Jerry Lewis' to Ansigter

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Jerry Lewis' to Ansigter lor). Musik: Walter Scharf. Dekor.: Sam Co- vedparten af begivenheden. En prægtig slut- mer og Robert Benson. Medv.: Jerry Lewis vignet af fyrværkeri, der i en sen aftentime (Professor Julius F. Kelp og Buddy Love), vækker den ene gæst efter den anden. Den Stella Stevens (Stella Purdy), Del Moore (Dr. Hamius R. Warfield), Kathleen Freeman gamle officer, der ikke har glemt sin fortid, (Millie Lemmon), Med Flory (Fodboldspil­ åbner sit vindue og forsøger med sin kikkert at ler), Norman Alden (Fodboldspiller), Ho­ lokalisere „kamphandlingerne". En vildfaren ward Morris (Far Kelp), Elvia Allman (Mor Kelp), Milton Frome (Dr. Leevee), Buddy raket finder vej ind gennem vinduet, officeren Lester (Bartender) samt Les Brown and His opgiver sit forehavende og trækker sig tilbage. Band of Renown. Kort efter oplyses vinduet voldsomt indefra. Dansk distrib.: Paramount. Dansk prem.: 26. Den gamle officer oplever det, han i feriens 6. 1964, Imperial. Længde: 2950 m (110 mi­ løb flere gange har aspireret til: at komme i nutter) . ildlinjen endnu en gang. Karakteristisk for Tatis film er deres løse Jerry Lewis1 udvikling har — modsat de fleste opbygning, handlingens udramatiske fremad- komikeres — fulgt en kvalitetsmæssig stadig skriden — hvis man i det hele taget kan tale stigende kurve. Det har taget Jerry Lewis 14 om handling. Snarere synes hans film sammen­ år og 22 film at nå til „The Nutty Professor“s sat af en række episoder, der har udgangs­ fuldkommenhed; men man kan vist med no­ punkt i hverdagens oversete bevægelser og små genlunde sikkerhed fastsætte hans karrieres vaneritualer, der hele tiden konfronteres med vendepunkt til 1955, da han indspillede sin den lidet konforme Hulot. Går man om bag første film med Frank Tashlin som instruktør, det komiske, finder man en temmelig ubarm­ „Artists and Models", og dermed indledte et hjertig afsløring af de menneskelige skævheder frugtbart samarbejde med en åndsbeslægtet og groteskerier, der — hvis man tolker Tati filmkunstner, der ifølge Lewis selv blev in­ rigtigt - især skyldes vanskeligheden ved at struktoren Jerry Lewis’ læremester. Så kom i drive kommunikationen ud over de rent ele­ 1957 bruddet med Dean Martin, selvfølgelig mentære relationer. Der er næppe nogen grund fulgt af pessimistiske spådomme - mon den til her at gå ind på de franske kritikere, der pivstemmede ansigtsvrider kunne klare sig ynder at udlægge Tatis komik metafysisk, men alene ? Man kan vist roligt sige, at „The uden at presse synspunktet for hårdt, kan man Nutty Professor" giver det endelige og helt nok fastholde ovenstående. Der kan henvises overbevisende svar herpå. Jerry Lewis klarer til banegårdens højttaler, det flanerende ægte­ sig i virkeligheden bedst alene, for han rum­ par m. m. Tati er i hvert fald en yderst følsom mer som alle store kunstnere flere personlig­ og diskret kritiker, der ikke glemmer det skær heder, ja, han kan i publikums øjne erstatte af poesi og uskyld, der også hviler over vore smørsangeren Dean Martin - og samtidig har­ kalamiteter. Han forholder sig så vidt muligt celere over ham på det groveste. upartisk, og hans distancerende holdning fin­ Forløberen for personlighedsspaltningen i des allerede i filmens titel: Les Vacances de „The Nutty Professor" findes i den første M. Hulot, hverken mere eller mindre. Det er film, Jerry Lewis selv skrev og iscenesatte, pudsigt at konstatere, at den fundamentale „The Bellboy" („Jerry som piccolo" 1960), mening med dette undslipper både i den dan­ hvor komikeren - foruden sin sædvanlige skik­ ske og den svenske titel. „Festlige feriedage", kelse - i et meget mærkeligt afsnit optræder men festlige for hvem ? Hulot måske. På svensk som sig selv, en hoven stjerne omsværmet af kom filmen til at hedde „Semestersabotoren", spytslikkere. Denne passage giver vink om, at titlen tager „de andres" parti mod Hulot. Den „The Nutty Professor" kan være autobiogra­ upartiske balanceakt tabes begge steder. fisk motiveret. Her spilles entertainerens for­ fængelighed, hensynsløshed og narcissisme igen Øystein Hjort. ud mod den forkuede og forfjamskede Jerry- figur, men splittelsen gøres til selve filmens hovedtema, og udformningen inspireres af „Dr. Jekyll og Mr. Hyde“-filmatiseringer sna­ rere end af Stevensons originaltekst. Professoren og Buddy Love er almengyldige karikaturer af to uundgåelige personligheds­ Jerry Lewis’ to ansigter myter i U. S. A.: den livsfjerne, pjokkede in­ tellektuelle og det selvsikre, virile succesmen­ THE NUTTY PROFESSOR („Jerry som den neske. Professoren er et taknemmeligt offer for skøre professor"). U. S. A., 1963. Prod.: Er­ nest D. Glucksman/Jerry Lewis Enterprise. In- ledertypen (rektoren), og han trædes under str.: Jerry Lewis. Manus.: Jerry Lewis og Bill fode af kvinderne, hvilket sker rent bogstave­ Richmond. Foto: Wallace Kelley (Technico- ligt i den betegnende præsentationsscene, hvor 31 Karns (Major Phipps), James Westerfield (po­ sekretæren maser ham ekstra flad under døren. litibetjenten) , Norman Alden (John Scream- Han plages konstant af sin fysiske utilstrække­ ing Eagle) Forest Lewis (Skaggs), Regis lighed - han er for lille, hans arme forstræk­ Toomey (Bagley), Tyler McVey (kunden Bush), Kathie Browne (Marcia). kes, han taler til den tomme luft uden sine Dansk distrib.: Universal-A/S Asa Filmud­ briller, han anbringes på en hylde af en atle­ lejning. Dansk prem.: 17. 7. 1964, Kinopa­ tisk elev. Buddy Love træder lige ud af pro­ læet. Længde: 3295 m (120 min.). fessorens intimeste drømme om en anden iden­ titet - nu latterliggøres rektoren, pigerne ty­ ranniseres, eleverne bankes. Ingen værdiger til Howard Hawks’ første film siden den pragt­ daglig den bogbelæssede professor et blik - fulde „Hatari!44 er en ren komedie, og den nu er han centrum for alles smigrende op­ må naturligvis forvirre dem, der ikke kan lide, mærksomhed. Men ønskedrømmen forvandles at Hawks følger med tiden og ikke laver crazy til mareridt, illusionen kan ikke opretholdes, comedies, som han gjorde det i trediverne. I en opvågnen og afsløring er uundgåelig. Og „Ude med snøren44 tillader han sig oven i kø­ så viser det sig, at drømmejeg’et har influeret bet at ironisere over sig selv og alludere til virkeligheds) eg'et, således at professoren for tidligere film. Som altid hos Hawks er histo­ eksempel kan slå sig løs i en lille privat rytme­ rien enkel. Her er det det gamle motiv pige dans til universitetsballet og til slut vinde efter dreng, der er ført up to date. Rock Hud­ Stella som sig selv, d. v. s. en harmonisk son er meget mandig at se på, men han er ik­ blanding af sine to stridende jeg’er. ke i det mindste interesseret i at leve op til „The Nutty Professor4* er umådelig sikker noget idealbillede af the American male. Pau­ og forfinet i anvendelsen af groteske gags. la Prentiss er til gengæld heller ikke den type, Jerry Lewis mestrer suverænt det forkortede der lader sig blæse omkuld. Hun er splittet udtryk, ellipsen, morsomst måske i balscenen, mellem sin djærve antiromantiske og yderst hvor kameraet pludselig kører tilbage og afslø­ praktiske optræden (det er hele tiden hende, rer, at professorens forlegenhed denne gang der viser manden til rette i det praktiske liv) skyldes, at han står med underarmen nede i og sin feminine trang til at blive kurtiseret. punchebowlen. Farverne er velanvendte, og Hawks placerer de to personer naturligt og Jerry Lewis har med professoren og popidolet uforceret over for hinanden og lader hændel­ skabt sin karrieres to vittigst varierede skik­ serne udfolde sig som resultat af personernes kelser, dræbende præcist tegnede i hvert træk følelser og tanker. - to nye sider af en komiker, der nu på høj­ Det komiske opstår ikke ud af personernes den af sin popularitet anslår helt personlige møde med situationer, de ikke kan magte, men temaer og giver dem helt personlige udtryk. omvendt er situationerne det direkte udtryk Den Jerry Lewis, der for ti år siden lavede for personerne. Vi skaber hændelserne, ikke filmparodier til hjemmebrug og ellers nøjedes omvendt. Det vil således ses, at komedien er med at grimassere ved Dean Martins side, meget hawks’sk. Det er menneskene, der står i står nu som Amerikas moderne farceskaber centrum, og hos den mandlige hovedperson par excellence. Morten Piil. bliver det erotiske spilfægteri efterhånden me­ get nært forbundet med spørgsmålet om per­ sonlig integritet. Den fummelfingrede ekspe­ dient vil ikke snyde sig til noget, selv om han udmærket ved, at det er reglen i vor verden. Og når Hawks alligevel lader det gå ham godt til sidst, lader ham få den stilling tilbage, som han er blevet fyret fra, er det ikke, fordi hans chef er noget særlig godt eller sentimen­ Pige efter mand talt menneske, men simpelthen fordi han kan se, at det vil være en klog forretningsdispo­ MAN S FAVORITE SPORT („Ude med snø­ sition. ren"), U.S.A. 1963. Prod.: Gibraltar-Laurel. A Howard Hawks Production. Instr.: Howard Hawks’ komedie er præget af hans afslap­ Hawks. Manus.: John Fenton Murray og Steve pede naturlighed, og han blander de mange McNeil efter Pat Franks novelle „The Giri elementer med overlegen sikkerhed. Han ta­ Who Almost Got Away“. Foto: Russell Har- lan (technicolor). Klipning: Stuart Gilmore. ger sig god tid, men holder hele tiden den Dekor.: Alexander Golitzen og Tambi Larsen. veltempererede lystspilstemning ved lige i en Musik: Henry Mancini. Medv.: Rock Hud­ blanding af raffinement og enkelhed. Spillet son (Roger Willoughby), Paula Prentiss (Abi- gail Page), Maria Perschy (Isolde „Easy“ er afspændt selvfølgeligt. Rock Hudson er me­ Mueller), John McGiver (William Cadwa- get diskret i sin indadvendte mandfolkeegois- lader), Charlene Holt (Tex Connors), Roscoe me, og Paula Prentiss i sin første hovedrolle 32.
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