Le cabotin et son compère

It's hard to see why Hal Wallis and Paramount held this film for two years before releasing it. Maybe they wanted a few more straight out comedy hits for Martin and Lewis before giving this one to the public.

The story has a somewhat true background based on writer Sid Silvers's experience as just such a stooge for singer/vaudevillian Phil Baker. They however didn't stay a team for any length of time in the way Martin and Lewis did.

Martin has a singing/accordion act that is going nowhere until he hires a stooge with whom he can do shtick with from the audience. Of course The Stooge is Jerry Lewis.

The Stooge was an uncomfortable film for both of these guys. It exposes the cracks in their own relationship. What's ironic here is that because of television in the sixties, everyone knows just how funny Dean Martin could be on his own.

Dino's given a whole bunch of film standards to sing in this, mostly owned by Paramount. He recorded all of them and they wound up on his first long playing album from Capitol records along with That's Amore. I still have that album.

There's one new song written for the film, A Girl Named Mary and A Boy Named Bill. Dino sings it solo and with leading lady Polly Bergen. Of course they play Bill and Mary in the film. On the Capitol recording Dean ends it in a falsetto that puts him poaching in Frankie Valli territory. It's one of my favorites of his film songs.

Fans will no doubt recognize Frances Bavier, Aunt Bee herself, as Jerry's mom. And Jerry has some great moments with nervous Percy Helton and with slow burn short order cook Donald MacBride.

Hal Wallis was nervous for nothing. The Stooge is one of the best team efforts for Martin and Lewis.

It has its moments as a curious piece where one can't help but see this as a premonition of the future relationship between Dean and Jerry. All the laughs go to Jerry and the romance is looked after by Dean the man. I now know where Jim Carey got his facial expressions from.

"The Stooge" is a different Dean Martin and Jerry Lewis movie. Although billed a comedy, it is mostly a drama. One can understand Paramount's long delays in its release. Made in early 1951, it didn't get general distribution in the U.S. for almost two years. It was first released in the UK on Nov. 15, 1951, then had a U.S. premier on Dec. 31, 1952, with general release in February of 1953.

The studio's concern was over audience reaction to how Martin's Bill Miller treated Lewis's Ted Rogers. Indeed, what is comedy within the story on the stage probably won't seem funny at all to most audiences of the movie. The problem is that had this been a biopic it would be okay to show past relationships and treatments, whatever they were like. But, presenting it as a comedy itself - for the movie audience, it doesn't work at all.

This is actually a fairly good film as a drama that shows that relationship between the two characters. One can understand also why Jerry Lewis would like it as a favorite movie - no doubt from that dramatic side. While Ted is a funny and sometimes silly stooge from the audience that makes Bill's stage act work - as a comedy, Ted is not a dumbbell who doesn't understand the gist of the audience laughing at his antics. So, within the movie, he's into the act. Perhaps Paramount couldn't see, as some within the movie apparently can't either, that Ted was okay with that. Ted is basically shy and doesn't like or want to be in the limelight. But, he enjoys goofing around, singing and being silly with Bill, and getting audiences to laugh.

Bill does show concern for Ted in their travels and a couple of scenes. The problem with the film is that it portrays Bill's ego as one thing, but his actual relationship with Ted as another. People react to the bad ego and the selfishness and false pride that Bill shows. Dean Martin's acting job wasn't as natural as it usually was with Jerry, and that has a dampening effect on getting into the story.

So, with all of that - people who expect a typical Martin-Lewis comedy here will be let down. It's a hard stretch even to label it a comedy. But it's there. My guess is that audiences aren't prepared for this and because of that, Paramount considered that the movie wouldn't go over very well. And, they were probably right. Too bad they couldn't promote it as a dramatic comedy and publicize to that effect so that audiences might enjoy the film as Jerry Lewis - the actor, in real life, saw and appreciated it. But, then again, they might have thought that to be box office poison - a Martin-Lewis film as drama rather than comedy.

The film's opening written prologue on the screen doesn't resolve the problem, but intimates that some comedy and laughter are to follow. "New York, 1930. The story is about some names in the bright lights on the Great White Way... and a certain dim bulb."

One other comment is needed here - to distinguish this film from the real life and team of Martin and Lewis. At least one other reviewer thought this film was an accurate reflection of the Martin-Lewis relationship and partnership in real life. Don't believe that for a moment. Any number of sources are available that give their background. Jerry Lewis was in command and was the driving force for their comedy. He did what he did because he was so good at it and loved it. And, he knew how to milk it for all it was worth. It was Dean Martin who eventually tired of the partnership when they finally split. And, a big part of the reason was Jerry's iron-fist control of the plots, routines and films.

Also, in real life, Lewis was a prominent humanitarian. He began what became known as the Jerry Lewis Telethon on TV in 1966 to raise money to fight muscular dystrophy. By his last hosting of the annual telethon in 2009, he was credited with raising almost $2.5 billion for the MD charity.

Here are a couple favorite lines from the film.

Mary Turner Miller, "You'll keep on looking out for him, won't you, Leo?" Leo Lyman, "For ten percent, I'd look after my own mother-in-law."

Sam Robertson, "Is he bleeding, Ms. Regan?" Miss Regan, "No, I don't think so." Sam Robertson, "Oh, too bad."

Sam Robertson, "Miss Regan." Miss Regan, "Yes?" Sam Robertson, "Tell me the truth. Do you honestly think he's human?" Miss Regan, "I've heard people bet both ways."

Some good comments here on this site already, so I really don't want to go over old ground, it is a portent of sorts, and there is no getting away from the fact that its central themes of narcissism and selfishness are striking a chord with the duo as the film draws to it's marvellous finale.

The film was held back for release for two years and it's not hard to see why in the light of the other Martin & Lewis out and out comedy offerings prior to this one. You see this offering is a drama with a comedy heart. Of course it's full of the maniacal moments one has come to expect from this pair, but we are never in any doubt that the core of the film is serious stuff. We are set up a treat by the makers because we are heartily involved with the mirthful nature for the first three parts of the film, and it's this that is the films chief triumph because when the shift in tone occurs: it hits you like a sledgehammer.

Maximum impact is gained by a cunning slant masquerading as comedy, and this makes the film, in my opinion, the duo's most poignant and accomplished piece of work, it's certainly not close to being the funniest one has to say, but it's an essential and great piece of entertainment from two very special entertainers. 8/10

I haven't seen this movie in years, but a flick like this one just cannot be forgotten! I am in my early twenties and for more than half my life, I have been a film buff of movies old and new. Martin and Lewis are one of my all time favorite comedy duos, and at one time, I was renting movies here and there so that I could see all of the films they made together, and ones the lively, virtuous humanitarian Lewis did during his solo career.

When I saw this movie, it just blew me away. This film is the most dramatic film those boys ever made--and if you're thinking that that can't possibly be saying much since most of their movies were screwball comedies, I'm here to tell you you're mistaken. This movie is funny, but it's also very impassioned and heart-rendering, so you might do yourself a favor by keeping a box of tissues near you when viewing it.

Both Martin and Lewis are great in these dramatic and comedic roles as a comedy team that splits up because Lewis' character is under-appreciated and emotional mistreated by Martin's character. In a oddly coincidental way, this movie seemed to foreshadow the boys' split up in '56, but of course, in the movie, there is a happy ending. And while everyone knows that both Dean and Jerry went on to have successful solo careers and reunited as friends years later, I think that it would have been great to have seen them do a couple more films together that were as unforgettable as this one.