Der Hofnarr

I have seen this movie literally hundreds of times but everytime it is on TV, I sit and watch it again. This is a sweet, funny, light-hearted movie that the entire family can watch--no gratuitous sex, no four-letter words--just fun. They don't make them like this anymore. I still laugh about the "pistol with the poison is in the flagon with the dragon, the chalice from the palace has the brew that is true". Danny Kaye is a genius, no one can utter tongue twisters like he can. This movie also features a very young and beautiful Angela Lansbury (for you "Murder, She Wrote" fans). Of course there is Basil Rathbone, who is of course, suave and dashing. What more could you ask of a movie? Watch this movie--you'll be glad you did.

If you're a DANNY KAYE fan, you can't afford to miss this one.

The highlight for me is the "vessel with the pestle" tongue-twisting routine that he carries off to perfection in his own inimitable way. That is, until it switches to "the flagon with the dragon", at which point everyone is rightfully confused.

So much plotting, I won't begin to describe this medieval romp. Just sit back and enjoy while Angela Lansbury (looking very radiant and beautiful) as Gwendolyn, Mildred Natwick as Griselda and Basil Rathbone as Ravenhurst (reprising his role as Sir Guy of Gisbourne in THE ADV. OF ROBIN HOOD) all try to play it straight as Kaye goes into one dizzy sequence after another.

The technicolor photography is gorgeous to behold, the sets are jaw-droppingly expensive and thoroughly believable, and the lilting songs performed in clever style by Kaye and others more than compensate for any weaknesses. The final duel between Rathbone and Kaye, involving a spell that transforms Kaye into a super-swashbuckler at the snap of a finger, is extremely well staged for both comedy and excitement. Kaye proves his natural athletic grace and ability while Rathbone makes us yearn for the days when he was dueling Errol Flynn at Nottingham castle.

All in all, a thorough delight from beginning to end. Glynis Johns is charming as Kaye's sweetheart but the real surprise is seeing a youthful Angela Lansbury looking like a storybook heroine with her flowing blond hair and blue eyes radiant in technicolor.

The whole family should enjoy this one!

If you can watch this movie without laughing, please seek immediate medical attention -- you may not have a pulse!

Much is made of Danny Kaye's outstanding performance in this film; it is clearly his best. Basil Rathbone, Angela Lansbury, and Mildred Natwick also do some of their finest work.

A word about the writing: this is not an adlib fest, a la Robin Williams. It is not a cornucopia of bodily functions, as in "Something about Mary." What it is, is a finely crafted example of comic writing that meshes like a fine Swiss watch. But you'll hardly notice as the cast and script click, because you'll be laughing too hard.

Note: "Princess Bride" aside, this movie also contains the finest swordplay ever captured on film.

Not much goes wrong with this movie, a delightful spoof of action-costumer movies. Danny Kaye is an absolute delight as the young rebel impersonating a jester in the court of an evil king (although in this film, his evil is blunted) but mistaken for a hit man. There have been few performers who could light up an entire scene by their mere presence, and Kaye is one of them. Who in this day could do what he did? He could sing, he could dance, and he could make you laugh so hard you could only take liquids the next day. And in this movie he gets a chance to do all three, plus do some swashbuckling! Also along for the ride are the elegant Glynis Johns, who plays his superior in the slight rebel force trying to return the throne to its rightful owner, and Basil Rathbone, who could play the clever, suave cad as good as anyone in movies. Film buffs may remember Rathbone's turn as the Sheriff of Nottingham in 1939's "The Adventures of Robin Hood," which starred the eminent Errol Flynn. In that movie, Rathbone has a memorable sword-fighting scene with Flynn; here, that scene is copied, with Kaye a hilarious stand-in for Errol. This movie is a true delight, a must-see for all ages.

Set in an era similar to Arthurian England, The Court Jester features a questionable king, Roderick I (Cecil Parker), who has taken over by killing off all of his opposition. He's working on building alliances between the most important, powerful and aristocratic families in his kingdom, including Sir Ravenhurst (Basil Rathbone); this will help build a trustworthy legitimizing base. His plans include trying to marry his off his daughter, Princess Gwendolyn (Angela Lansbury), to the gruff Sir Griswold (Robert Middleton)--a scheme she firmly opposes. However, Roderick's men overlooked an infant of the otherwise massacred competing royal family. The infant, whom many in the kingdom would believe to be the rightful heir to the throne, is being looked after by the "Black Fox" (Edward Ashley). The Black Fox leads a motley crew; they live in the forest and bear some similarity to Robin Hood and his merry men. One of the Black Fox's men is Hubert Hawkins (Danny Kaye). After running into a court jester named Giacomo (John Carradine), Hawkins and Maid Jean (Glynis Johns) end up in a scheme to infiltrate Roderick's castle and give the Black Fox's men access for a coup.

Although you cannot tell from my accounting of the premise above, The Court Jester is a comedy, and a very funny one at that. However, it does have a fairly complex plot in its early stages--all of the above is relayed within the first 10 – 15 minutes. This is a slow burner, but as such, the last hour at least is a very solid 10. It's unfortunate that a few minor flaws in the earlier sections of the film (including the complicated plot) caused me to rate The Court Jester as a 9 instead. The last half is so incredible that I wanted to give the film a 10 instead; perhaps on subsequent viewings (this is only the second time I've seen the film; the first was many years ago) the opening sections will work better for me.

As one of the earliest "VistaVision" films, The Court Jester looks gorgeous. It is full of lush, extremely saturated color. The few panoramic landscape shots are stunning and almost surreal. Most of the film is set within Roderick's castle, however, which is no less attractive visually. Producers/directors/writers Melvin Frank and Norman Panama and their crew certainly got the period setting right. The Court Jester is just as authentic feeling as Knights of the Round Table (1953) or The Black Knight (1954), both part of a popular trend of the era of Arthurian and related films, leading to this satire.

The cast is excellent, even if some members such severely underused, such as Carradine and to an extent Rathbone. Of course, The Court Jester is really a showcase for Kaye's considerable and diverse talents. Kaye was adept at quickly changing characters, as in The Secret Life of Walter Mitty (1947), and gets to put that skill to great use here, first in disguises, then as the jester, and most importantly, as a hypnotized pawn in a number of "games". Princess Gwendolyn's matron, Griselda (Mildred Natwick), finds cause to put Hawkins under a spell to make him fall in love with the Princess, making a finger snap the cue for his hypnotic transitions. This leads to a hilarious extended sequence where different characters are interacting with Hawkins for different covert ends--some fueled by mistaken identity--and continually snapping their fingers. Kaye as Hawkins as Giacomo has to keep toggling back and forth between two personalities, neither of which knows about the other. Meanwhile, complicated plans are being made which he is expected to follow. Even funnier is that despite himself, he basically manages to follow the plans.

It's a bit silly, but the humor in The Court Jester is all about silliness--it's appropriate for the titular role and more importantly, it's just plain funny. From the finger snapping sequence through the end of the film is one long build up with increasingly outrageous situations, until we finally arrive at pandemonium, complete with tens of acrobatic midgets battling a cadre of knights in a scene remarkably prescient of the anarchic screwball comedies of the latter half of the 1960s.

Kaye's vocal talents are also put to considerable use, both in songs and in rapid-fire, sometimes nonsensical alliterative rhymes. There are a number of very famous--and rightfully so--instances of the latter throughout the film including the "vessel with the pestle/chalice from the palace/flagon with the dragon/brew that is true" bit, which has oddly taken on a life of its own outside of the film, and which like all of the comedy throughout the film slowly builds up to a hilarious climax.

Kaye also does a lot of physical comedy, including my favorite bit--the super-fast knighting ceremony, and he even does a bit of mostly serious fencing with Rathbone. Watching The Court Jester can only make one lament that Kaye was not featured in even more films; he was extremely talented and very unique.

The Court Jester has influenced many later films, including such diverse works as Monty Python and the Holy Grail (1975) (and by extension Jabberwocky, 1977) and A Kid in King Arthur's Court (1995). But influence or not, this is a masterpiece despite its flaws, and should be viewed at least once by any cinephile worth his or her weight in purple pimpernels.