Ein Froschmann an der Angel

Why this Jerry Lewis comedy isn't better known or more widely available is a mystery since it's a classic and as consistently funny as anything he did. Here the slapstick verges on the surreal while its 'thriller' plot is virtually irrelevant. As well as starring, Jerry wrote, produced and directed and if it never amounts to anything more than a series of sketches they are, at least, very funny. It's certainly a movie ripe for rediscovery that, for now at least, will have to settle for ultimate cult status.

When i view this film i tend to look at it from the directors lens.In this respect it has many positives,more so then if viewed strictly on comedic pacing and storyline.The opening scene has Clamson reeling in Valentine while fishing and is told about some diamonds and where they are hidden.This is the basic plot and the comedy spins from this premise,as such it can be thin but the direction by Lewis is the high point when watching this movie.There is the opening scene which leads from the beach with Clamson and Valentine into this beautiful helicopter shot which rises and sweeps away from the beach while the credits run and comes right back to the beach and the continuation of the scene.There is a scene of Clamson being stopped by the police and an argument over the various violations and there numbers.Clamson sits in the car while this argument ensues and Lewis has him framed in the scene with his face in the background framed by a cops arm on his hip in the foreground.The direction of Lewis in this movie is the star. So when you watch this movie look at it from the view of Lewis and how he is blocking the scenes and compare it to other comedies you like.You will see the deft use of colors and sound,also his use of language to make his movies very layered beyond just the punchline of the scene.The Big Mouth is filled with these Lewis touches,all the comedy might not work but it's his attempt to experiment that must be applauded.So give this movie a second look and don't just look for the comedic payoff but look for the setup through the deft lensing by Lewis and i think you'll have a greater appreciation of this film.

A tepid, extremely mild, fairly tedious, slightly overlong comedy. The first half has some reasonably funny bits (like the one that takes place in a phone-booth), but in the second half things get pretty desperate. Jerry Lewis himself is appealing when he is playing the "straight man", but irritating when he appears disguised. And the direction has no comic timing whatsoever.

This time, Jerry Lewis plays reporter Gerald Clamson, who just happens to be a dead ringer for Sid Valentine, wanted by a crime syndicate. The only thing is, Valentine is supposed to be dead, so when the thugs see Clamson, you can imagine what sorts of things they do! Mistaken identity seems to be a frequent source of comedy (or drama; see "North by Northwest"). So even though "The Big Mouth" is nothing special, it's good for a few laughs. Most of the laughs come from what happens with the thugs when they see Clamson. But one also gets the feeling that Lewis was sort of losing his ability to come up with anything new after this. And now that we know what sort of a person he is in real life, that weakens it. But overall, this one's pretty funny.

I've lost track of all the times I've seen this one from the first 16mm print at a summer camp in 1970. But I always loved it, no matter how stupid and inane it really is. The plot holes and pure unbelievability of the film must be put aside just for the sillyness. A few things stand out. A cameo by Col. Harland Sanders of KFC, and a view of early Sea World in San Diego. When I worked there in 1985, I found all the places that the film was shot. And the best of all, is Charlie Callas' totally hilarious bit when he sees the appranently dead Sid Valentine (Lewis' other role) come to life again. He comes apart, as do his other friends, but with much more panache and skill. His stuttering, eye-popping gibberish is so funny you have to watch the same dialogue over and over again. It's a classic bit, and one that actually saves the film from being a total Lewis stinker. "That's him, thats him, that's aaaahh, that's im-POSSIBLE!"