source: The Big Mouth

The Big Mouth has always been one of my favorite Jerry Lewis movies. Jerry surrounds himself with the cream of the crop of character actors in this one. The manner in which each actor goes crazy after seeing Jerry, (thinking he's dead), makes this movie, truly, one of Jerry's most bizarre and funny! The Kabuki scene, with Jerry in white make-up and "frightwig" is priceless! The original score by Harry Betts is first class. This film is classic "1967", (referring to films released that year like "Casino Royale", "Danger:Diabolik",etc.). I would love to see a special edition DVD release of this, with commentary from Jerry & Charlie Callas. In my dreams!

If you are a Jerry Lewis fan, you have probably heard that this film – made in the Golden Year of 1967 – is the biggest pile of poop he ever made (although we have yet to see his "The Day The Clown Cried" and it is unlikely we will – at least, while Jerry lives). And that would be a fair description of this turkey. However, it is still worth a look – for three reasons. First and most important, he re-creates his Nerd character (Professor Julius Kelp) from "The Nutty Professor" – imagine a DVD of deleted scenes from THAT – you would pay money to see those, would you not? This is the next best thing. Second comes an extended shot of the late Charlie Callas (no relation to Maria) doing his "manic twitch" routine – it is almost worth watching this abomination for that alone. This was Charlie's ONLY film appearance and came about after they met on the Merv Griffin Show and he impressed Jerry so much, the latter promised to use him in his next project. Sadly, it turned out to be THIS. Last is a bizarre, two-minute cameo from Harland Sanders – yes, the old cross-eyed "colonel" himself. Many people today are unaware that the character on the KFC logo was once actually a REAL PERSON and he makes a fleeting appearance in this dross. Why? Well, perhaps HE was a fan of Jerry Lewis' movies – although it is unfortunate that he chose THIS one to make his film debut in

"An Emperor who cares for nothing but his appearance and attire hires two tailors who promise him the finest suit of clothes from a fabric invisible to anyone who is unfit for his position or "just hopelessly stupid". The Emperor cannot see the cloth himself, but pretends that he can for fear of appearing unfit for his position; his ministers do the same. When the swindlers report that the suit is finished, they mime dressing him and the Emperor then marches in procession before his subjects, who play along with the pretense. Suddenly, a child in the crowd, too young to understand the desirability of keeping up the pretense, blurts out that the Emperor is wearing nothing at all......". "The Big Mouth" was perhaps the greatest inside joke on audiences since the 1938 radio broadcast of "War of the Worlds". Billed as a comedy, heavily promoted, widely distributed, and featuring Jerry Lewis (who played three roles and directed) this was a must see for our junior high group of cut-ups. We found the experience a surreal one. A comedy film where nobody in the theater laughed including us (absolutely no laughter). We caught on quicker than the adults that this was a complete sham but were spellbound waiting for a single funny sequence that would shatter the audience silence. It never happened. Afterward we scanned newspaper and magazine reviews for some sign that a prominent reviewer was going to spill the beans and expose the "Emperor", but there was nothing. It was like the whole industry had clammed up by mutual agreement to allow Columbia to recover a portion of their investment. I suspect that this kind of industry-wide "quid pro quo" was fairly common in those days. Word of mouth (pun intended) in our town killed attendance within a few days, although some may have attended just to observe Hollywood finally bottoming out. "The Big Month" deserves a place in cinema history because it was this bottoming out process that opened the door for innovative stuff like "Bonnie & Clyde" and "Easy Rider" in mainstream theaters. In fairness the chase sequences might have had some amusement value except they had been done much better by Harvey Lembeck (playing Eric Von Zipper) in countless beach movies released earlier in the decade. The only saving grace at the time for us 14-year-olds was that Jeannine Riley (Billie Jo from "Petticoat Junction") was featured in several eye-scorching outfits. Hence the extra star. Then again, what do I know? I'm only a child.

Brainless, witless, infantile Jerry Lewis idiocy, worse than most. Poorly written, ineptly directed--Lewis' directorial style seems to be mostly "keep the camera on me as much as possible"--braying "comedy" has Lewis being a dead ringer for a mobster who cheated his associates out of some diamonds and was murdered by them, but they see Lewis and mistake him for the guy they think they killed. Along with his usual bag of completely unfunny "tricks", he pulls out his offensive squinty-eyed, buck-toothed Japanese "character", obviously finding nothing wrong with this incredibly racist characterization. A stupid, embarrassing mess. Don't waste your time.

Having just watched this on YouTube, there were plenty of good and bad things about this movie. The Good: supporting performances of Del Moore as hotel clerk Mr. Hodges who gets the brunt of Jerry Lewis' accidents, Charlie Callas as one of the gangster's hoods Rex who does his nervous shtick when he finds Jerry's doppelanger hood is still "alive", and especially John Nolan who plays "FBI Agent" Webster-you'll figure out why I put quotes around his title. There's also funny scenes of Jerry in a phone booth trying to get to the police as well as of police officers arguing what a certain code means as Jerry is stopped while speeding. And I did like Jerry both when he's "normal" and in disguise. The Bad: The Asian stereotypes. It's especially embarrassing to see "Star Trek" player George Takei playing this kind of role as a henchman who suffers a tragic fate. Also, I didn't like the dialogue exchange between Lewis and leading lady Susan Bay about his "problem". Such double entendre has no place in a family comedy like this (I know, there's some violence but somehow that's more acceptable here). And the chase climax was pretty lame. Overall, this was pretty enjoyable despite some of the more objectionable material I cited. So on that note, I did like The Big Mouth. P.S. I didn't recognize Rob Reiner or Charo in their cameos so either I missed them or IMDb got it wrong. (I'm not really accusing this site, just wondering where either Reiner or Charo could have been in the movie) Oh, and one more thing: supporting player Buddy Lester is from my birthtown of Chicago, Ill.

The movie is just really stupid and Lewis mus his way through with his usual megalomaniacal way. I give this three stars only because I have to admit he was technically a great director. He knew how to frame a shot and his timing was impeccable. Too bad he had too big an ego to see that the material sucked.

Why this Jerry Lewis comedy isn't better known or more widely available is a mystery since it's a classic and as consistently funny as anything he did. Here the slapstick verges on the surreal while its 'thriller' plot is virtually irrelevant. As well as starring, Jerry wrote, produced and directed and if it never amounts to anything more than a series of sketches they are, at least, very funny. It's certainly a movie ripe for rediscovery that, for now at least, will have to settle for ultimate cult status.

I've lost track of all the times I've seen this one from the first 16mm print at a summer camp in 1970. But I always loved it, no matter how stupid and inane it really is. The plot holes and pure unbelievability of the film must be put aside just for the sillyness. A few things stand out. A cameo by Col. Harland Sanders of KFC, and a view of early Sea World in San Diego. When I worked there in 1985, I found all the places that the film was shot. And the best of all, is Charlie Callas' totally hilarious bit when he sees the appranently dead Sid Valentine (Lewis' other role) come to life again. He comes apart, as do his other friends, but with much more panache and skill. His stuttering, eye-popping gibberish is so funny you have to watch the same dialogue over and over again. It's a classic bit, and one that actually saves the film from being a total Lewis stinker. "That's him, thats him, that's aaaahh, that's im-POSSIBLE!"

When i view this film i tend to look at it from the directors lens.In this respect it has many positives,more so then if viewed strictly on comedic pacing and storyline.The opening scene has Clamson reeling in Valentine while fishing and is told about some diamonds and where they are hidden.This is the basic plot and the comedy spins from this premise,as such it can be thin but the direction by Lewis is the high point when watching this movie.There is the opening scene which leads from the beach with Clamson and Valentine into this beautiful helicopter shot which rises and sweeps away from the beach while the credits run and comes right back to the beach and the continuation of the scene.There is a scene of Clamson being stopped by the police and an argument over the various violations and there numbers.Clamson sits in the car while this argument ensues and Lewis has him framed in the scene with his face in the background framed by a cops arm on his hip in the foreground.The direction of Lewis in this movie is the star. So when you watch this movie look at it from the view of Lewis and how he is blocking the scenes and compare it to other comedies you like.You will see the deft use of colors and sound,also his use of language to make his movies very layered beyond just the punchline of the scene.The Big Mouth is filled with these Lewis touches,all the comedy might not work but it's his attempt to experiment that must be applauded.So give this movie a second look and don't just look for the comedic payoff but look for the setup through the deft lensing by Lewis and i think you'll have a greater appreciation of this film.