Un grain de folie

This isn't quite in the class of The Court Jester, but it's better by far than most comedies. Kaye's character is one of those who gets caught up in intrigue without fully understanding just what's going on.

Spoilers follow: One really funny scene has Kaye's character hiding under a table, where those who are hunting him decide to sit down. One of them puts his hand on Kaye's knee, so he immediately puts his hand on that man's, so he'll think he's resting his hand on his own knee. Then the other (third) guy does the same thing with Kaye's other knee, and Kaye responds identically. Then, as the men talk, they start drumming their fingers on Kaye's knees, and he has to mimic their actions! Incredible work that probably involved a lot of retakes.

There's one wonderful running gag where Kaye and his girlfriend are trying to escape pursuit by cutting through a car caught in a traffic jam. Later, they do the same, and happen to crawl through the same car, with the same couple in it. This leads to a great last line toward the close of the picture.

You could do far worse than this one and still see a pretty good picture.

This, in my opinion, is one of Kaye's funniest performances, showcasing his comedic, singing, and dancing talents to the fullest. Not to be missed is the movie's finale, where Kaye finds himself on the stage of a London ballet as the leading dancer while simultaneously trying to escape from the baddies.

This film is very special to me because when I left home to live in London in 1958, I saw this on my first evening in the city and, as I walked to the cinema, I realised I had not had to ask anyone if I could go or tell anyone where I was going! It was a moment of pure joy - I was free! Other reviewers have carped at the automatic sports car scene but I love this for two reasons: it is very well-constructed, very brief and only a great clown could have carried off. Secondly, Kaye uses his ability as a mimic to produce an impeccable English accent, something which very few Americans can manage (e.g. Dick Van Dyke in Mary Poppins).

Danny Kaye plays a ventriloquist caught up in mayhem in Melvin Frank's Academy Award-nominated "Knock on Wood". Admittedly, some of the material (i.e., the gender relations) is a little outdated, but the humor is as lovable as ever. Kaye does a number of his verbal puns, there are some zany gags with a car, and then there's one of the funniest ballet scenes ever. It goes to show why Kaye was one of the best comedians ever (although he did also have a serious side, appearing as a Holocaust survivor in a TV movie about a Nazi rally in Skokie).

Not one of the best comedies of all time, but enjoyable enough for its short run.

Was Mai Zetterling a babe or what?

There is a scene in KNOCK ON WOOD in which Danny Kaye, trying to escape from the London police, finds himself backstage during an overly dramatic Russian ballet, and soon enough, is onstage, heavy-footedly trying to blend into the scene without being spotted by the police in the audience. The result is the single best spoof of ballet the live side of animation (with "Dance of the Hours" in FANTASIA being its cartoon match). I actually saw Danny Kaye do this routine onstage at the Palace Theatre in New York where, great though it was, the closeups provided by the movie camera make the film version even more hilarious. Kaye is one of the most underrated actors of all time. This movie shows his brilliance and range. His facial expressions are as brilliantly comic as Sid Caesar's, and the two of them leave the rest of the pack far behind. (Is Robin Williams a distant third?)

KNOCK ON WOOD is uneven. It's not the most perfectly realized Kaye film--that honor goes either to SECRET LIFE OF WALTER MITTY or COURT JESTER. The latter, being a musical, maybe is the best. COURT JESTER is overall funnier than KNOCK ON WOOD, but no scene in it comes close to the ballet spoof.