last relevant movie, I think. Title rock and roll song by: Gary Lewis and the Playboys. Jerry's son.

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I remember Way Way Out by its title alone. Wasn't Jerry trying to attract somewhat older moviegoers? He made that comedy with Tony Curtis,---Boeng! Boeng?--around the same time. It was never the same for him afterwards.

He was maybe like Hitchcock in at least one respect: he took the adulation of the French critics seriously, tried to fashion his later career to meet their expectations (to a degree, I should add). He sort of stopped making just plain fun movies, seemed to be aiming to be the next,--something, someone?--first Chaplin, then Keaton, Harold Lloyd, maybe even Harpo.

Like pop singer Bobby Darin, Jerry Lewis appeared to lack the core of a Real Self, of one person who's got the goods. It's like he was several people, each trying to outdo the other! Small wonder that his film career tanked.

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I remember Way Way Out by its title alone. Wasn't Jerry trying to attract somewhat older moviegoers? He made that comedy with Tony Curtis,---Boeng! Boeng?--around the same time. It was never the same for him afterwards.

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In retrospect, you can see that Jerry or his handlers felt it was time to attract an older audience. The selling point with Boeing Boeing was "see Jerry Lewis play an adult comedy role straight." And the match-up with Curtis suggested he could "play with the grownups"(the two egotistical actors evidently undercut each other a lot on set, without actual conflict.)

Way, Way Out is essentially a sex farce. And there is the "funny" idea that having two men stuck out there alone for too long a time first would create such frustration that they go a bit nuts(the joke is that the smallish Howard Morris is physically beating up and terrorizing the physically bigger Dennis Weaver.)

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He was maybe like Hitchcock in at least one respect: he took the adulation of the French critics seriously, tried to fashion his later career to meet their expectations (to a degree, I should add). He sort of stopped making just plain fun movies, seemed to be aiming to be the next,--something, someone?--first Chaplin, then Keaton, Harold Lloyd, maybe even Harpo.

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Yes, both men rather "played to the French New Wave" , Hitchcock with the artiness and symbolism of The Birds and the "international" flavor of Torn Curtain and especially Topaz; Lewis with an emphasis on silent-era style in The Bellboy, The Ladies Man, The Nutty Professor.

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Like pop singer Bobby Darin, Jerry Lewis appeared to lack the core of a Real Self, of one person who's got the goods.

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I remember a period -- early seventies -- when Darin went as "Bob Darin" and simultaneously grew what hair he had long while dropping the toupee and showing baldness up top. Of course, Darin was in a race with an early death that he knew he would lose(bad heart from scarlet fever as a boy.) Kevin Spacey gave us Darin's story on film over a decade ago. (There. Kevin Spacey. I said it.)

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It's like he was several people, each trying to outdo the other! Small wonder that his film career tanked.

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A few years ago, some cable channel offered a two-hour documentary on Jerry Lewis, with talking head interviews with Carol Burnett and Eddie Murphy(the "new" Nutty Professor) among others. They were rather trying to rehabilitate Lewis, and many clips showed his physical dexterity and rubber-faced moves to very good effect(Jerry Lewis in two minute increments is just about right.)

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It's like he was several people, each trying to outdo the other!

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Lewis did a few movies where he played multiple roles(like The Family Jewels) and maintained to the end the ability to be the stooge-like BOY who screams "Laaaadie!" and the oily self-worshipping MAN who fancied himself an"auteur." (Take a look on YouTube at his interview with Dick Cavett in the early seventies, and you'll see THAT guy.) So I guess he was several people..

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Small wonder that his film career tanked.

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Yes, but in some ways, Jerry Lewis joined a parade of "fifties/sixties" film personalities who were no longer relevant to film: Doris Day, Rock Hudson, Tony Curtis(all headed to TV series). Even his old partner Dino only did a few lousy movies after "Airport" and retired from movies.

This circles us back to Hitchcock, who cannily managed his career and managed to keep making movies even AFTER 1964, and still had a Universal contract until the day he retired in 1979(because he knew he was too ill to work; he died a year later in 1980.)

Hitchcock was "only a director" so he didn't have to BE the star of his late movies. In the 60s, he hired hot new stars like Sean Connery, Paul Newman, and Julie Andrews. But then came the seventies and "film studies nation" -- Hitchcock WAS the star of Frenzy and Family Plot.

It was an amazing career at the time. Big name directors like Capra, Ford, Hawks and Wilder were "retired" before they wanted to be. Some were fired from jobs, others couldn't attract financing anymore Even newer big names like Fred Zinneman and David Lean found projects wanting.

But Hitchcock was a Brand Name with a very powerful friend -- Lew Wasserman -- and so he was allowed to ALWAYS be seen as having a job, having a new project on the horizon...

...until he died.

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After that I continued going to the movies, grew more discriminating in my tastes. I was less inclined to go to a movie for a star, Bogart excepted, and I suppose guys like Vincent Price, Boris Karloff and Basil Rathbone in horrors, whether serious or funny.

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Perhaps the breakdown in the "movie star" that has reached full fruition in the 21st Century started in the sixties, which was the decade where Golden Era guys like Cooper, Grant, Tracy and Stewart got old or died off (Bogie was dead by 1957, AT 57.)

Paul Newman was the biggest new star, eventually joined by Steve McQueen and Sean Connery but...they never really quite outdistanced their vehicles. McQueen is great in Bullitt, not so great in The Reivers and Le Mans, for instance. And Connery once had a witty line "I was a star, but I could never outgross myself as James Bond. And I tried."





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I wonder if the darkness that settled over the land like a black curtain around 1964 was entirety due to the JFK assassination. It was referenced in many a Twilight Zone prior to that; and in shows like Hitchcock's, Route 66 and Naked City. You can see it in Psycho, sort of; and in films like The Young Savages, The Manchurian Candidate, maybe The Birds, and in many of the films Paul Newman appeared in.

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Entirely possible -- you could say that the darkness CAME for JFK, rather than his death creating it.

The main issue was nuclear war. Fully a year before JFK was shot, in October of 1962, we had the Cuban Missile Crisis(hey there, Topaz!) and people hoarding canned food and (some) building bomb shelters. I recall reading that depressive director Stanley Donen shut down production of "Charade" during the Cuban Missile Crisis for a couple of days saying "what does this movie matter? We're all going to be dead in a week."

But as a "domestic American" matter, you had your juvie delinquents(The Young Savages, West Side Story), your racial conflicts, your "thrill killer" Charlie Starkweather, even your ghoul Ed Gein(who , I don't think, got all that much press but was a "cult horror figure.")

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Many of those dark films from '64 had been in the planning stages a year or two. Think Fail-Safe and Seven Days In May.

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And Dr. Strangelove for laughs.

The nuclear thing again. And Hitchcock alluded that one of the many symbolic interpretations of The Birds could be as an analogy to nuclear attack and the wasteland that would follow. If the Brenners had had a bomb shelter.... (Hitch went on to make two more overt nuclear movies -- Torn Curtain and Topaz.)

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You're probably right about the whole "star thing". It's of another time, of the myth and magic of the movies. (That's the title of a book, I believe, and I'm not sure who the author was, and no, I never read it.)

So much "of that time" was tied to movie theaters, and they, the old movie chains, began to die off after World War II, with the decline of Hollywood The Industrial Town already underway, with the major studios cut adrift from their theaters by the Supreme Court consent degree of 1948.

In this sense if television hadn't been "invented" its influence on America's moviegoing habit would itself have to be invented, as it was probably going to decline anyway. Then there was the rise of the suburbs, little leagues, family activities such as hiking, going to the beach, miniature golf and other not so passive activities.

Also, those new suburbs were largely middle class, thus the growing affluence of Americans, plus the rise of colleges and universities as tickets to a good job or career made Americans more sophisticated and discriminating. The comedy of the early silents so beloved by such critics as James Agee was in fact very primitive, geared to the poor, the insulted and the injured. Only later did Hollywood attempt to attract the middle class, in the Roaring Twenties.

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So, to continue with this very late night ramble, one might say that the movies were born out of constraints, from which they offered escape: constraints of poverty, ignorance; of so many people needing to get away from the mean streets of the city so as to be able to relax in relative comfort,--in a movie theater.

Comedies made people laugh, adventures thrilled them, romances attracted women and couples. Movies also were made for the Westerns. There were westerns long before the movies: in wild west shows like Buffalo Bill's; and on Broadway, anyplace, really, in the East where people could learn about those wonderful wide open spaces out, well, where the Buffalo roam, or used to. Film-makers picked up on this, and when they saw how popular westerns were with the average moviegoer a genre was born, or rather transferred, to the big screen.

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So, to continue with this very late night ramble,

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Ramble on!

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one might say that the movies were born out of constraints, from which they offered escape: constraints of poverty, ignorance; of so many people needing to get away from the mean streets of the city so as to be able to relax in relative comfort,--in a movie theater.

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I'm reminded of Woody Allen's The Purple Rose of Cairo, which took this escape up as a rather cruel subject.

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There were westerns long before the movies: in wild west shows like Buffalo Bill's; and on Broadway, anyplace, really, in the East where people could learn about those wonderful wide open spaces out, well, where the Buffalo roam, or used to. Film-makers picked up on this, and when they saw how popular westerns were with the average moviegoer a genre was born, or rather transferred, to the big screen.

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Great point. I suppose the craving for entertainment and storytelling goes back a long ways. That old 80's Spielberg Show "Amazing Adventures" would flashback to a caveman drawing pictures on a rock and thrilling his friends with tall tales.

We need to be distracted. We need another world to live in.

Sometimes.

I'm off for a bit....

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You're probably right about the whole "star thing". It's of another time, of the myth and magic of the movies. (That's the title of a book, I believe, and I'm not sure who the author was, and no, I never read it.)

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Ha.

Someone wrote not too long ago, "Stars today have never been paid more and never meant less." I kind of get that.

Matt Damon has made more money than likely my entire ten-block neighborhood's incomes put together. And yet, all I can relate to is "that guy." He's OK, he's fit(though sometimes heavy) but...I can't see the star in him to save my soul.

And we know too much about these stars now, they are too familiar to us.

I believed in movie stars when I was younger, I guess, saw them as richer than me AND deserving of it in some way. Cary Grant...uh huh. John Wayne...sure...and Wayne did it in his later years with a paunchy physique and a grizzled face. It was PERSONA, role modelling, father figuring, that sort of thing.


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In this sense if television hadn't been "invented" its influence on America's moviegoing habit would itself have to be invented, as it was probably going to decline anyway.

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Now, that's an interesting point. Movies were soon not quite so NECESSARY in people's lives.

Certainly we've read that returning WWII soldiers weren't going to settle for sugar-sweet movie fantasies of life -- they were wised up and tougher.

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Then there was the rise of the suburbs, little leagues, family activities such as hiking, going to the beach, miniature golf and other not so passive activities.

Also, those new suburbs were largely middle class, thus the growing affluence of Americans, plus the rise of colleges and universities as tickets to a good job or career made Americans more sophisticated and discriminating.

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The interesting "rise" here was of Film Studies and collegiate either gravitating to Eurofilm(Bergman, Rossellini) or making a study of American auteurist directors(Hitchcock certainly, but also Ford and Hawks and Wilder and Preminger.)

I've felt that this whole academic era was largely killed off. One reason all these comic book movies drive critics nuts is because they are ALL ONE MOVIE, ticket-selling machines that can no longer be studied as "individual works of art."(Oh, Black Panther maybe. And Guardians of the Galaxy.)

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The comedy of the early silents so beloved by such critics as James Agee was in fact very primitive, geared to the poor, the insulted and the injured.

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I myself enjoy the "tension" of being a somewhat educated person with a rich history of seeing(with my parents at least) movies that were "written down" from me. Doris Day movies, Way Way Out, Matt Helm movies -- back then I was suspicious of these films, today, I can't really call them "films." But I liked them, and I like "stepping outside them to enjoy them vicariously."



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And in high school AND college, there was a cult of guys my age who really dug The Three Stooges. We'd get together to watch episodes after school sometimes. A meanness of character and violence of interaction was scary to a kid, to a teenage guy -- it was just...right.

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Or could it be, just to indulge in some playful-morbid mysticism, that JFK somehow brought his assassination on himself by his actions? Gore Vidal contended till his own death that Kennedy was fatalistic in the White House. As to himself, he mean.

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I;ve done some library microfiche browsing about the JFK assassination, and I recall finding a Time magazine blurb from the week or so before it happened...just a "gossip news tidbit" that read something like this:

"President Kennedy's Secret Service detail blew a gasket when he ordered his open limosine to speed up and race ahead of them for several unprotected blocks."

Word. I read that. I also read that JFK said at sometime to someone, while he was at an outside podium, "if someone wanted to take me out, they could do it right now."

Fatalistic.

Me, I could be wrong, but I don't think we will ever have a President assassinated again. After the attack on Reagan in 1981, the days of a President being anywhere near the general public or "shootable from a distance" are over. They travel in multi-car motorcades with decoy cars and machine gun toting agents; they are hustled into "safe space" speaking areas with metal detectors used on all attendees, etc.

I hope I'm right. I might be wrong. My saddest belief is this: if if DOES happen again, half a nation will be happy.

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Jerry's summer movies as a solo:

1957 The Delicate Delinquent
1958 Rock a Bye Baby
1959 Don't Give Up the Ship
1960 The Bellboy
1961 THe Ladies Man
1963 THe Nutty Professor

plus a slew of offseason movies as well during this period. Interesting, no summer movie in 1962. Possibly, like Hitchcock, he was slowing down while developing his 1963 masterpiece.

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And I didn't forget It's Only Money, but that wasn't truly a Lewis film and from my perspective, wasn't a summer release so was off my radar screen. So after The Bellboy, The Ladies Man, and THe Errand Boy in quick succession, and really in some ways the same film made 3 times, Lewis was looking for something different and more meaningful and he sure came up with it in Nutty Professor.

Like that Brit guy flush off of Vertigo, North by Northwest and Psycho taking 3 years to come up with THe Birds.

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plus a slew of offseason movies as well during this period. Interesting, no summer movie in 1962. Possibly, like Hitchcock, he was slowing down while developing his 1963 masterpiece.

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And I didn't forget It's Only Money, but that wasn't truly a Lewis film and from my perspective, wasn't a summer release so was off my radar screen.

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Hmmm...Easter release or Xmas? (Summer, Xmas and Easter were really the three major release seasons of the year back then. Psycho was summer, Topaz was Xmas, The Birds and Family Plot were Easter for Hitchcock.)

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So after The Bellboy, The Ladies Man, and THe Errand Boy in quick succession, and really in some ways the same film made 3 times,


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(Interesting, "self-plagiarism is style.")

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Lewis was looking for something different and more meaningful and he sure came up with it in Nutty Professor.

Like that Brit guy flush off of Vertigo, North by Northwest and Psycho taking 3 years to come up with THe Birds.

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Given that both Hitchcock and Jerry were worshiped by the French, perhaps their 1963 films reflected an attempt to "please their auteur critic masters." Both films are wildly ambitious and art-film-ish for their makers.

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When I think of how 1964 was "the beginning of the end" for a lot of fifties stars, I think of "Marnie" for Hitchcock and "Kiss Me Stupid" for Billy Wilder. I've seen both films and I like both films, and I don't think that they are MAJOR comedowns for their makers, but it does seem like the critics who resented Hitch and Billy really came down hard on them for those two films -- even as Dr. Strangelove, A Hard Days Night, and Eurofilm in general was being praised. It is as if vengeful critics had been just WAITING for Hitch and Billy to make wrong steps.

I'd have to look up Jerry Lewis' 1964 releases, but I am guessing the end for him as a contemporary came around that time. And indeed, it is in 1965 that we see Lewis deigning to work with another star(Tony Curtis) in a straight sex comedy for adults.

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The problem Jerry Lewis created for himself, EC, is that his screen persona was essentially that of a nerd, a goofball, a big kid, a guy with two left feet,--I could go on forever with this--NOT a real grownup, NOT a fully developed heterosexual male. He liked girls alright, but the way a little boy does. There was nothing of the carnal about him (off-screen,--in real life, absolutely), and this probably would have hurt him even if the times hadn't changed so dramatically in the mid-Sixties.

There was going to be a Sexual Revolution, in films and in real life. It was "in the works", so to speak. You can see it even in the borderline Disney-like Elvis flicks: Disney was a little sex thrown into the mix. Well, girls in bikinis anyway. The Presley pictures were otherwise not a million miles from what was on prime time television, and Elvis lasted as a star in feature films, longer than Jerry did. I believe his retirement from the big screen,--as a leading man anyway--was voluntary. It was my sense that his modestly budgeted movies were still making money and that this could have continued, for a while anyway, if that's what he wanted. Instead, he returned to being a musician and singer first and foremost, and I think we're all better off on account of it.

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The problem Jerry Lewis created for himself, EC, is that his screen persona was essentially that of a nerd, a goofball, a big kid, a guy with two left feet,--I could go on forever with this--NOT a real grownup, NOT a fully developed heterosexual male.

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I'm reminded of a not dissimilar later superstar named Jim Carrey. He had a hipper thing going sometimes(and got the girl sometimes) but his fan base was really kids and pre-teen boys...and they grew out of him. It was rather the same for Jerry.

And word is, both Jerry and Jim were pretty terrible people behind the scenes, pretty messed up, very arrogant -- when they stopped earning, nobody tried to help them out.

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He liked girls alright, but the way a little boy does.

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I'm reminded that in the biography "Dino," about you-know-who, one of the things that edged Dean towards the break-up with Jerry was when Jerry helped write a Martin and Lewis where dweeby Jerry -- not cool Dean -- got the girl.

---There was nothing of the carnal about him (off-screen,--in real life, absolutely),

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Jerry Lewis -- like most movie stars -- was actually quite handsome in his own way, and evidently went through women by the DAY(as morning call pick-me-ups at the studio; I'm talking paid women) even while married(again - the "Me too" movement will always have trouble with Hollywood realities.)

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nd this probably would have hurt him even if the times hadn't changed so dramatically in the mid-Sixties.
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Jerry Lewis retained a true friend in Peter Bogdanovich, who said that Jerry was unfairly penalized for a change in comedy taste(Mel Brooks first, then SNL all the way, ended Jerry's era). But that's show biz.



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Of course, as we know, the counterculture crowd was RUTHLESS in wanting "the old guys out." Actors like Tony Curtis and actresses like Doris Day were attacked; most old-time directors were put out to pasture. Hitchcock, Wilder and Preminger -- the envelope-pushing bad boys -- were allowed to keep working for a time, but only Hitchcock kept a contract to his retirement(one year before his death.) But Preminger and Wilder were "cut loose" when they still felt they could make films.

So Jerry got the heave ho, too. A short Warner Brothers contract was terminated over a movie flop called "Which Way to the Front?"

Jerry found stage work, and night club work, and Vegas work -- and got that great 80's film "The King of Comedy" to work in, but...pretty much over by 1970.

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There was going to be a Sexual Revolution, in films and in real life. It was "in the works", so to speak.

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Eurofilms were setting the stage -- naked people and sexual activity; pre- and extra-marital sex. The US of A was chomping at the bit for it.

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You can see it even in the borderline Disney-like Elvis flicks: Disney with a little sex thrown into the mix. Well, girls in bikinis anyway.

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I was a kid/pre-teen in the 60's, seeing a lot of movies and...Elvis pictures were not for me.

I recall seeing the end of one at an indoor theater: "Tickle Me" which tickled me because the climax was a fight in a haunted house with thugs disguised as monsters, and because Elvis has a funny sidekick in a guy named Jack Mullvaney. Funny guy.

The only Presley picture I got parental money to see was "Speedway" -- with some friends for some kid's birthday. Elvis and Nancy Sinatra. With Bill Bixby as the funny guy. I recall watching that was like the Bataan death march. But the girls WERE pretty.

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The Presley pictures were otherwise not a million miles from what was on prime time television, and Elvis lasted as a star in feature films, longer than Jerry did.

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Yes. He did one comedy(looking incredibly thin near his weighty years) call "Change of Habit" with Mary Tyler Moore! And a Western called "Chato."

Speaking of Westerns, Elvis evidently had a solid offer for the Glen Campbell role in True Grit opposite John Wayne! How great that would have been; an even bigger hit. And Elvis COULD act. But Colonel Parker nixed it, over billing, I believe.

Also bailing on True Grit: Mia Farrow, who had said yes to the Mattie Ross part, but was persuaded by Robert Mitchum(her co-star in Secret Ceremony) not to work for director Henry Hathaway, a notorious bully.

Imagine, we could have had True Grit with John Wayne, Elvis Presley and Mia Farrow. Oh, well, the MAIN correct casting was intact: Duke.

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I believe (Elvis') retirement from the big screen,--as a leading man anyway--was voluntary. It was my sense that his modestly budgeted movies were still making money and that this could have continued, for a while anyway, if that's what he wanted. Instead, he returned to being a musician and singer first and foremost, and I think we're all better off on account of it.

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Probably so. Remember how Frank Sinatra "retired" in 1971 from EVERYTHING (movies, records, concerts) and then came back in 1973. But really only to sing. He was hard to get into any movies after 1970, despite many offers.

I suppose Cary Grant led the way, and guys like Elvis and Sinatra followed suit: they COULD work in movies, but they chose not to. Same with Dean Martin not a few years after the big hit "Airport." These men sensed they weren't really movie stars anymore, but they WERE Vegas stars. (Recall that it was Sinatra who first signed for Dirty Harry, but then backed out over an old hand injury from The Manchurian Candidate fight -- or so he said.)



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I recall Sinatra in an extremely emasculated and disappointing adaptation of Lawrence Sanders's pulpy, violent bestseller The First Deadly Sin and being shocked to see that Faye Dunaway was playing not the femme fatale from the book but the dying wife. It didn't help Sinatra's cache that allegedly the watering down of the film was mostly at his insistence.

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I recall Sinatra in an extremely emasculated and disappointing adaptation of Lawrence Sanders's pulpy, violent bestseller The First Deadly Sin and being shocked to see that Faye Dunaway was playing not the femme fatale from the book but the dying wife. It didn't help Sinatra's cache that allegedly the watering down of the film was mostly at his insistence.

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movieghoul: I shouldn't have implied that Sinatra made NO movies after his 1971 "retirement," but I think The First Deadly Sin (1980!) was the only theatrical feature.

Amusingly, Sinatra played a cop leading a modern day Untouchables after -- the MAFIA! -- in the TV film "Stakeout on Cherry Street"(1977). Frank's best friend and cop partner was played by...Milton Arbogast(Martin Balsam). And....Marty got killed AGAIN.

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It seemed like with a lot of these fading stars, they couldn't bring themselves to quit "cold turkey."

Sinatra's final movie "of a group" was the terrible "Dirty Dingus Magee" of 1970(with Sinatra wearing a hippie wig for the whole movie)...which helped foment that retirement. Then later came the intermittent things like Cherry Street, The First Deadly Sin...and a guest spot on "Magnum PI"! He played an ex-cop in a Hawaiian shirt.

There were other such "stretch outs."

James Stewart's final film as a leading man was "Fools Parade" of 1971(and he's an OLD ,ornery leading man -- a newly paroled convict in the 30's versus George Kennedy's bad guy.)

But Jimmy kept coming out of retirement to do short roles: The Shootist, Airport 77, The Big Sleep...and then a Lassie movie, and then an HBO movie with Bette Davis...

Dean Martin's last theatrical as a leading man, was "Mr. Ricco," a 1975 movie with a decided "racial" angle --- Black panthers and white racists and ..Dino?(As a criminal defense attorney.) But that didn't stop him from looking old in the Cannonball Run movies and guesting on some TV series.


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The stunner was James Cagney. He retired in 1961 after doing Billy Wilder's One Two Three(a decided A movie where he had the top billing)...but came back 20 years later in a Third Act short part (and top billing) in Ragtime. He was OK in Ragtime -- with some of his old bite on display -- but definitely elderly and immobile.

That was OK...but then Cagney did a TV movie that wasn't much of anything. "A movie too far."

The Guy Who Did it Right stands tall: Cary Grant. He was top billed and bankable in his final film "Walk Don't Run." And he cannily played not the romantic lead, but a matchmaker for a young couple. But the movie ends with Cary en route home dedicated to siring another child with his wife. Perfect.

Unlike Frank and Dino and Jimmy, there would be no weak later films for Cary; no cameos, no disguised supporting roles and DEFINITELY no TV movies.

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Briefly back on the topic:

"What man introduces himself only by his last name?"

i.e. "I'm a private investigator. My name is Arbogast."

Well, I've taken to watching the old TV series "Peter Gunn"(from that 1958-1962 cusp I like so much.) Its on Hulu. You can watch episodes back-to-back-to-back, they just keep rolling on one right after another if you don't hit the stop button.

Which means: watching, say, four in a row, I get the rhythm of the show:

Opening set-up scene(usually a murder), with Mancini's jazz score at its most minimal, every time (just a fast paced plucking of strings and a backbeat). Then the murder happens. BOOM.

To the credits -- Peter Gunn and cast over a kind of static -- accompanied by the ever-so famous, ever-so-cool Mancini theme(THIS launched his whole career.)

But the "Peter Gunn theme" over the credits is a compressed, quick version. The full-out long version comes at the END credits.

And watching back-to-back-back, the great full version of the Peter Gunn score as an episode ends segues to ...the beginning of the next episode and the opening murder and the low-key plucked strings and backbeat and....the Peter Gunn opening credits and...

...you can get hooked on these things. Like eating peanuts.

Amazingly these were half hour shows, so Gunn has 22 minutes(less commercials, none on Hulu) to solve the crime. Not that extraordinary -- the Law and Order cops usually only had half the show to find their suspect and turn him over to the lawyers for the trial half of the hour.

But I digress...

The buried lead: in episode after episode, Peter Gunn would introduce himself like this:

"I'm a private investigator. My name is Gunn."

Or just:

"My name is Gunn."

Which is really cool and offbeat, given that last name(I mean, he couldn't SPELL it for his clients.)

That said, on a few episodes, he said "My name is Peter Gunn." It seemed to alternate.

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Its weird: I last watched a bunch of Peter Gunn episodes on a rented DVD collection. In 2007. And I reported on some of them at the imdb Psycho chat room where some of you were.

So here, 11 years later, I get to look at the Peter Gunn shows again -- and they've got 11 more years on them. They are 60 years old rather than 50. But they look the same.

Some new thoughts:

The Mancini thriller scores to Experiment in Terror, Arabesque, and especially Charade can all be heard in Gunn episodes...notes, motifs, melodies. Its as if those big thriller movies were wide-screen movie versions of Peter Gunn. (And there WAS a wide screen version of Peter Gunn, directed by Blake Edwards, called only "Gunn" in 1967. I've never seen it. I'd like to. TV star Craig Stevens got to be a movie star just that once. His TV cast was re-cast.)

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About Craig Stevens as Gunn. He sounds and acts a LOT like Cary Grant, which rather gives flavor to the show, because Gunn is a two-fisted type who can beat the hell out of any thug...but he's got that Cary Grant suave. Alas, he's not EXACTLY like Cary Grant. Handsome, but not AS handsome. As some film writer said about handsome movie stars like Grant and Robert Redford: "The difference between a TV star and a movie star can be a matter of millimeters on the face."

I'm reminded that Gene Barry, the smooth-voiced handsome star of Burke's Law(ANOTHER crime show where the suave hero was called up to beat up bad guys regularly) was yet another variation on Cary Grant for TV -- but Craig Stevens really had Grant's voice down better.

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Lola Albright as Edie, Gunn's long-suffering gorgeous nightclub singer girlfriend. Long-suffering because Gunn often starts romance with her -- and then is called off on a case. In one great scene Albrecht's acting is superb as she steams angrily at Gunn for his needing to leave. Issue: the two are outside her waterfront nightclub. In a great little gag , she pushes Gunn a bit, he falls out of the frame, we hear a big splash. CUT TO: Edie inside, singing, as suave Peter Gunn enters the nightclub entirely soaked, head to toe(the actor must have taken a shower in his suit), and just heads out sheepishly.

That's love. But anyway, it fits the Gunn template -- this suave guy is tough enough to beat up all comers, so he lands a sexy girlfriend almost as a right.

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The violence is violent. Oh, little blood and no gore is shown, but practically every episode ends with the bad guys getting shot to death, sometimes by Gunn, more often by his regular-guy cop pal Lt. Jacoby(Herschel Bernardi, the voice of the Starkist tuna that was never good enough.) In one episode, Jacoby shoots a fleeing hood in the back.

And it was fun to re-visit the action climax of "The Family Affair," where, Burke's Law style, Gunn uncovers the killer and the two men fight out an extended mano-y-mano in a room filled with swords, spears, and swinging maces-- to the death(the bad guy gets impaled by falling backwards on a spear.) An ultra-violent fight to the death; those are always great fun.

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Psycho-relevant: Truffaut once wrote that American Hitchcock's films (in general , not just Psycho), were undervalued by the American public because they were fed a constant diet of crime and murder shows on TV -- all inferior to Hitchcock's work, but of its TYPE. Watching the back-to-back Gunns, I reminded that the Arbogast sequence in Psycho wasn't all that different than the "investigatory" part of a Gunn episode.

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But what's different of course, is that Arbogast doesn't finish his sequence duking it out with Mrs. Bates in a mano-y-womano-y-mano(ala James Bond and the man-dressed-like-a-woman at the beginning of Thunderball).

No, Mrs. Bates cleans Arbogast's clock and kills him "just like that." In a way, its Hitchcock's spoof ON Peter Gunn -- rather like when Indiana Jones forgoes a sword-vs-whip fight and chooses just to shoot his opponent.

And even the "investigatory part" of the Arbogast sequence(Arbo questioning Norman) is far more intense in the lighting of the faces, far more creative in the acting(Norman's stutter, Arbogast's relaxed menace) and the camera moves(under Norman's throat) than any Peter Gunn episode.

Its Ultra Peter Gunn.

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Final notes: Peter Gunn was on the air in 1960, the year of Psycho, and so the show and the movie look pretty similar(clothes, hair, cars.) I didn't see any, but I'm willing to bet a few Psycho support players did some Gunns. Vaughn Taylor maybe. Or John Anderson.

And the downtown Fairvale glimpsed only a bit in Psycho SEEMS to be the downtown in Gunn -- but Gunn was filmed at MGM studios. I can't tell if MGM had its own downtown city backlot -- or if the show got to film at Universal. Its a mystery.

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Jerry's summer movies as a solo:

1957 The Delicate Delinquent

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I don't know if this was the first movie without Dino, but I hear that Lewis co-wrote the script and showed it to Dino...Dino's role was a cop role. Dino said "a cop..hey?" and quit Lewis and Martin then and there. Being asked to play a cop was the last straw(other elements were building up to the break-up.) Darren McGavin played the cop.

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1959 Don't Give Up the Ship

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Sometime in the early sixties, 1963 maybe, this was re-released to my nabe. My father dutifully took me to it. As the doors closed and the film came on, the theater was filled with screaming kids and flying popcorn boxes. My father, who had served in the military, said: "This is the most frightening afternoon at the movies I have ever spent in my life." He swore off of going to kiddie matinees from that day on, always referencing "Don't Give Up the Ship" as the movie that did it(and hey, it was a MILITARY comedy, that's why he took me.)

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1960 The Bellboy

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Along with The Nutty Professor, this is Jerry Lewis' "Psycho doppelganger." With the Nutty Professor, the issue is plot. With "The Bellboy" the issue is "ambiance of era."

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1961 THe Ladies Man

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I saw this at the drive-in on a double-bill with Elvis in "Blue Hawaii." I was with some kids in a car driven by the dad of a friend. My parents weren't around.

At intermission, we all went to the snack bar. Coming back, I accidentally jumped into the backseat of the wrong car. Boy was I scared to see strangers looking at me and laughing at me(boy was I lucky I hadn't jumped in with some necking teenagers.) Thereafter followed a frenzied hunt for "the right car" and a lot of kid terror -- my parents weren't even there.

A childhood memory. Funny AND scary.

Seen later, The Ladies Man is "Jerry Lewis' Rear Window" -- given the big set with multiple boarding rooms for young actresses.

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I need to catch up on The Ladies Man as well. The voyeurism theme went way over my head as a kid.

However, I do remember the Psycho connection with Jerry playing Mother in the opening scene!

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I need to catch up on The Ladies Man as well. The voyeurism theme went way over my head as a kid.

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Its been awhile since I've seen the film, but I recall its central conceit: that only a "boy man" like Jerry could safely live among so many comely young beauties in the same house. He was presented almost as a eunuch-figure. But, as I recall, he landed one of the ladies.

As for the single-set, multiple-rooms gambit: Jerry by this time was dead set on being very SERIOUSLY taken as a director. With The Ladies Man and The Nutty Professor, he made his bids for greatness.

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However, I do remember the Psycho connection with Jerry playing Mother in the opening scene!

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Hey...that's right. Uncle Miltie had started the drag routine, but I expect that Psycho rather accelerated the homages.

I might add that there was always something a bit creepy about men dressed up as OLD ladies. The sexuality of young male drag queens was missing, instead we got old ladies with masculine strength. To Stab You, in one famous case.

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As for the single-set, multiple-rooms gambit: Jerry by this time was dead set on being very SERIOUSLY taken as a director.
I just got around to watching The Ladies Man (1961) for the first time... and can report that it struck me as really poorly directed. Yes, there's a fancy set but Lewis doesn't seem to have any good ideas about how to shoot it (Rear Window or Playtime this is not!). The camera's often *way* too far back, i.e., just to show off the big set, incredibly static, shots are almost always kind of cluttered and unmemorable. Camera's palpably in the wrong place most of the time. The editing is also bad in a very familiar way. As in bad home-computer efforts or student projects these days: shots don't match and often feel cut off (and not in any exciting way), transitions such as slow fades to black recur drawing attention to themselves but without any real logic. Even leaving the dopey script and performances unchanged, I think it's obvious that direction by Tashlin (whose Artists and Models with Martin and Lewis I like a lot) or Minnelli or even someone like Bye Bye Birdie's George Seaton would have *greatly* improved TLM.

I don't rate The Bellboy (1960) either, but it's still quite a bit better than TLM!

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As in bad home-computer efforts or student projects these days: shots don't match and often feel cut off (and not in any exciting way), transitions such as slow fades to black recur drawing attention to themselves but without any real logic.

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What's funny, swanstep, is that Jerry Lewis had some book he sold (as a textbook!) called "The Total Filmmaker" which was based on the concept that he was a helluva auteur ready to impart his secrets; I think USC hired him as a film school teacher. Certainly he knew how to succeed in Hollywood, but trying to pawn himself off as "the total filmmaker" always seemed like a bit of a joke.

Jerry also took credit for inventing "video playback" next to the camera. Maybe, maybe not. But you still have to make good movies doing it.

I can't say I'm much of a Jerry Lewis expert, let alone a Martin and Lewis expert. I can again recommend the fine bio "Dino" -- it lays out just how HUGE Martin and Lewis were a stars in the late 40s and 50s. Gigantic...boffo. Crowds everywhere and -- I was even told by a relative who saw them live -- MUCH funnier live than in their movies.

We all know the ironic playout -- Jerry went for (and got) the superstar solo career while Dean was "tossed away" -- and then DEAN got bigger. He had the right first movies -- The Young Lions(with Clift and Brando! Both of whom became PROTECTIVE FRIENDS of Dino), Some Came Running(Dean trade in Jerry for Frank -- much better pairing) and the great one, Rio Bravo.

And in the 60's, while Dino had a Number One/Top Ten variety show, Jerry kept getting variety shows ...cancelled on him.

Ouch.

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I didn't realize that it was Lewis who dumped Martin.... I find Jerry's main man-baby persona hard to take straight, and much prefer it cut with smooth guy Martin. I've never seen Nutty Professor all the way through but I guess it makes sense that it would be Lewis's best solo effort because there he gets to be his own smoothie/Martin partner figure in the character of Buddie Love.

p.s. Martin's Matt Helm movies were on TV a bit when I was a kid in the '70s. I enjoyed the first one, The Silencers a lot for what it was: silly, kinda sexy fun, like a more adult Get Smart. I gather that critics always hated these films (which made piles of money), and I suppose I might be horrified by sexism, general cheapness etc. if I saw them again now.

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I didn't realize that it was Lewis who dumped Martin....

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I will clarify. Martin is the one who "walked," but evidently only after two or three years of Lewis practically forcing him into walking: working on scripts and "delaying" Dino's entrance in the film until after Jerry; writing (or directing the writing) of scenes that favored himself.

The big dealbreaker though, was offering Dean a role as a uniformed cop. "A cop, eh?" Dino was reported to have said before throwing the script across the room.

So Dino walked(proudly, he said in later interviews.) But the world thought that Jerry WAS the act, and that Dino was just the singing straight man. Which he kinda was, but he had plenty of humor...interestingly, the pairings with Frank Sinatra brought it out in Dino.

Anyway, I've read that when Dino had his first Hollywood(or Vegas?) concert without Jerry -- ALL of Hollywood showed up. In support. Then came those good movies.

Though eventually, Dino stopped making REALLY good movies.

That great bio chalked it up to one serious film from a play: "Toys in the Attic." The critics savaged Dino and he swore from then on to do lightweight fare(though Airport had some heavy stuff in it, really.)

The writer of Dino took a "novelistic" approach to the Toys in the Attic fiasco, imagining himself in Dino's mind thinking something like "These critics, these monkeys with typewriters being enraged that a guy like Dino could actually ACT and do it as well as the high falutin' Broadway types." The writer indirectly attacked HIMSELF as a "monkey with a typewriter."

"Dino" opens magnificently with Dean's imaged inner thoughts at being stuck in the 1973 Western "Showdown" with Rock Hudson -- "What am I doin' stuck here wearin' a toy pistol, making $25,000 a week when I don't need it, 55 years old playin' cowboy with Rock Hudson!"

Its a more eloquent and profane passage than I just put up there.

For what its worth, for awhile there -- about 20 years ago --Scorsese was going to make a film of "Dino," with Part One about Jerry and Dean and Part Two about the Rat Pack. Offered as leads -- Tom Hanks as Dino(he can do it, I saw him do it on SNL); Travolta as Frank(a VERY heavy Frank?), Jim Carrey as Jerry Lewis, Hugh Grant as Peter Lawford, Chris Rock as Sammy, Adam Sandler as Joey Bishop. Well, some press guy IMAGINED them as the stars, it never really got anywhere beyond Hanks and Travolta saying they'd like to work with Scorsese. Soon Carrey was too big(and now he's too washed-up).

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I find Jerry's main man-baby persona hard to take straight, and much prefer it cut with smooth guy Martin.

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I can't speak to much knowledge of how they worked together, but they WERE one of the great teams, history says.

I recall in the same TV season that NBC showed Rear Window, they showed a Martin/Lewis called, I think "You're Never Too Young" with RAYMOND BURR as the villain, chasing Lewis and Martin at the end on a train or something. I watched it(I liked thrillers -- comedy or straight.) I found it to be -- in that NBC movie TV season -- rather a companion TO Rear Window. Same bad guy, and all.

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I've never seen Nutty Professor all the way through

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Now you have!

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but I guess it makes sense that it would be Lewis's best solo effort because there he gets to be his own smoothie/Martin partner figure in the character of Buddie Love.

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As the shrink said in Psycho: "Yes...and no!"

Folks took Buddy Love as Dino but insiders said, oh, no, Dino was far more mild-mannered and sweet in person, if distant. Alternatives for Dino are Sinatra(much closer -- he could be cool AND mean) and....ta da...the REAL Jerry Lewis, as if Lewis knew his own demons. Watch his 1972 interview with Dick Cavett on YouTube...you'll swear its Buddy Love talking.

But for all that, it can't be denied that Buddy Love is Dino-esque when done by Jerry.

For comedy prowess, you can't beat Jerry in his first Buddy Love scene ordering the bartender (Buddy Lester) to make a really weird cocktail with a rat-a-tat-tat-tat ordering style of all sorts of ingredients and measurements.

And then some bully picks on Buddy Love and Lewis punches him out with brutal authority and speed and it hits you -- ANY actor could play a Clint Eastwood/Chuck Bronson toughie if given the role to play and the bad guy to beat to a pulp; even Jerry Lewis.



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"You're Never Too Young" with RAYMOND BURR as the villain, chasing Lewis and Martin at the end on a train or something.....rather a companion TO Rear Window.
YNTY is widely available, e.g., on youtube here:
https://www.youtube.com/watch?v=DYUF2hqhP3w

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p.s. Martin's Matt Helm movies were on TV a bit when I was a kid in the '70s. I enjoyed the first one, The Silencers a lot for what it was: silly, kinda sexy fun, like a more adult Get Smart. I gather that critics always hated these films (which made piles of money), and I suppose I might be horrified by sexism, general cheapness etc. if I saw them again now.

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One of my little borderline dangerous dissertations has been about "the va va voom babes of the 60's." They were everywhere : on TV spy shows, on Batman, in movies. Curves were in and with the R rating not yet in place (much of the time), the sexual come-ons lacked nudity and sex.

The Matt Helm movies were a big place for this. For Dino the superspy had the "day job" of ...Playboy playmate photographer! Oh, they called it some other name, but it was clear.

Who can forget how the first movie had an early scene in which Dino -- er Matt -- is awakened by having his bed dump him into a big swimming pool with bubble bath and -- a lovely lady(clearly nude under the bubbles) called...Lovey Krave-Zit.

To Dino's credit, he played the scene as if nude, too, and showed off a middle-aged male torso that was fit if not muscled.

The Matt Helm series was, other than James Coburn in Our Man Flint, "America's answer to James Bond" -- and the two series made James Bond look like Shakespeare. America did much better with its TV series(The Man From UNCLE, I Spy) in taking spying seriously. Matt and Derek Flint were about being ridiculous and getting "girls."

Ahem. I have the entire four Matt Helm films -- a "Matt Helm Lounge Collection" given to me as a gift. They get successively worse -- Dino sued to get out of a fifth film.

Interesting casts, though. Stella Stevens in the first one; Ann-Margret and Karl Malden(!) in the second one(Karl's the baddie), and in the final one...sadly...Sharon Tate as a sexy, innocent, slightly bumbling junior agent.

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The first Matt Helms made big money(making Dino richer even as his TV show took off, too) and the last ones made enough that Dino had to sue to get out of making another.

They are fun in their own way, but very sexist. The 70's soon took care of THAT.

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OK, I just watched The Nutty Professor (1963) and was quite impressed. It's a much more complete directorial effort by Lewis than anything else I've seen. The jokes are better, more character-based, more structured; the performances are better across the board but starting with Lewis, this time the man-baby *is* a real character and isn't just schtick... Script is much more sophisticated than TLM's, e.g., this time the man-baby's parents are give some real comic business to transact, and they return most satisfyingly and hilariously at the end of the film. Lots of well-constructed shots, camera mostly feels like it's in the right place.... still no *great* visual ideas but a nearly mistake-free visual coherence and fluency shouldn't be sneezed at.

Ultimately, I'd say that TNP still plays well as a comedy today - indeed its spirit lives on on The Simpsons with its professor character as well as in numerous 'smooth-double' occasional plots - whereas TBB and TLM do not. Lewis made several fortunes from TNP, from its initial huge success and its various remakes. Well-deserved.

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1963 THe Nutty Professor

plus a slew of offseason movies as well during this period. Interesting, no summer movie in 1962. Possibly, like Hitchcock, he was slowing down while developing his 1963 masterpiece.

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With Hitchcock, the issue was that Hitch had not only never had a hit as big as Psycho, he had never had a film which delivered so much money PERSONALLY to him as Psycho. Not to mention its sudden worldwide notoriety. Not to mention how Lew Wasserman used "the moment of Psycho" to lure Hitchcock over to Universal Pictures for the rest of his career.

Screenwriter Joseph Stefano put it succinctly: "I think Psycho blew Hitchcock's mind." As it would yours, or mine.

Prior to the hit release of Psycho, Hitchcock always had one movie in pre-production even as one was in release. But as some Hitchcock colleague said "Psycho shut the machinery down." No movie was ready for pre-production -- he'd leaped into Psycho fast after "No Bail for the Judge"(with Audrey Hepburn and Laurence Harvey) fell apart.)

What this meant for Hitchcock was that half of 1960 and all of 1961 went without activity. I think it took until 1962 for Hitch to decide that maybe The Birds could match or surpass Psycho. But in any event, "his mind was blown."

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For a few years there, Alfred Hitchcock and Jerry Lewis were Paramount's two biggest filmmakers. Cecil B. DeMille had died and John Wayne kept switching studios. Hitch and Jerry no doubt watched each other and I suppose we can see both "Its Only Money" and "The Nutty Professor" as : Jerry does Hitch.

Hitch, on the other hand, didn't do Jerry, but David Thomson has offered two "wild card" players for Norman Bates : Elvis and Jerry Lewis. Elvis for his backcountry shy handsomess; Jerry for his "arrested boy man" state. I don't see either playing the role, but I must admit that Jerry often had his "shy boy men" winning over beautiful ladies(as in The Nutty Professor.) Its not too far from Anthony Perkins and Janet Leigh to Jerry Lewis and Stella Stevens.

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But names are funny things in movies and on television. We often know characters by their titles, especially on the small screen: Dr. Kildare, Lieutenant Tragg, Sergeant Carter, Capt. Kirk, Marshal Dillon, Capt. Binghamton, from McHale's Navy, Col. Hall from Sgt.

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I recall how Leonard Nimoy wrote a book called "I Am Not Spock." Yeah, right. Tell that to Anthony Perkins.

But TV -- with its in-your-home intimacy was practically on a CRUSADE to make the audience see the character, not the actor. That's why, with rare exceptions (Raymond Burr trading in Perry Mason for Ironside; Newhart's two hit shows), TV stars couldn't really escape their personas (honesty, Burr ended up STILL remembered as Perry Mason; Ironside took a back seat.)

I'm reminded of a compact, muy-mas-macho action hero actor: Robert Conrad. He made his name as frontier secret agent James West on "The Wild Wild West" in the 60s..and then spent the 70s and 80s "trying on new characters." One took: "Baa Baa Black Sheep" -- but I think James West took over in memory town.

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Also interesting is how on some TV shows characters were referred to by their full names. This was almost always the case with The Untouchables' Eliot Ness. Or Frank Nitti, for that matter.

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Elliot Ness was WASPy, but cool. Frank Nitti "cut to the chase": Italian-American bad guy. They were always talking about Nitti even when he wasn't on the screen. And "Nitti" was a Nifty Name.

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In the case of Paladin we only knew him as Paladin. His real name was never revealed.

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Why...yeah! Now that you mention it. "Wire Paladin." I think I found an "origin" episode as to why Paladin took that as his stage name. He met some old guy played by...Richard Boone! (Duel role.) Got told the Paladin legend. GREAT name for a TV hero.

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Now imagine calling Dr. Richard Kimble just the Fugitive.

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Well, sometimes knowing a name is pretty important.

I'm reminded of the end of Hombre(SPOILER SPOILER SPOILER) when a dying (and sympathetic) Mexican bandito asks some people the name of the Very Good Man he has just killed(but been fatally wounded by):

Mexican bandit: I would like....at least....to know his name.
Martin Balsam: He was called John Russell.

And the Mexican bandit dies content.

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Perry Mason observed the punctilios of names and naming. When a client was in trouble on Perry Mason the latter would say to Della "this is a case for Paul Drake"

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I had a significant other with whom I watched old Perry Mason episodes, back in the 80s. At the time, she was in her late 20s, but she was NUTS for William Hopper as Paul Drake. That woman is long gone, but anytime I see an old Perry Mason with Paul Drake...I smile. I mean, she had demonstrable sexual heat for the guy. Well, he was big and blonde and capable.

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I'm reminded that Paul Drake was plying his private eye trade in 1959 and 1960, the years of Psycho. We've opined on how the first 40 minutes of Psycho looks a LOT like a Perry episode; and here there's even a private eye to share. But Martin Balsam's Arbogast -- however suave, however crisp in the line readings, however handsome enough at the time -- wasn't quite at Paul Drake/Peter Gunn/Mike Hammer levels of macho, sex appeal or looks.

Though Phoenix is near Las Vegas...and I always figured Balsam's Arbogast for being quite the ladies man there.

Recall, by the way, that I noted as a young youth staring at a cast list and not knowing who played "the detective who gets killed," i wondered if it was John Gavin, Martin Balsam, John McIntire or Simon Oakland. In hindsight Oakland could have played the role most "on point." The getting-old McIntire's a stretch -- too unfair a fight with Mother(though SHE's old, too.)

But think about it -- John Gavin COULD have played Arbogast -- a younger, hipper, cooler Arbogast, rather like the older young guys on 77 Sunset Strip(and its companion Warner Brothers shows, Surfside Six, Hawiaan Eye, and Bourbon Street Beat.)

It would have taken a lot of suspension of disbelief, however, to agree that Mother could take tall strapping, Gavin...

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Yeah. Eliot Ness is way cool a name. Especially for a Millennial. For Boomers, not so cool. The first name, usually spelled, Elliot, felt a bit soft. Not wimpy, but not for the gridiron, either. Barry is another one like that. Something about the ending, with a "y" makes it feel like a diminutive, as in Bobby or Billy, thus borderline effeminate (I'm not saying it is, just the sound of it).

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Also a Hitchcock half-hour from the 5th season: Mother, My I Go Out For A Swim?, in which William Shatner played a mama's boy whose mama, Jessie Royce Landis, hot off her North By Northwest assignment, was literally jealous of his girlfriend and (presumed to be) wife to be, played by the lovely Gia Scala. It ended in a murder in which mother was a factor. Shatner's character's last name was Crane.

Worth a comment, I think. No Psycho house but a lovely waterfall instead.

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Also a Hitchcock half-hour from the 5th season: Mother, My I Go Out For A Swim?, in which William Shatner played a mama's boy whose mama, Jessie Royce Landis, hot off her North By Northwest assignment, was literally jealous of his girlfriend and (presumed to be) wife to be, played by the lovely Gia Scala. It ended in a murder in which mother was a factor. Shatner's character's last name was Crane.

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I'm always intrigued to remember that Hitchcock's yearly movies were surrounded by his TV shows, often starring his film supporting players (Landis, Martin Balsam, John Anderson, etc) and often starring "names" who never made it to a Hitchcock movie(Shatner, Steve McQueen, Walter Matthau, Charles Bronson.)

This was the "talent of its time." I'm not sure we have nearly as many "name" actors on TV and in support on movies nowadays. But I may just not be familiar with the current crop.

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Worth a comment, I think. No Psycho house but a lovely waterfall instead.

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I will here note that the unproduced Hitchcock screenplay "The First Frenzy"(Frenzy) of 1967 sported a psycho murder of a young woman near a waterfall in New York. Quite a scene on paper -- the woman consents to sexual love with her beau by the waterfall and as the camera pulls away from the coupling couple to take in the waterfall, Hitchcock slowly reveals that the man has stabbed the woman instead.

Never got made.

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Speaking of names, EC: I watched a mediocre but fun Hitchcock half-hour the other night, Craig's Will, from the 5th season (1959-60), and which starred a near unknown Dick Van Dyke in the lead. It was an early use of the Psycho house from before the movie was actually released (same year, though) and also featured a supporting character named Sam Loomis. Bingo! No John Gavin, though, nor psychos, or not as we understand them.

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Speaking of names, EC: I watched a mediocre but fun Hitchcock half-hour the other night, Craig's Will, from the 5th season (1959-60), and which starred a near unknown Dick Van Dyke in the lead. It was an early use of the Psycho house from before the movie was actually released (same year, though) and also featured a supporting character named Sam Loomis. Bingo! No John Gavin, though, nor psychos, or not as we understand them.

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What a find! I'm intrigued by all the elements of this one, telegonus:

ONE: The Bates House making a TV appearance BEFORE Psycho came out. I'm generally familiar with all of its uses on TV AFTER Psycho came out -- a few times on "Boris Karloff's Thriller," famously once on the Hitchcock Hour("An Unlocked Window") and in everything from The Virginian to The Hardy Boys Mysteries to Murder She Wrote.

Was the Bates House on its famous hill for this "Craig's Will" episode?

TWO: "Sam Loomis." A little "in-joke" to promote Hitchcock's coming-soon shocker? Or just a coincidence? Sam Loomis is a rather straightforward name.

THREE: Dick Van Dyke BEFORE The Dick Van Dyke Show(but just before.) DVD always seemed to me to have emerged as an instant star with his show(I believe the show's creator, Carl Reiner, wanted the lead but was considered not handsome enough and "too Jewish" by the suits.) But here is evidence that DVD was out there for awhile before he got famous. I recall that Johnny Carson was pretty well known as a game show host before he hit it big with The Tonight Show. I'm not familiar with DVD's early years.

So...Psycho house BEFORE Psycho; "Sam Loomis" and Early Dick Van Dyke. I don't care if the episode is mediocre, it sure sounds special.

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As I mentioned on the old IMDB boards, before he was a game show host, Johnny Carson had a local LA show called Carson's Cellar where he first tried out a lot of his comic schticks, including the old lady in drag. Note this woud have been in the late 50s and bearing in mind the resemblance between Carson and Perkins, it was truly shocking to see Carson come out in a black dress and grey wig ranting about something.

I'd like to think Hitchcock got a look at that.

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Note this woud have been in the late 50s and bearing in mind the resemblance between Carson and Perkins, it was truly shocking to see Carson come out in a black dress and grey wig ranting about something.

I'd like to think Hitchcock got a look at that.

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Its very possible. This has been discussed from time to time about Psycho:

In the book, the mother wears a "shapeless tight dress," heavy make-up(rouge and lipstick) and scarf that covers her head. No hair visible. This is the Norman Bates of the novel creating Mrs. Bates.

Hitchcock was evidently not only more "cinematic" in his vision for Mrs. Bates, but he decided that she needed a makeover -- not so much as a mother, but as a GRANDmother. Evidently some colleagues questioned him on that -- wouldn't Mother only be 40 or so with Perkins as her son?

They were wrong. Perkins played the role at 28, mom would likely be in her late forties or early fifties if she had lived, and well could have looked like Hitchcock made her look.

But still: the influence was likely much more Johnny Carson in granny drag(which he would also later wear on his talk show) than Bloch's creepy scarf-head woman with rouge. In the sixties, Carson wore that garb again, and so did heavyset Jonathan Winters(as "Maudie Frickert.") Hitchcock's Mrs. Bates was rather part of a trend.

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And this: I once read a now out of print book of articles on movies by former NY Times critic Bosley Crowther. The chapter on Psycho is separate from Crowther's TWO summer 1960 reviews.

Anyway, the one thing I remember from Crowther's Psycho chapter was a sentence kinda sorta like this:

"One has to wonder why Psycho terrified audiences so much and made them scream so hard. My vote would be for the murderous demon he created to haunt the film."

In other words -- Crowther thinks Mrs. Bates was the main terror attraction in Psycho. And in certain ways, she was -- that Old Lady exterior masking a monster of incredible physical strength and a psychotic absence of mercy.

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And Lila Crane...well, a consolation prize name for a consolation prize character. (And maybe it wasn't so in 1960, but the names "Marion" and especially "Lila" strike me as matronly names, almost old lady names, especially as affixed to the two babes who take them.)

About Marion Crane. In the book she is Mary Crane. Once Paramount legal staff learned that there was a real Mary Crane in Phoenix, these names(according to Stephen Rebello, author of Alfred Hitchcock and the Making of Psycho) were submitted to Hitchcock to choose from:

Marjorie Crane
Martha Crane
Mildred Crane
Muriel Crane
Maxine Crane
Margo Crane
Marlene Crane
Marion Crane

Hmm... a LOT of old names on that list.

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IN NBN, Leonard is Van Damm's lackey and who knows what else? It never occurred to me that it could be his last name.

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Mysterious Island is important to me because its one of a tiny handful of movies I can actually remember seeing that far back in my life as possible: I saw it in 1961 on release. (So very close in time to the Psycho release I don't remember, and in any case, LONG time ago in my memory now.) I suppose its the monsters and the music that made it memorable. Herrmann gives every monster a "musical cue" -- the crab music "scuttles"; the bee music "buzzes and hums."

Its the 1963 Jason and the Argonauts that is rather the masterpiece of the Herrmann/Harryhausen collaboration. Speaking at the Oscar event where Harryhausen was given his honorary Oscar, no less than Tom Hanks said "they say that Citizen Kane is the greatest movie ever made, but if you were a kid in the 60's, you know the greatest movie ever made is Jason and the Argonauts."

One reason for that is that "Jason" triples the effects complexity of Mysterious Island: we get a squad of sword-fighting skeletons, a seven-headed Hydra, and my nightmarish favorite: the giant bronze warrior statue Talos, who comes to life and tracks down the Argonaut crew like a giant terminator, determined only to kill each and every one of them, "its personal" -- I DID have nightmares over this.

In the mid/late sixties, the CBS Thursday Night Movie gave us "Mysterious Island" for Thanksiving night 1965, and "Jason and the Argonauts" the next year for Thanksgiving night 1966. This was around the time that "Psycho" got bounced by the CBS Friday Night movie and that "NXNW" premiered the next year on CBS. In short, if the 50s/60s cusp is when the Hitchcock-Herrmann-Harryhausen movies got their hit theatrical releases, it was in the 1965/66/67 time block that they picked up millions MORE in fans.

And we are still here today, some of us.

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Thanks for the reminder of Mysterious Island, telegonus. It opens indeed with a helluva storm -- big enough to blow a small balloon thousands of miles from the American South to the South Pacific -- and with a great Herrmann musical representation OF a storm.

I can hear it in my head, right now.

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Arbogast \ verb \ är-bō-gast \
: To unexpectedly murder a sympathetic character in the mid-point of a film, especially one acting on their own initiative as an investigator, or acting as an investigating agent for a third party.
ex. "After an epic cross-country odyssey, Dick Halloran was arbogasted by Jack Torrance only moments after entering the Overlook Hotel."

I would love to use all my tiles in a Scrabble game to form the word "arbogast" for a 50-point bonus.

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Arbogast \ verb \ är-bō-gast \
: To unexpectedly murder a sympathetic character in the mid-point of a film, especially one acting on their own initiative as an investigator, or acting as an investigating agent for a third party.
ex. "After an epic cross-country odyssey, Dick Halloran was arbogasted by Jack Torrance only moments after entering the Overlook Hotel."

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I like the verb, the definition...and the example.

I like to point out(as have others) that Psycho is rather the "seminal slasher" movie not just because people get slashed(and stabbed), but because the classic elements occur as if for the "historic first time ever":

The female victim who is killed because of her sexual attractiveness to the killer.

The male victim who is killed because he snoops around, investigates...and finds out too much to live(or simply because he runs into the killer BEFORE finding that out; ala Arbogast)

Its seminal stuff. Many a pretty female died in slasher movies after Psycho for sexual reasons. And many a snooping or investigating male character died too -- indeed often as the SECOND murder.

Among movies with characters who get "Arbogasted" are:

The Shining(but of course)
Mirage
Play Misty for Me
Alien
Misery
The Talented Mr. Ripley
Cape Fear(both versions, different characters)
The Stepfather(1987 original -- and there are TWO of them)
Basic Instinct

...and I'll bet that there are others. Noteable: all the Arbogasted victims I list in the movies above are men. I'm trying to think if a woman has ever been Arbogasted -- rather than being killed for her sexual attraction/repulsion qualities.

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I would love to use all my tiles in a Scrabble game to form the word "arbogast" for a 50-point bonus.

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That would be something to achieve!

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I believe Richard Farnsworth in Misery (1987) was arbogasted as well. Would the verb for being killed early on in a film after being set up as the hero/heroine be called getting "craned" or "leighed" or "marioned"?

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I believe Richard Farnsworth in Misery (1987) was arbogasted as well.

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Oh, I didn't name any names, but I put Misery on the list. Interestingly, in Stephen King's novel, the Farnsworth character was a young cop who showed up only once - and was massacred by Annie Wilkes in an ultra-gory fashion for about two pages(stabbed in the back with a speared fence post, his head then run over by a tractor by Annie.) Mainstream director Rob Reiner wimpily wanted none of that, and screenwriter William Goldman made the most of the change to "open up" the movie: converting the young cop into an old sheriff(Richard Farnsworth) who could be "cross-cut" searching for James Caan the entire movie(thereby relieving the claustrophobia), and quickly shotgunned by Annie(Kathy Bates). They gave old Farnworth a nice old wife(Frances Sternhagen) and replaced the gore of King's cop murder into the emotional pain of quickly killing off a nice old man with a nice old wife.

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Would the verb for being killed early on in a film after being set up as the hero/heroine be called getting "craned" or "leighed" or "marioned"?

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Ha. I see the dilemma. If Arbogast is a one name character in Hitchcock's movie, what to do? I think I'd go for "marioned." If we are matching the character names at their most "famous", the victims are Marion and Arbogast, not Crane and Arbogast. Or we have to say "Leighed" and "Balsamed."

Trivia and some musings: Leigh and Balsam have no scenes together in Psycho(how could they?), nor did they ever work together on another film (as Balsam and Perkins did, twice.) But evidently, Leigh and Balsam met socially SOMEWHERE and became good friends, I've read. During or after Psycho. I'm guessing that they realized eventually that there were "joined through eternity" as the first slasher movie victims(first female and first male respectively), and the most famous slasher movie victims...both killed by the most famous psycho, Mrs. Norman Bates.

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"Marioned" victims can be found in

Alien (Tom Skerritt, the ship's captain and top billed star)
Marathon Man (Roy Scheider)
Executive Action(a major action star goes early)
Deep Blue Sea(a top-billed major action star goes early)

And there is a victim who is BOTH "Marioned" AND "Arbogasted" in "LA Confidential." Top-billed star of the film, dies while investigating....

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Burgess Meredith in Magic

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Burgess Meredith in Magic

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Ah, yes. A movie from the novel by William Goldman, scripted by William Goldman -- directed by Richard Attenborough, I think. Goldman and Attenborough had collaborated on the all-all-ALL-star cast "A Bridge Too Far" in 1977, and wanted to do something more intimate in 1978.

Goldman's clear influence on Magic was a "combo package" of Dead of Night(and that Cliff Robertson Twilight Zone, and at least one Hitchcock Hour) about the ventriloquist taken over by his dummy, AND of Psycho -- which was Goldman's favorite Hitchcock film.

The Psycho connection came with "Magic" being set at an isolated country motel -- except this one was on the East Coast(north of NYC) and rendered in very realistic terms -- a real place, gritty color cinematography, soggy fall weather, etc.

I think, ultimately, that it was the realism and over-familiarity of "Magic" that dropped it down a notch in thriller memories for me. There are a coupla murders, but only of men, and pretty realistic ones.

A late-breaking Hitchcock veteran -- thin and menacing Ed Lauter -- played the owner of the motel, mismatched with Ann-Margret(older, dowdier than in Viva Las Vegas, but still sexy) as his wife. A-M's old flame Anthony Hopkins arrives for some R and R...with his dummy in tow. The cross-currents are of a kitchen sink nature -- will the loutish Lauter beat up Tony Hopkins for re-kindling the flame with - A-M? Will Lauter prove a victim in the "Postman Always Rings Twice" tradition?

Well, first there is the matter of the fact that the ventriloquist is going crazy -- and his dummy, Corky, really runs the show.

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And then Hopkins' agent -- Burgess Meredith done up elderly and bald like famous agent Swifty Lazar -- turns up at the motel in search of Hopkins and his dummy. They're on the run, Meredith wants them back in NYC -- and he fears for Hopkins' sanity. Meredith questions Hopkins, and pushes him hard on one key challenge: can Hopkins NOT speak in his dummy's voice for an entire five minutes? Can the dummy shut up for five minutes?

Its a very, very, very, long five minutes as Meredith keeps tab on his watch and one minute feels like ten. And Hopkins can't make it. The dummy HAS to talk. The dummy tells Hopkins to kill Meredith.

So Meredith IS Arbogast in "Magic," likely as inspired to Goldman..but he is something a bit different, too, using his tough-love compassion to force Hopkins to acknowledge that he is mentally ill, that the dummy has taken over.

When Meredith IS killed by Hopkins (but Corky commits the killing, being used as a club), another Hitchcock movie comes to mind: Torn Curtain. For Meredith takes a long time to die, comes back to life, and has to be brutally killed all over again.

The "Burgess Meredith sequence" in "Magic" is the best sequence in the movie, but there's a lot of movie left after it...and it ain't magic.

But a life lesson: Anthony Hopkins as a mad man in "Magic" had little impact at all. But after a long struggling career for the next 13 years, Hopkins FINALLY landed a mad man role for all time: Hannibal Lecter(after Nicholson, Hackman, and Duvall turned it down.) The moral: hang in there, you never know when your break will come.

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Truly, EC, as to Anthony Hopkins needing a break. He'd become a TV movie attraction, got some good parts on the small screen, but the status for those kinds of roles in even the best made for pictures often didn't last long, and they seldom led to big breaks outside the medium of television.

I don't know why this is but "serving the material", even doing it superbly, feels almost like a "passive art" even when the role is juicy. Hopkins had done nicely as Bruno Hauptmann in a Lindbergh kidnap movie made before Magic. Later, he appeared in many larger budgeted TV films, some quite prestigious, but still "small screen" in Hollywood (back in the day, maybe less so now) was nearly equal to "small time", even in the case of fine actors in high quality shows. I think of Richard Boone, David Janssen, the popular and talented Don Knotts; or even, later on, after the dust had settled, Dick Van Dyke.

A major exception: the career death, rebirth and transfiguration of Clint Eastwood between the end of Rawhide and the Dirty Harry series, when Sergio Leone turned him into a superstar of pasta oaters in Europe and then America. Clint showed that he was up to the job. Even so, even at the peak of his Man With No Name period there was an air of the lightweight about him, rather as there had been about Steve Reeves some years earlier. Reeves Came, Saw and Conquered the peplum genre, got out while the getting was good.

Needless to say, Anthony Hopkins was a different sort, and he wasn't doing badly on television prior to Silence Of The Lambs; but he was not, by himself, a star attraction so much as yet another gifted Brit with Shakespearean creds who impressed Yanks for a few years with his versatility and sense of style. As Lecter in Silence Of The Lambs he turned that style upside down and inside out and (if you'll excuse the expression) made a meal of it.

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Truly, EC, as to Anthony Hopkins needing a break. He'd become a TV movie attraction, got some good parts on the small screen, but the status for those kinds of roles in even the best made for pictures often didn't last long, and they seldom led to big breaks outside the medium of television.

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I think a nadir for Hopkins was when he was in the "smutty" TV mini-series "Hollywood Wives" with Suzanne Somers. Hopkins has said that he had a major drinking problem during those years, and -- even as he was clearly making bucks bigger than most of us -- I can see why.

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I don't know why this is but "serving the material", even doing it superbly, feels almost like a "passive art" even when the role is juicy.

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I'm reminded of the old adage as to why certain nondescript people become movie and TV stars: "Somebody has to be in these things."

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Hopkins had done nicely as Bruno Hauptmann in a Lindbergh kidnap movie made before Magic.

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I recall that, and one of the first mini-series, I think, QB VII. Its very weird. He was working all the time, making money, but just not making any sort of "legendary star mark."

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Later, he appeared in many larger budgeted TV films, some quite prestigious, but still "small screen" in Hollywood (back in the day, maybe less so now) was nearly equal to "small time", even in the case of fine actors in high quality shows. I think of Richard Boone, David Janssen, the popular and talented Don Knotts; or even, later on, after the dust had settled, Dick Van Dyke.

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I think the issue for Anthony Hopkins versus those guys is they all had hit TV shows that gave them a character in their past(Paladin, Barney Fife, The Fugitive, Rob Petrie) and a following. Hopkins just kept working without recognition.



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A major exception: the career death, rebirth and transfiguration of Clint Eastwood between the end of Rawhide and the Dirty Harry series, when Sergio Leone turned him into a superstar of pasta oaters in Europe and then America. Clint showed that he was up to the job. Even so, even at the peak of his Man With No Name period there was an air of the lightweight about him, rather as there had been about Steve Reeves some years earlier. Reeves Came, Saw and Conquered the peplum genre, got out while the getting was good.

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Eastwood as we have discussed before is a ridiculously unique story. That he is a major Hollywood director(with one monster hit, American Sniper) in his 80's is a function of his genes and health regimen as much as anything else. But he can get anything made. (Intriguingly, other than Sniper, I don't think his directed movies do THAT well. Sully, maybe.)

Eastwood had a three-part star-making lift. Outta nowhere, "the spaghetti Westerns"(first turned down by James Coburn), which made him marketable "despite himself." Then a brief period as a "fresh new star for hire in Hollywood" -- making big budget stuff like Where Eagles Dare and Paint Your Wagon while looking for Something More.

And that was phase three: Dirty Harry. It wasn't just the blockbuster box office and iconic character; Eastwood had found his way out of the Western dead end AND a way to make big hits "on the cheap." He never had to do something like "Paint Your Wagon" again.

The only other fairly big American star out of Europe was Chuck Bronson -- but he didn't last as long as Clint.

Meanwhile, Jack Nicholson toiled for years in American-International dreck BEFORE he hit big -- Easy Rider as support, Five Easy Pieces as the star: launched.

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Needless to say, Anthony Hopkins was a different sort, and he wasn't doing badly on television prior to Silence Of The Lambs; but he was not, by himself, a star attraction so much as yet another gifted Brit with Shakespearean creds who impressed Yanks for a few years with his versatility and sense of style. As Lecter in Silence Of The Lambs he turned that style upside down and inside out and (if you'll excuse the expression) made a meal of it.

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And how, telegonus! (Hi, by the way). I recall not being very impressed when Hopkins was announced as Lecter. I'd read the books and hoped for a bigger star (offered and rejected to: Nicholson, Hackman, Duvall.) And a LESSER star -- Brian Cox -- had done quite well with Lecter in "Manhunter" of 1986(based on Red Dragon...and forgotten due to a no-star cast, I think.)

But Hopkins got the role, the great script, the great movie, the great co-star(Jodie Foster) and...KA-BOOM.

Keep in mind that Hopkins held tight with the studio for Best Actor nom for Lecter, not Best Supporting. He bet right and won big. Hopkins is one of those Best Actor winners(unlike F. Murray Abraham and Adrian Brody) who parlayed HIS Oscar into top level stardom -- big roles in big movies, and he always felt like a true star after Silence.

Word: for a few years there into the 90's and 00's, Hopkins was reportedly being groomed to be the Next Old Sean Connery: the older star who mentors younger stars(Zorro, that one with Chris Rock, etc.) Now he's just solid gold an marketable (right up into HBO's Westworld.)

And he played Hannibal the Cannibal three times, total (even in a more successful remake of Manhunter, back to the source title: Red Dragon.)

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Interesting.

If you go to imdb and to the Psycho page, and click on the character name "Det. Milton Arbogast" -- you get these "memorable quotes":


Milton Arbogast : We're always quickest to doubt people who have a reputation for being honest.



Milton Arbogast : Now, if this Marion Crane were here... you wouldn't be hiding her would you?

Norman Bates : No.

Milton Arbogast : Not even if she paid you?

Norman Bates : No.

Milton Arbogast : All right, then lets say for the sake of argument that she needed your help and that she made you out to be a fool in helping her...

Norman Bates : Well, I'm not a fool. And I'm not capable of being fooled! Not even by a woman.



Milton Arbogast : Oh, someone has seen her, all right. Someone always sees a girl with $40,000.



Milton Arbogast : Well, if it doesn't jell, it isn't aspic, and this ain't jellin'!

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I guess that's a good grouping of his best quotes....

....and, you also get five photos from the movie(not from publicity), four of which show Martin Balsam in various modes of coolness, one of which only shows his hand(with Marion's photo) and one of which is:

The Famous One.

Arbogast at the top of the stairs his big head not quite filling the frame(as Hitchcock originally intended), but centering it. Mouth wide open, eyes wide open, NOSTRILS wide open in concentric circles that match his round bald head. And that big slash of blood down his forehead and cheek.

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I contend that the majestic horror of Psycho can be boiled down to three photos, one per character, one per actor:

Janet Leigh as Marion Crane: The female victim. Her dead face pressed to the floor of the bathroom of Cabin One, a single teardrop(or is it just shower water) under her eye, her mouth open to resemble a dead fish -- looking at us in death, but accusingly.

Martin Balsam as Arbogast: The male victim. As above.

Anthony Perkins as Norman Bates: The Killer of Both Victims. In the cell, leering in a grim, sadistic smile from under a lowered head, furrowed brows and darkly shadowed eye sockets. You can freeze this shot early on, or later(when Mother's skull face morphs onto Norman's) but any freeze frame you pick -- you have a classic shot of a human monster, finally revealed. The Man Who Killed Marion and Arbogast.

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Surnames were more often offered in the more formal times back then.

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And with that, my good friend Det. Milton Arbogast -- the unsung tragic hero of Psycho -- reaches 100 posts.

Perhaps there will be more.

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