The film opens with Bill Miller (Dean Martin) in bed with his love interest (a magazine with his face on the cover), but it isn't long before Bill becomes too sexed up from his magazine cover that he telephones his girlfriend Mary Turner (Polly Bergen) who also happens to be getting restless and squirrelly in bed with her own magazine cover. No, not the magazine with Bill on the cover, you see Mary also has a magazine with her own face gracing the cover. This is either a quick and effective way by the director (Norman Taurog) in letting the audience understand that these two people are either very talented singers on their way to stardom, or that they're incredibly narcissistic self lovers that only use the sounds of each other's voices to finish off before going to sleep. The film leads me to believe it's both. So, as narcissism raises its pretty face at the opening of the film, we see these two characters on equal footing. Before the end of the film each character will strip away their narcissistic tendencies, hers through self-sacrifice by becoming a scrapbook queen, his by turning to the bottle and nearly destroying his burgeoning performing career along with any relationship he's had with anyone female or idiot.
The wild card in all of this mix is that of Ted Rogers (Jerry Lewis). Ted is the man who not only holds the fate of Bill in his hands, but who also has the wherewithal to help save Bill and Mary's relationship when Bill becomes too ambitious with his own career. Ted is such a great guy that he can be seen writing the finishing touches of a birthday note to Mary that Bill was too shortsighted to complete. Ted is also the guy who has the inspiration to write a love song to Mary so that Bill can get in Mary's good graces when Bill selfishly blew off her birthday party. In fact, the only time when Mary truly hears any meaning behind the words, "I love you" is when they are uttered from the drunken lips of Ted while both Mary and Bill are undressing Ted for bed. Mary gives Ted a kiss on the cheek while Bill takes off Ted's shoes. This is the closest thing to an Ménage a Trois that 1950's American cinema could approach. I'm glad that's as far as it could go; I don't want to know anything about anyone's little 'Whozis'.
Seeing that this is a 1950's comedy/drama, everything has a tidy and happy ending; even Ted manages to land a hot little number in disguise. Affectionately referred to as 'Freckle Head' (Marion Marshall) by Ted throughout the movie, Ted's love interest practically steals the screen from Mary. 'Freckle Head' becomes infatuated with Ted from the moment they share a balcony at one of Bill's shows. She then employs the look of love damn near every second of the movie she's in. Her comic facial gestures hold their own against those of the extremely 'hamorific' Lewis. Somehow the two have a mild chemistry together and seem to make a fairly good couple.
Leo Lyman (Eddie Mayehoff) plays Bill's agent. He plays a sort of unsung silent hero throughout the movie. Silent because most of his screen time shows him clapping in the front row at his two prized clients or walking out of a scene looking dejected at how Bill has misbehaved. He's another character who wants to stand up for a principle and by the end of the movie he gets to what else would you expect?
Even to the most casual movie fan, "The Stooge" cannot simply play itself out solely as a typical 'cash in movie vehicle' that draws upon the innocent caricatures of Martin & Lewis, the film's storyline takes on the feel of an unintentional premonitory guide book replete with glaring sign posts, warning of the duo's dissolving partnership that was only five years away.
But really, try not to think about that. Just let "The Stooge" roll over you, take one for the team. It really is their best film. I wouldn't ask you to do this for "At War With The Army"; only an enemy would ask you to do something like that.
Clark Richards 8/10.
The wild card in all of this mix is that of Ted Rogers (Jerry Lewis). Ted is the man who not only holds the fate of Bill in his hands, but who also has the wherewithal to help save Bill and Mary's relationship when Bill becomes too ambitious with his own career. Ted is such a great guy that he can be seen writing the finishing touches of a birthday note to Mary that Bill was too shortsighted to complete. Ted is also the guy who has the inspiration to write a love song to Mary so that Bill can get in Mary's good graces when Bill selfishly blew off her birthday party. In fact, the only time when Mary truly hears any meaning behind the words, "I love you" is when they are uttered from the drunken lips of Ted while both Mary and Bill are undressing Ted for bed. Mary gives Ted a kiss on the cheek while Bill takes off Ted's shoes. This is the closest thing to an Ménage a Trois that 1950's American cinema could approach. I'm glad that's as far as it could go; I don't want to know anything about anyone's little 'Whozis'.
Seeing that this is a 1950's comedy/drama, everything has a tidy and happy ending; even Ted manages to land a hot little number in disguise. Affectionately referred to as 'Freckle Head' (Marion Marshall) by Ted throughout the movie, Ted's love interest practically steals the screen from Mary. 'Freckle Head' becomes infatuated with Ted from the moment they share a balcony at one of Bill's shows. She then employs the look of love damn near every second of the movie she's in. Her comic facial gestures hold their own against those of the extremely 'hamorific' Lewis. Somehow the two have a mild chemistry together and seem to make a fairly good couple.
Leo Lyman (Eddie Mayehoff) plays Bill's agent. He plays a sort of unsung silent hero throughout the movie. Silent because most of his screen time shows him clapping in the front row at his two prized clients or walking out of a scene looking dejected at how Bill has misbehaved. He's another character who wants to stand up for a principle and by the end of the movie he gets to what else would you expect?
Even to the most casual movie fan, "The Stooge" cannot simply play itself out solely as a typical 'cash in movie vehicle' that draws upon the innocent caricatures of Martin & Lewis, the film's storyline takes on the feel of an unintentional premonitory guide book replete with glaring sign posts, warning of the duo's dissolving partnership that was only five years away.
But really, try not to think about that. Just let "The Stooge" roll over you, take one for the team. It really is their best film. I wouldn't ask you to do this for "At War With The Army"; only an enemy would ask you to do something like that.
Clark Richards 8/10.