Cheap The Patsy (DVD) (Jerry Lewis) Price

Related Products

Customer Reviews of The Patsy

Thoughtful, reflexive and funny
The Patsy, Lewis' fifth film as a director and one of his best, can be considered as a semi-sequel to both The Bellboy (his first) and The Errand Boy (his third). Like its two predecessors, it features a confrontation between a complete outsider (always played by Lewis) and a lavish, illusionistic and mercantile milieu. As in all of his films, the interplay between 'Lewis the artist' (a natural performer whose inventiveness knows no bounds) and 'Lewis the star' (has more swagger, aggressiveness and self-confidence but far less freedom) is central here. It takes place in a single character (named Stanley as in The Bellboy) whose road to stardom is as unexpected and multi-layered as Morty's was in The Errand Boy. In many ways, the artist-star conflict is resolved in the postmodern conclusion: Lewis' choice to equal Stanley with himself - and The Patsy's world with 'reality' - implies that the true star-artist is finally made possible. Some of the movie's set pieces - Stanley's first appearance, the singing lesson, the silent flashback, the failed stand-up performance - are among the most effective of Lewis' filmography, seamlessly weaving together the sophisticated and the grotesque. A very impressive film from an underrated filmmaker.

---

Lewis is the KING
FUNNY , FUNNY , FUNNY , For TRUE Jerry Lewis FANS !!! Alot of people dont care for the STUPID HUMOR ( I DO !!!) This movie is supposed to be just that, all out stupid funny (HeLlO!!!! its Lewis........Ivan!!!)Belly hurt laughs come from every direction ,but mostly right in your face. so kick back and enjoy on a Sunday afternoon while the wife out shopping ,cause chicks dont DIG STUPID FUNNY .

---

What could have been...
Whether or not Co-writer/Director/Actor Jerry Lewis knew it or not, he made what was supposed to be a significant "Black comedy", on a level with "Network", and many others. Because of once again spreading himself too thin, i.e., not re-shooting scenes, dragging out pointless bits, and over-exaggerating the mugging, he offers an uneven comedy, mixing brilliance with amateurish self-indulgence.
A famous entertainer dies in a tragic plane crash and his staff is left without work. The opening sequence is wordy, but effective: Peter Lorre, Phil Harris, Ina Balin, John Carradine, and Everett Sloan reflect on their past, plan their future. It is suggested that their star taught them everything they know and perhaps their working relationship was insular. To prove to the Hollywood community that their skills are still relevant they decide that the answer is to take an unknown talent and teach him everything *they* know. Stanley Belt, the hotel bellboy, stumbles in and...you know.
Despite some first-rate, insightful dialogue about the early '60s show-biz star system, the above-named actors' talents are hardly tapped. Add to those names, Rhonda Fleming, George Raft (in his second Lewis cameo), Ed Wynn (it seems a chance to unite Keenan with his Father in a scene went by the boards - they worked together in Paddy Chayefsky's TV production of "Requiem for a Heavyweight" in '53), and Hedda Hopper, all who perform an interesting send-up of their own screen personaes as they enthuse over Belt, who they never heard of.
The continuity is also in question. Belt releases a Number One record (!) but follows this with an appearance in a small club, with about ten people in attendance. He had already survived a lip-sync on a dance show (incidentally hosted by Mr. Lloyd Thaxton). Even if it's an adult setting, a Pop hit would have filled the place.
When Lewis is not bouncing off the walls, he shows his strength as a dramatic actor. This chance comes in several sequences with Ina Balin. But even here, the scenes are inconclusive.
The high point comes following another star's send-up of himself: Ed Sullivan actually imitating Ed Sullivan. It is priceless. Ed introduces Jerry, who finally shows his handlers and the world, in a pretty good sketch combing pathos and slapstick, that it's best to let *natural* talent evolve.