Enfant Terrible!: Jerry Lewis in American FilmMurray Pomerance NYU Press, 2002 - 274 pages The one thing everybody knows about Jerry Lewis is that he is beloved by the French, those incomprehensible hedonistic strangers across the sea. The French understand him, while in the U.S. he is at best a riddle, not one of us. Lewis is someone we take profound pleasure in excluding, if not ridiculing. |
From inside the book
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... characters turn into performers, they transmute, but they do not escape, their humiliating dependency upon others' judgmental regards” (113). With social order and idealizing “others' judgmental regards” comes the brutality necessary to ...
... character onscreen as being played by an actual Lewis who is truly, deeply, originally, fundamentally, and personally as out of control as his character is, if not physically then at least in personality. Who, indeed, but a man ...
Jerry Lewis in American Film Murray Pomerance. character. If one implication of this relentless mediation is that we are doomed never to meet the man, another is that the screen image of Jerry can make sense entirely without our invoking ...
... character of the film, most critically in the love and conflict between Lewis and Johnny Depp. In this film the Lewis performance incarnates the long-lived presence of the “holy fool,” raising our attention to the delicate interface ...
... character as a noteworthy example of an unmilitarized, sensitive, and attractive male, the precursor in comedy of the types that Jim Carrey and Adam Sandler now play onscreen. The plot structure of Geisha Boy affiliates Jerry's Great ...
Contents
1 | |
17 | |
41 | |
3 Jerry Lewis and Social Transformations | 107 |
4 JerryBuilt | 193 |
Works Cited | 256 |
Contributors | 265 |
Index | 269 |