Jerry Lewis
Jerry Lewis | |
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Born | Joseph Levitch[a] March 16, 1926 Newark, New Jersey, U.S. |
Died | August 20, 2017 Las Vegas, Nevada, U.S. | (aged 91)
Other names |
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Occupations |
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Years active | 1931–2017[1] |
Spouses |
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Children | 8, including Gary |
Comedy career | |
Medium |
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Genres |
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Notable works and roles | Prof. Julius F. Kelp and Buddy Love in The Nutty Professor |
Signature | |
Jerry Lewis (born Joseph Levitch;[a] March 16, 1926 – August 20, 2017) was an American comedian, actor, singer and humanitarian who was famously nicknamed "The King of Comedy", with a career lasting over eight decades. He appeared in more than 59 motion pictures, including the first sixteen films with his partner, singer Dean Martin, during their act as Martin and Lewis.
Lewis transitioned into a solo leading star, acting in Cinderfella (1960), The Bellboy (1960), The Errand Boy (1961), The Ladies Man (1961), It's Only Money (1962), The Nutty Professor (1963), Who's Minding the Store? (1963), The Patsy (1964), The Disorderly Orderly (1964) and The Family Jewels (1965). He portrayed Jerry Langford in Martin Scorsese's drama The King of Comedy (1982) earning a BAFTA Award for Best Supporting Actor nomination. He was also an early and prominent user of video assist, while as film director, producer and screenwriter.[3]
For television, Lewis hosted the variety and talk program The Jerry Lewis Show from 1963 to 1984 and forty-five Labor Day telecasts of The Jerry Lewis Telethon, benefiting the Muscular Dystrophy Association (MDA) from 1966 to 2010. His work won him several accolades, including two stars on the Walk of Fame. Lewis performed in concert stages, nightclubs and music recordings.
Early life
Lewis was born on March 16, 1926, in
In his teenage years, Lewis was known for pulling pranks in his neighborhood, including sneaking into kitchens to steal fried chicken and pies. He was expelled from
Career
1945–1956: Teaming with Dean Martin
In 1945, Lewis was 19 when he met 27-year-old singer
In 1950, they signed with NBC to be one of a series of weekly rotating hosts of
1957–1959: Solo performances and live shows
After ending his partnership with Martin in 1956, Lewis and his wife Patty took a vacation in Las Vegas to consider the direction of his career. He felt his life was in a crisis state: "I was unable to put one foot in front of the other with any confidence. I was completely unnerved to be alone."[24] While there, he received an urgent request from his friend Sid Luft, who was Judy Garland's husband and manager, saying that she couldn't perform that night in Las Vegas because of strep throat,[24] and asking Lewis to fill in. Lewis had not sung alone on stage since he was five years old, twenty-five years before. He delivered jokes and clowned with the audience while Garland sat off-stage, watching. He then sang a rendition of a song he had learned as a child, "Rock-a-Bye Your Baby with a Dixie Melody" along with "Come Rain or Come Shine". Lewis recalled, "When I was done, the place exploded. I walked off the stage knowing I could make it on my own."[24] At his wife's urging, Lewis used his own money to record the songs on a single.[31] Decca Records heard it, liked it and insisted he record an album for them.[32] The single of "Rock-a-Bye Your Baby" went to No. 10 and the album Jerry Lewis Just Sings went to No. 3 on the Billboard charts, staying near the top for four months and selling a million and a half copies.[24][33]
With the success of that album, he recorded additional albums More Jerry Lewis (an EP of songs from this release was released as Somebody Loves Me), and Jerry Lewis Sings Big Songs for Little People (later reissued with fewer tracks as Jerry Lewis Sings for Children). Non-album singles were released, and
Live performances became a staple of Lewis's career and over the years he performed at casinos, theaters, and state fairs. In February 1957, Lewis followed Garland at the
Lewis remained at Paramount and started with his first solo film The Delicate Delinquent (1957) then starred in The Sad Sack (1957). Frank Tashlin, whose background as a Looney Tunes cartoon director suited Lewis's brand of humor, came on board. The pair did new films, first with Rock-A-Bye Baby (1958) and then The Geisha Boy (1958). Billy Wilder asked Lewis to play the lead role of an uptight jazz musician, who winds up on the run from a mob in Some Like It Hot, but turned it down.[citation needed] Lewis then appeared in Don't Give Up The Ship (1959) and cameoed in Li'l Abner (1959). A 1959 contract between Paramount and Jerry Lewis Productions specified a payment of $10 million plus 60% of the profits for 14 films over seven years.[35] This made Lewis the highest paid individual Hollywood talent to date and was unprecedented in that he had unlimited creative control, including final cut and the return of film rights after 30 years. Lewis's clout and box office were so strong[36] that Barney Balaban, head of production at Paramount, told the press, "If Jerry wants to burn down the studio I'll give him the match!"[37]
1960–1965: Paramount films
Lewis had finished his film contract with Wallis with Visit to a Small Planet (1960) and wrapped up production on his own film Cinderfella (1960), directed by Tashlin and was postponed for a Christmas 1960 release. Paramount Pictures, needing a quickie movie for its summer 1960 schedule, held Lewis to his contract to produce one.[38] As a result, he made his debut as film director of The Bellboy (1960), which he also starred in.[citation needed] Using the Fontainebleau Hotel in Miami as his setting—on a small budget, with a very tight shooting schedule—Lewis shot the film during the day and performed at the hotel in the evenings.[38] Bill Richmond collaborated with him on many of the sight gags. Lewis later revealed that Paramount was not happy about financing a "silent movie" and withdrew backing. Lewis used his own funds to cover the movie's $950,000 budget. Meanwhile, he directed an unsold pilot for Permanent Waves.[citation needed]
Lewis continued to direct more films that he had co-written with Richmond, including
In 1963, he had a cameo in
Lewis left Paramount in 1966, after 17 years, as the studio was undergoing a corporate shakeup, with the industrial conglomerate
1966–1980
Lewis continued to make television appearances:
He directed the
Lewis directed and appeared in
His television appearances during this period included Good Morning America, The Dick Cavett Show, NBC Follies, Celebrity Sportsman, Cher, Dinah!, Tony Orlando and Dawn. Lewis continued to appear annually on his telethons on behalf of the Muscular Dystrophy Association. One of the most memorable was the 1976 telethon,[48] broadcast from Las Vegas. On the unrehearsed broadcast, guest Frank Sinatra offered to bring an old friend on stage. From the wings came Dean Martin, as the audience cheered. Lewis was stunned by the surprise, but he embraced Martin and they exchanged jokes for several minutes.[49]
Hellzapoppin
In 1976, producer
"Lewis and Miss Redgrave had been having a much publicized feud," according to an account in the Pittsburgh Press. "He would neither rehearse nor perform any songs with her, reports said."[51] The backstage chaos extended to several sudden cast changes during the Boston run. On January 18, 1977, NBC executives flew to Boston to see the show, and their reactions were so negative that Cohen closed the show immediately and canceled both the Broadway engagement and the TV spectacular, forfeiting the million-dollar payment from NBC. "It's not ready for Broadway and cannot be made so in three remaining weeks before the opening," Cohen said. Cohen's spokesman subsequently announced that the stars would be replaced: "Recasting means recasting, and that's it."[52]
1979–2018: Later roles and final work
Lewis guest-hosted as ringmaster of the annual CBS special
Lewis hosted a third and final version of The Jerry Lewis Show, this time as a syndicated talk show for Metromedia, which was not continued beyond the scheduled five shows, directed an episode of
Lewis made his Broadway debut in a revival of Damn Yankees, as a replacement cast member playing the devil[55] and was reportedly paid the highest sum in Broadway history [56] for performing in both the musical's national and London runs but due to attending Martin's funeral, he missed only three shows in more than four years.[citation needed] Lewis appeared on Inside the Actors Studio in 1996, the 12th annual American Comedy Awards in 1998, The Martin Short Show, The Simpsons, Late Night with Conan O'Brien, Law & Order: Special Victims Unit, the song "Time After Time" with Deana Martin on her album Memories Are Made of This, a sequel to The Nutty Professor (2008),[citation needed] the 81st Academy Awards, Till Luck Do Us Part 2 (2013), The Talk, The Tonight Show Starring Jimmy Fallon, The Trust (2016), his final film Max Rose (2016)[57] and Comedians in Cars Getting Coffee.[58][59]
Style and reception
Comedic style
Lewis "single-handedly created a style of humor that was half anarchy, half excruciation. Even comics who never took a pratfall in their careers owe something to the self-deprecation Jerry introduced into American show business."[60]
Jerry Lewis was the most profoundly creative comedian of his generation and arguably one of the two or three most influential comedians born anywhere in this century.
The King of Comedy, 1996
His comedy style was physically uninhibited, expressive, and potentially volatile. He was known especially for his distinctive voice, facial expressions, pratfalls, and physical stunts. His improvisations and ad-libbing, especially in nightclubs and early television were revolutionary among performers. It was "marked by a raw, edgy energy that would distinguish him within the comedy landscape".[61] Will Sloan, of Flavorwire wrote, "In the late '40s and early '50s, nobody had ever seen a comedian as wild as Jerry Lewis."[62] Placed in the context of the conservative era, his antics were radical and liberating, paving the way for future comedians Steve Martin, Richard Pryor, Andy Kaufman, Paul Reubens, and Jim Carrey. Carrey wrote: "Through his comedy, Jerry would stretch the boundaries of reality so far that it was an act of anarchy ... I learned from Jerry",[63] and "I am because he was".[64]
Acting the bumbling everyman, Lewis used tightly choreographed, sophisticated sight gags, physical routines, verbal double-talk and malapropisms. "You cannot help but notice Lewis's incredible sense of control in regards to performing—they may have looked at times like the ravings of a madman but his best work had a genuine grace and finesse behind it that would put most comedic performers of any era to shame."[65] They are "choreographed as exactly as any ballet, each movement and gesture coming on natural beats and conforming to the overall rhythmic form which is headed to a spectacular finale: absolute catastrophe."[66]
Although Lewis made it no secret that he was Jewish, he was criticized for hiding his Jewish heritage. In several of his films—both with Martin and solo—Lewis's Jewish identity is hinted at in passing, and was never made a defining characteristic of his onscreen persona. Aside from the 1959 television movie The Jazz Singer and the unreleased 1972 film The Day the Clown Cried, Lewis never appeared in a film or film role that had any ties to his Jewish heritage.[4] When asked about this lack of Jewish portrayal in a 1984 interview, Lewis stated, "I never hid it, but I wouldn't announce it and I wouldn't exploit it. Plus the fact it had no room in the visual direction I was taking in my work."[5]
Lewis's physical movements in films received some criticism because he was perceived as imitating or mocking those with a physical disability.[67] Through the years, the disability that has been attached to his comedic persona has not been physical, but mental. Neuroticism and schizophrenia have been a part of Lewis's persona since his partnership with Dean Martin; however, it was in his solo career that these disabilities became important to the plots of his films and the characters. In films such as The Ladies Man (1961), The Disorderly Orderly (1964), The Patsy (1964) and Cracking Up (1983), there is either neuroticism, schizophrenia, or both that drive the plot. Lewis was able to explore and dissect the psychological side of his persona, which provided a depth to the character and the films that was not present in his previous efforts.[68]
Directorial technique
During the 1960 production of The Bellboy, Lewis pioneered the technique of using video cameras and multiple closed circuit monitors,[69] which allowed him to review his performance instantly. This was necessary since he was acting as well as directing. His techniques and methods of filmmaking, documented in his book and his USC class, enabled him to complete most of his films on time and under budget since reshoots could take place immediately instead of waiting for the dailies.[citation needed]
Man in Motion,[70] a featurette for Three on a Couch, features the video system, named "Jerry's Noisy Toy"[71] and shows Lewis receiving the Golden Light Technical Achievement award for its development. Lewis stated he worked with the head of Sony to produce the prototype. While he initiated its practice and use, and was instrumental in its development, he did not hold a patent.[72][73] This practice is now commonplace in filmmaking. Starting in 1967, Lewis taught a film directing class at the University of Southern California in Los Angeles for a number of years. His students included George Lucas, whose friend Steven Spielberg sometimes sat in on classes.[74]
Lewis screened Spielberg's early film Amblin' and told his students, "That's what filmmaking is all about."[75] The class covered all topics related to filmmaking, including pre and post production, marketing and distribution and filming comedy with rhythm and timing.[76] His 1971 book The Total Film Maker, was based on 480 hours of his class lectures.[77] Lewis also traveled to medical schools for seminars on laughter and healing with Clifford Kuhn and also did corporate and college lectures, motivational speaking and promoted the pain-treatment company Medtronic.[citation needed]
Exposure in France
“Americans are the people who, when the French decided that Jerry Lewis was a genius, never stopped to ask why, but immediately branded France a nation of idiots.” —Biographer Jeanine Basinger in Silent Stars (1999).[78]
While Lewis was popular in France for his duo films with Dean Martin and his solo comedy films, his reputation and stature increased after the Paramount contract, when he began to exert total control over all aspects of his films. His involvement in directing, writing, editing and art direction coincided with the rise of auteur theory in French intellectual film criticism and the French New Wave movement. He earned consistent praise from French critics in the influential magazines Cahiers du Cinéma and Positif, where he was hailed as an ingenious auteur.[citation needed]
His singular mise-en-scène, and skill behind the camera, were aligned with Howard Hawks, Alfred Hitchcock and Satyajit Ray. Appreciated too, was the complexity of his also being in front of the camera. The new French criticism viewed cinema as an art form unto itself, and comedy as part of this art. Lewis is then fitted into a historical context and seen as not only worthy of critique, but as an innovator and satirist of his time.[79] Jean-Pierre Coursodon states in a 1975 Film Comment article, "The merit of the French critics, auteurist excesses notwithstanding, was their willingness to look at what Lewis was doing as a filmmaker for what it was, rather than with some preconception of what film comedy should be."[80]
Not yet curricula at universities or art schools, film studies and film theory were avant-garde in early 1960s America. Mainstream movie reviewers such as Pauline Kael, were dismissive of auteur theory, and others, seeing only absurdist comedy, criticized Lewis for his ambition and "castigated him for his self-indulgence" and egotism. Despite this criticism often being held by American film critics, admiration for Lewis and his comedy continued to grow in France.[81]
Appreciation of Lewis became a misunderstood stereotype about "the French," and it was often the object of jokes in American pop culture.[82] "That Americans can't see Jerry Lewis's genius is bewildering," says N. T. Binh, a French film magazine critic. Such bewilderment was the basis of the book Why the French Love Jerry Lewis.[83] In response to the lingering perception that French audiences adored him, Lewis stated in interviews he was more popular in Germany, Japan and Australia.
Acting credits and accolades
Lewis received numerous honorary awards including the
Charity and activism
After meeting with Paul Cohen, founder of the Muscular Dystrophy Association (MDA), Lewis and Martin made their first appeal in early December 1951 on the finale of The Colgate Comedy Hour, followed by another in 1952. Lewis fought Rocky Marciano in a boxing bout for MDA's fund drive in 1954.[84] Then in 1956, Martin and Lewis hosted their first MDA telethon from June 29 to June 30 of that year. After being named national chairman in 1956 and helming two
It was the first to: raise over $1 million, in 1966;[87] be shown entirely in color, in 1967; become a networked telethon, in 1968; go coast-to-coast, in 1970; be seen outside the continental U.S., in 1972. It: raised the largest sum ever in a single event for humanitarian purposes, in 1974; had the greatest amount ever pledged to a televised charitable event, in 1980 (from the Guinness Book of World Records); was the first to be seen by 100 million people, in 1985; celebrated its 25th anniversary, in 1990; saw its highest pledge in history, in 1992; and was the first seen worldwide via internet simulcast, in 1998.[citation needed] By 1990, societal views of disabled individuals and the telethon format had shifted. Lewis's and the telethon's methods were criticized by disabled-rights activists who believed the show was "designed to evoke pity rather than empower the disabled".[88] The activists said the telethon perpetuated prejudices and stereotypes, that Lewis treated those he claimed to be helping with little respect, and that he used offensive language when describing them.[89] Lewis rebutted the criticism and defended his methods saying, "If you don't tug at their heartstrings, then you're on the air for nothing."[90] The activist protests represented a very small minority of countless MDA patients and clients who had directly benefitted from Lewis's MDA fundraising.[citation needed] During Lewis's lifetime, MDA-funded scientists discovered the causes of most of the diseases in the Muscular Dystrophy Association's program, developing treatments, therapies and standards of care that have allowed many people living with these diseases to live longer and grow stronger.[91] Over 200 research and treatment facilities were built with donations raised by the Jerry Lewis telethons.[citation needed] For significant and lasting contributions to the health and welfare of humanity,[citation needed] Lewis received a Nobel Peace Prize nomination, a Lifetime Achievement Award from the American Medical Association, a Governors Award and the Jean Hersholt Humanitarian Award.[92]
Lewis hosted his final telethon in 2010. On August 3, 2011, MDA announced that Lewis would no longer host its telethons[93] and that he was no longer associated with MDA. The 2011 telethon (which originally was to be Lewis's 46th and final show with MDA) featured a tribute to Lewis. In May 2015, MDA said it was discontinuing its telethon in view of "the new realities of television viewing and philanthropic giving".[94] Lewis's goal of raising "one dollar more" than the previous year's amount has been more than met almost every year, thanks to the generosity and compassion of the American public. Through his work on the telethon, Lewis has effectively led the battle to increase life expectancy and improve the quality of life for children and adults suffering from neuromuscular diseases. In early 2016, at MDA's brand relaunch event at Carnegie Hall in New York City, Lewis broke a five-year silence during a special taped message for the organization on its website, marking his first (and as it turned out, his final) appearance in support of MDA since his final telethon in 2010 and the end of his tenure as national chairman in 2011.[95] MDA's website states, "Jerry's love, passion and brilliance are woven throughout this organization, which he helped build from the ground up, courted sponsors for MDA, appeared at openings of MDA care and research centers, addressed meetings of civic organizations, volunteers and the MDA Board of Directors, successfully lobbied Congress for federal neuromuscular disease research funds, made countless phone calls and visits to families served by MDA.[citation needed]
Personal life
Relationships and children
Lewis wed Patti Palmer (née Esther Grace Calonico; 1921–2021), a singer with Ted Fio Rito, on October 3, 1944.[6][96][97][98][99][100] They had six sons together; five biological: Gary (born 1945),[3][101][102][103][104] Scott (born 1956), Christopher (born 1957), Anthony (born 1959) and Joseph (1964–2009);[105] and one adopted: Ronald (born 1949).[106] It was an interfaith marriage; Lewis was Jewish and Palmer was Catholic.[107]
While married to Palmer, Lewis likely fathered a daughter, Suzan (born 1952) with Lynn Dixon Kleinman.[108][109] DNA testing indicated an 88.7 percent probability that Suzan is related to Lewis' acknowledged son Gary.[110] Lewis openly pursued relationships with other women and gave unapologetic interviews about his infidelity, revealing his affairs with Marilyn Monroe and Marlene Dietrich to People in 2011.[111] Palmer filed for divorce from Lewis in 1980, after 35 years of marriage, citing Lewis's extravagant spending and infidelity on his part, and it was finalized in 1983.[112][113][114] All of Lewis's children and grandchildren from his marriage to Palmer were excluded from inheriting any part of his estate.[115][116] His eldest son, Gary, publicly called his father a "mean and evil person" and said that Lewis never showed him or his siblings any love or care.[115]
Lewis's second wife was Sandra "SanDee" Pitnick,[117] a University of North Carolina School of the Arts professionally trained ballerina and stewardess, who met Lewis after winning a bit part in a dancing scene on his film Hardly Working. They wed on February 13, 1983, in Key Biscayne, Florida,[118] adopted a daughter, Danielle (born 1992), and were married for 34 years until Lewis's death.[119][120][121]
Interests
After opening a camera shop in 1950, Lewis agreed to lend his name to "Jerry Lewis Cinemas" in 1969, offered by National Cinema Corporation, as a franchise business opportunity for those interested in theatrical movie exhibition. Jerry Lewis Cinemas stated that their theaters could be operated by a staff of as few as two with the aid of automation and support provided by the franchiser in booking film and other aspects of film exhibition. A forerunner of the smaller rooms typical of later multi-screen complexes, a Jerry Lewis Cinema was billed in franchising ads as a "mini-theatre" with a seating capacity of between 200 and 350.[citation needed]
In addition to Lewis's name, each Jerry Lewis Cinema bore a sign with a cartoon logo of Lewis in profile.[122] Initially 158 territories were franchised, with a buy-in fee of $10,000 or $15,000 depending on the territory, for what was called an "individual exhibitor". For $50,000, Jerry Lewis Cinemas offered an opportunity known as an "area directorship", in which investors controlled franchising opportunities in a territory as well as their own cinemas.[123] The success of the chain was hampered by a policy of only booking second-run, family-friendly films. Eventually the policy was changed, and the Jerry Lewis Cinemas were allowed to show more competitive movies. But after a decade the chain failed and both Lewis and National Cinema Corporation declared bankruptcy in 1980.[124]
In 1973, Lewis appeared on the 1st Annual 20-hour Highway Safety Foundation Telethon, then in 1990, wrote and directed Boy, a short film for UNICEF's How Are The Children? anthology,[125] meeting up with seven-year-old Lochie Graham in 2010, who shared his idea for "Jerry's House", a place for vulnerable and traumatized children[126][127] and in 2016, would lend his name and star power to Criss Angel's HELP (Heal Every Life Possible) charity event.[128]
Political views
Lewis kept a low political profile for many years, having taken advice reportedly given to him by President John F. Kennedy, who told him, "Don't get into anything political. Don't do that because they will usurp your energy."[129] Nevertheless, he campaigned and performed on behalf of both JFK and Robert F. Kennedy, and was a supporter of the civil rights movement. For his 1957 NBC special, Lewis held his ground when southern affiliates objected to his friendship with Sammy Davis, Jr.[citation needed] In a 1971 Movie Mirror magazine article, Lewis spoke out against the Vietnam War when his son Gary returned from service traumatized.[citation needed] He vowed to leave the country rather than send another of his sons.[citation needed]
Lewis observed that political speeches should not be at the Oscars. He stated, "I think we are the most dedicated industry in the world. And I think that we have to present ourselves that night as hard-working, caring and important people to the industry. We need to get more self-respect as an industry".[130] In a 2004 interview with The Guardian, Lewis was asked what he was least proud of, to which he answered, "Politics".[citation needed]
He mocked citizens' lack of pride in their country, stating, "President Bush is my president. I will not say anything negative about the president of the United States. I don't do that. And I don't allow my children to do that. Likewise, when I come to England don't you do any jokes about 'Mum' to me. That is the Queen of England, you moron. Do you know how tough a job it is to be the Queen of England?"[131]
In a December 2015 interview on EWTN's World Over with Raymond Arroyo, Lewis expressed opposition to the United States letting in
Stalking incident
In February 1994, a man named Gary Benson was revealed to have been stalking Lewis and his family.[136] Benson subsequently served four years in prison.[137]
Allegations of sexual assault
In February 2022, Vanity Fair reported that several of Lewis's co-stars from the 1960s had come forward to share allegations of sexual assault, harassment, and verbal abuse.[138][139] Those whose accounts were made public included Karen Sharpe, Hope Holiday, Anna Maria Alberghetti, and Lainie Kazan.[140]
Illness and death
Lewis suffered from a number of chronic health problems, illnesses and addictions related both to aging and a back injury sustained in a comedic pratfall. The fall has been stated as being either from a piano while performing at the Sands Hotel and Casino on the Las Vegas Strip on March 20, 1965,[141][142] or during an appearance on The Andy Williams Show.[7][143] In its aftermath, Lewis became addicted to the painkiller Percodan for thirteen years.[141] He said he had been off the drug since 1978.[142] In April 2002, Lewis had a Medtronic "Synergy" neurostimulator implanted in his back,[144] which helped reduce the discomfort. He was one of the company's leading spokesmen.[142][144]
Lewis suffered numerous heart problems throughout his life; he revealed in the 2011 documentary Method to the Madness of Jerry Lewis that he suffered his first heart attack at age 34 while filming Cinderfella in 1960.[145][146] In December 1982, at age 56, he suffered his second heart attack. Two months later, in February 1983, Lewis underwent open-heart double-bypass surgery.[147] En route to San Diego from New York City on a cross-country commercial airline flight on June 11, 2006, Lewis suffered his third heart attack at age 80.[148] It was discovered that he had pneumonia, as well as a severely damaged heart. He underwent a cardiac catheterization days after the heart attack, and two stents were inserted into one of his coronary arteries, which was 90 percent blocked.[149] The surgery resulted in increased blood flow to his heart and allowed him to continue his rebound from earlier lung problems. Having the cardiac catheterization required him to cancel several major events from his schedule, but Lewis fully recuperated in a matter of weeks.[citation needed]
In 1999, Lewis's Australian tour was cut short when he had to be hospitalized in Darwin with viral meningitis.[150][151] He was ill for more than five months. It was reported in the Australian press that he had failed to pay his medical bills. However, Lewis maintained that the payment confusion was the fault of his health insurer. The resulting negative publicity caused him to sue his insurer for US$100 million.[152]
In addition to his decades-long heart problems, Lewis had prostate cancer,[153] type 1 diabetes,[142][154] and pulmonary fibrosis.[141] In the late 1990s, Lewis was treated with prednisone[141] for pulmonary fibrosis, which caused considerable weight gain and a startling change in his appearance. In September 2001, Lewis was unable to perform at a planned London charity event at the London Palladium. He was the headlining act, and was introduced, but did not appear onstage. He had suddenly become unwell, apparently with cardiac problems.[155]
He was subsequently taken to a hospital. Some months thereafter, Lewis began an arduous, months-long therapy that weaned him off prednisone, and he lost much of the weight gained while on the drug. The treatment enabled him to return to work. On June 12, 2012, he was treated and released from a hospital after collapsing from hypoglycemia at a New York Friars Club event. This forced him to cancel a show in Sydney.[156] In an October 2016 interview with Inside Edition, Lewis acknowledged that he might not star in any more films, given his advanced age, while admitting, through tears, that he was afraid of dying, as it would leave his wife and daughter alone.[157] In June 2017, Lewis was hospitalized at a Las Vegas hospital for a urinary tract infection.[158]
Lewis died at his home in Las Vegas, Nevada, on August 20, 2017, at the age of 91.[26] The cause was end-stage cardiac disease and peripheral artery disease. Lewis was cremated.[159][160] In his will, Lewis left his estate to his second wife of 34 years, SanDee Pitnick, and their daughter, and explicitly disinherited his children from his first marriage and their children.[161]
Controversies
In 1998, at the
Tributes and legacy
From the late 1940s to the mid-1960s, "Lewis was a major force in American popular culture."[165] Widely acknowledged as a comic genius, Lewis influenced generations of comedians, comedy writers, performers and film makers.[166] As Lewis was often referred to as the bridge from Vaudeville to modern comedy, Carl Reiner wrote after Lewis's death, "All comedians watch other comedians, and every generation of comedians going back to those who watched Jerry on the Colgate Comedy Hour were influenced by Jerry. They say that mankind goes back to the first guy ... which everyone tries to copy. In comedy that guy was Jerry Lewis."[167]
Lewis's films, especially his self-directed films, have warranted steady reappraisal. Richard Brody of The New Yorker said Lewis was "one of the most original, inventive, ... profound directors of the time" and "one of the most skilled and original comic performers, verbal and physical, ever to appear on screen".[168] Dave Kehr, a film critic and film curator for the Museum of Modern Art, wrote in The New York Times of Lewis's "fierce creativity" and "the extreme formal sophistication of his direction".[169] Kehr wrote that Lewis was "one of the great American filmmakers".[170]
As a filmmaker who insisted on the personal side of his work—who was producer, writer, director, star, and over-all boss of his productions in the interest of his artistic conception and passion—he was an auteur by temperament and in practice long before the word traveled Stateside.
The New Yorker, 2017
"Lewis was an explosive experimenter with a dazzling skill, and an audacious, innovatory flair for the technique of the cinema. He knew how to frame and present his own adrenaline-fuelled, instinctive physical comedy for the camera."[171]
Lewis was at the forefront in the transition to independent filmmaking, which came to be known as New Hollywood in the late 1960s. Writing for the Los Angeles Times in 2005, screenwriter David Weddle lauded Lewis's audacity in 1959 "daring to declare his independence from the studio system".[172] Lewis came along to a studio system in which the industry was regularly stratified between players and coaches. The studios tightly controlled the process and they wanted their people directing. Yet Lewis regularly led, often flouting the power structure to do so. Steven Zeitchik of the LA Times wrote of Lewis, "Control over material was smart business, and it was also good art. Neither the entrepreneur nor the auteur were common types among actors in mid-20th century Hollywood. But there Lewis was, at a time of strict studio control, doing both."[173]
No other comedic star, with the exceptions of Chaplin and Keaton in the silent era, dared to direct himself. "Not only would Lewis's efforts as a director pave the way for the likes of Mel Brooks and Woody Allen, but it would reveal him to be uncommonly skilled in that area as well." "Most screen comedies until that time were not especially cinematic—they tended to plop down the camera where it could best capture the action and that was it. Lewis, on the other hand, was interested in exploring the possibilities of the medium by utilizing the tools he had at his disposal in formally innovative and oftentimes hilarious ways."[174] "In Lewis's work the way the scene is photographed is an integral part of the joke. His purposeful selection of lenses, for example, expands and contracts space to generate laughs that aren't necessarily inherent in the material, and he often achieves his biggest effects via what he leaves off screen, not just visually but structurally."[175]
As a director, Lewis advanced the genre of film comedy with innovations in the areas of fragmented narrative, experimental use of music and sound technology, and near
Intensely personal and original, Lewis's films were groundbreaking in their use of dark humor for psychological exploration.[179] Justin Chang of the Los Angeles Times said, "The idea of comedians getting under the skin and tapping into their deepest, darkest selves is no longer especially novel, but it was far from a universally accepted notion when Lewis first took the spotlight. Few comedians before him had so brazenly turned arrested development into art, or held up such a warped fun house mirror to American identity in its loudest, ugliest, vulgarest excesses. Fewer still had advanced the still-radical notion that comedy doesn't always have to be funny, just fearless, in order to strike a nerve".[180]
Before 1960, Hollywood comedies were
Lewis was an early master of
Robert De Niro and Sandra Bernhard, both of whom starred with Lewis in The King of Comedy, reflected on his death. Bernhard said: "It was one of the great experiences of my career, he was tough but one of a kind". De Niro said: "Jerry was a pioneer in comedy and film. And he was a friend. I was fortunate to have seen him a few times over the past couple of years. Even at 91, he didn't miss a beat ... or a punchline. You'll be missed."[186] There was also a New York Friars Club roast in honor of Lewis with Sarah Silverman and Amy Schumer.[187][188][189][190] Martin Scorsese recalls working with him on The King of Comedy, "It was like watching a virtuoso pianist at the keyboard".[191][192][193][194][195][196][197][198] Lewis was the subject of a documentary Jerry Lewis: Method to the Madness.[199][200][201][202][203][204][205]
Peter Chelsom, director of Funny Bones wrote, "Working with him was a masterclass in comic acting – and in charm. From the outset he was generous." "There's a very thin line between a talent for being funny and being a great actor. Jerry Lewis epitomized that. Jerry embodied the term "funny bones": a way of differentiating between comedians who tell funny and those who are funny."[206] Director Daniel Noah recalling his relationship with Lewis during production of Max Rose wrote, "He was kind and loving and patient and limitlessly generous with his genius. He was unbelievably complicated and shockingly self-aware."[207]
Actor and comedian Jeffrey Tambor wrote after Lewis's death, "You invented the whole thing. Thank you doesn't even get close."[208]
Actor and comedian Jim Carrey tweeted after Lewis's death, "I am because he was."[209]
There have been numerous retrospectives of Lewis's films in the U.S. and abroad, most notably Jerry Lewis: A Film and Television Retrospective at
In 2017, Lewis with others inaugurated and founded Legionnaires of Laughter and Legacy Awards, and the first Legacy Award held in Downtown, New York.[211] On August 21, 2017, multiple hotel marquees on the Las Vegas Strip honored Lewis with a coordinated video display of images of his career as a Las Vegas performer and resident.[212] From 1949, as part of Martin and Lewis, and from 1956 as a solo, Lewis was a casino showroom headliner, playing numerous dates over the decades. Las Vegas was also the home of his annual Labor Day MDA telethon.[citation needed]
In popular culture
Between 1952 and 1971, DC Comics published a 124-issue comic book series with Lewis as one (later, the only) main protagonist, titled The Adventures of Dean Martin and Jerry Lewis. In The Simpsons, the character of Professor Frink is based on Lewis's Julius Kelp from The Nutty Professor.[213] Lewis himself would later voice the character's father in the episode "Treehouse of Horror XIV". In Animaniacs, Lewis is parodied in a number of episodes, including Clown and Out/Bubba Bo Bob Brain.
In
John Saleeby, writer for
Lewis, and Martin & Lewis, as himself or his films, have been referenced by directors and performers of differing genres spanning decades, including
Similarly, varied musicians have mentioned Lewis in song lyrics including, Ice Cube, The Dead Milkmen, Queen Latifah, and Frank Zappa.[228] The hip hop music band Beastie Boys have an unreleased single "The Jerry Lewis", which they mention, and danced to, on stage in Asheville, North Carolina in 2009.[229] In their film Paul's Boutique—A Visual Companion, clips from The Nutty Professor play to "The Sounds of Science".[230]
Apple iOS 10 includes an auto-text emoji for 'professor' with a Lewis lookalike portrayal from The Nutty Professor.[231]
The word "flaaaven!", with its many variations and rhymes, is a Lewis-ism often used as a misspoken word or a person's mis-pronounced name.
Sammy Petrillo bore a coincidental resemblance to Lewis,[234][235] so much so that Lewis at first tried to catch and kill Petrillo's career by signing him to a talent contract and then not giving him any work. When that failed (as Petrillo was under 18 at the time), Lewis tried to blackball Petrillo by pressuring television outlets and then nightclubs,[236] also threatening legal action after Petrillo used his Lewis impersonation in the film Bela Lugosi Meets a Brooklyn Gorilla.[237]
Over the years, countless actors and performers have regularly impersonated or portrayed Lewis in various tribute shows, most notably Nicholas Arnold, Tony Lewis, David Wolf, and Matt Macis.[238][239][240][241]
Bibliography
- Lewis, Jerry (1962). Instruction Book For ..."Being a Person" or (Just Feeling Better). Self-published. ISBN 978-0-937-539743. (ISBN is for the 2004 Mass Market Edition)
- Lewis, Jerry (1971). The Total Film-Maker. New York City: ISBN 978-0-394-46757-3.
- Lewis, Jerry; Gluck, Herb (1982). Jerry Lewis: In Person. New York: ISBN 978-0-689-11290-4.
- Lewis, Jerry; ISBN 978-0-7679-2086-5.
Biography
- Levy, Shawn (1997). King of Comedy: The Life and Art of Jerry Lewis. New York: St. Martin's Press. ISBN 9781250122605
Documentaries
- Annett Wolf (Director) (1972) The World of Jerry Lewis (unreleased)
- Robert Benayoun (Director) (1982) Bonjour Monsieur Lewis (Hello Mr. Lewis)
- Burt Kearns (Director) (1989) Telethon (Released in US, 2014)
- Carole Langer (Director) (1996) Jerry Lewis: The Last American Clown
- Eckhart Schmidt (Director) (2006) König der Komödianten (King of Comedy)*
- Gregg Barson (Director) (2011). Method to the Madness of Jerry Lewis
- Gregory Monro(Director) (2016). Jerry Lewis: The Man Behind the Clown (Motion picture).
Notes
References
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- ^ Kehr, Dave (August 20, 2017). "Jerry Lewis, mercurial comedian and filmmaker, dies at 91". The New York Times. Retrieved August 20, 2017.
Most sources, including his 1982 autobiography, Jerry Lewis: In Person, give his birth name as Joseph Levitch. But Shawn Levy, author of the exhaustive 1996 biography King of Comedy: The Life and Art of Jerry Lewis, unearthed a birth record that gave his first name as Jerome.
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- Lewis, Jerry; Gluck, Herb (1982). Jerry Lewis: In Person. New York: ISBN 978-0-689-11290-4.
- Jerry Lewis ... The Last American Clown.
90-minute documentary, 1996, narrated by Alan King
- Lewis, Jerry; Gluck, Herb (1982). Jerry Lewis: In Person. New York:
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{{cite web}}
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- ^ Hubber, Joseph. "The MDA Telethon Pity Or Compassion". bridgew.edu.
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- )
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Is it finally time to stop with the French-love-him jokes and acknowledge that Jerry Lewis is one of the great American filmmakers? The 10 Lewis films released by Paramount this fall, all in fine transfers and with additional material drawn from Mr. Lewis's extensive archives, reveal both the fierce creativity of his comic performances and the extreme formal sophistication of his direction.
- ^ Bradshaw, Peter (August 21, 2017). "Jerry Lewis, a Knockabout Clown with a Dark and Melancholy Inner Life". The Guardian.
- ^ Weddle, David. "Jerry Lewis Is a Brilliant Comic Artist, a Technically Innovative Filmmaker and an Enduring Creative Influence in Hollywood – and for That He Deserves an Oscar". LA Times.
- ^ Zeitchik, Steven (August 20, 2017). "An appreciation: Jerry Lewis helped write the auteur's playbook". Los Angeles Times.
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- ^ Sloan, Will (March 1, 2016). "Pure, Unfiltered Id: Reappraising Jerry Lewis' Brutally Unfunny Comedy". Flavorwire.
- ^ Chang, Justin (August 21, 2017). "Jerry Lewis, The Movie's Mad and Mercerial Comic Genius". LA Times.
- ^ Dalton, Stephen (August 21, 2017). "Critics Notebook: Jerry Lewis a Comic Genius by Turns Sweet and Bitter". The Hollywood Reporter.
- ^ Rosenbaum, Jonathan (October 2013). "The Lewis Contradiction". Viennale Catalogue. Archived from the original on March 28, 2018. Retrieved March 28, 2018.
- ^ Fairfax, Daniel (July 2016). "Deconstrucing Jerry: Lewis as Director". sensesofcinema.com. Archived from the original on February 7, 2018. Retrieved February 5, 2018.
- ^ Stern, Michael (August 21, 2017). "Jerry Lewis: b. Joseph Levitch, Newark New Jersey, res. Hollywood". brightlightsfilm.com.
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- ^ "Jerry Lewis Dead, King of Comedy". EW.com. August 20, 2017. Retrieved October 17, 2017.
- ^ Levitt, Lauren Bans, Danielle (May 6, 2014). "Amy Schumer – GQ's 15 Funniest People Alive".
{{cite web}}
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Further reading
- Dale, Alan (2000). Comedy Is A Man In Trouble. ISBN 978-0-8166-3657-0.
- Fujiwara, Chris (2010). Jerry Lewis (Contemporary Film Directors). ISBN 9780252076794.
- ASIN B0006BLNAO.
- Gordon, Rae Beth (2002). Why The French Love Jerry Lewis, From Cabaret to Early Cinema. ISBN 9780804738941.
- Hayde, Michael J. (2018). Side by Side:Dean Martin and Jerry Lewis on TV and Radio. BearManor Media. ISBN 9781629333526.
- Krutnik, Frank (2001). "Jerry Lewis:deformation of the comic". In Rickman, G. (ed.). The Film Comedy Reader. New York: Limelight Editions. ISBN 9780879102951. Also, Film Quarterly, Vol. 48, No. 1 (Autumn, 1994), pp. 12–26 University of California Press
- Krutnik, Frank (2000). Inventing Jerry Lewis. Washington: Smithsonian Institution Press. ISBN 9781560983668.
- Krutnik, Frank (Spring 1995). "The Handsome Man and His Monkey". Journal of Popular Film & Television. Vol. 23, no. 1.
- ISBN 978-0-312-13248-4.
- ISBN 978-0-8015-2430-1.
- Neibaur, James L.; ISBN 978-0-89950-961-7.
- Pomerance, Murray, ed. (2002). Enfant Terrible: Jerry Lewis in American Film. NY: ISBN 9780814767061.
- Rapf, Joanna E (1993). "Comic Theory from a Feminist Perspective: A Look at Jerry Lewis". Journal of Popular Culture.
- ISBN 0-385-33429-X.
- Lamarca, Manuel (2017). Jerry Lewis. El día en el que el cómico filmó. Barcelona, Spain. Ediciones Carena.ISBN 978-8416843749
Film criticism links
- Bright Lights Film Online Journal
- Film School Rejects
- la furia umana (Multilingual Film Quarterly)
- ‘jerrython’ at MUBI
- Museum of the Moving Image
- An American Original: The RogerEbert.com Staff Remembers Jerry Lewis
- Senses of Cinema
External links
Archives at | ||||
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How to use archival material |
- Jerry Lewis at IMDb
- Jerry Lewis at AllMovie
- Jerry Lewis at the TCM Movie Database
- Jerry Lewis at the Internet Broadway Database
- Jerry Lewis at The Interviews: An Oral History of Television
- Jerry Lewis Interview video at Directors Guild of America
- Lewis interview video with Peter Bogdanovich Museum of the Moving Image Pinewood Dialogues
- Jerry Lewis Interview Podcast WTF with Marc Maron
- Drum Solo Battle (1955) with Buddy Rich at [1]