Jerry Lewis

This article is about the comedian. For the rock and roll musician, seeJerry Lee Lewis.For other people named Jerry Lewis, seeJerry Lewis (disambiguation).

Jerry Lewis(bornJoseph Levitch;March 16, 1926 – August 20, 2017) was an American comedian, filmmaker, actor, humanitarian and singer, who was famously nicknamed "The King of Comedy" throughout the United States. Lewis appeared in more than 59 motion pictures, including the first sixteen films with his partner, singerDean Martin,during their act asMartin and Lewis.He acted inCinderfella(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) andThe Family Jewels(1965), and portrayed Jerry Langford inMartin Scorsese'sThe King of Comedy(1982) earning aBAFTA Award for Best Supporting Actornomination and was an early and prominent user ofvideo assist.

Jerry Lewis
Lewis in 1957
Born	Joseph Levitch (1926-03-16)March 16, 1926 Newark, New Jersey,U.S.
Died	August 20, 2017(2017-08-20)(aged 91) Las Vegas,Nevada, U.S.
Other names	"The King of Comedy" "Le Roi du Crazy" "The Total Filmmaker"
Occupations	Comedian actor singer film director film producer screenwriter humanitarian
Years active	1931–2017
Spouses	Patti Palmer ​ ​ (m.1944;div.1980)​ SanDee Pitnick ​ (m.1983)​
Children	8, includingGary
Comedy career
Medium	Film television stage theatre
Genres	Parody satire slapstick
Notable works and roles	Prof. Julius F. Kelp and Buddy Love inThe Nutty Professor
Signature

From star ofThe Colgate Comedy Hourto host ofThe Jerry Lewis Labor Day Telethon(benefiting theMuscular Dystrophy Association), his work won him several accolades, including two stars on theHollywood Walk of Fame.Lewis performed in concert stages, nightclubs, audio recordings and appeared in at least 117 film and television productions. He was nominated for theNobel Peace Prizein 1977 for his work on behalf of the Muscular Dystrophy Association, while France awarded him theLegion of Honorin 2006.

Early life

Lewis was born on March 16, 1926, inNewark, New Jersey,to a Jewish family.His parents were Daniel "Danny" Levitch (1902–1980), amaster of ceremoniesandvaudevillianwho performed under the stage name Danny Lewis, whose parents immigrated to the United States from theRussian Empireto New York, and Rachael "Rae" Levitch (née Brodsky; 1904–1982), aWORradio pianist and Danny's music director, fromWarsaw.Reports about his birth name are conflicting; in Lewis' 1982 autobiography, he claimed his birth name was Joseph, after his maternal grandfather, but hisbirth certificate,the1930 U. S. Census,and the1940 U. S. Censusall named him as Jerome.Reports about the hospital where he was born conflict as well; biographerShawn Levyclaims Lewis was born at Clinton Private Hospital and others report it asNewark Beth Israel Hospital.Other aspects of his early life conflict with accounts made by family members, burial records, andvital records.

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 fromWeequahic High Schoolin the ninth grade and dropped out ofIrvington High Schoolin the tenth grade.Lewis said that he ceased using the names Joseph and Joey as an adult to avoid being confused withJoe E. LewisandJoe Louis.By age 15, Lewis had developed his "Record Act," miming lyrics to songs while a phonograph played offstage.He landed a gig at a burlesque house in Buffalo, but his performance fell flat and he was unable to book any more shows.

To make ends meet, Lewis worked as asoda jerkand a theater usher forSuzanne Pleshette's father, Gene Pleshette, at theParamount Theatreas well as atLoew's Capitol Theatre,both in New York City.A veteran burlesque comedian, Max Coleman, who had worked with Lewis' father years before, persuaded him to try again. Irving Kaye,aBorscht Beltcomedian, saw Lewis' mime act atBrown's Hotelin Loch Sheldrake, New York, the following summer, and the audience was so enthusiastic that Kaye became Lewis' manager and guardian for Borscht Belt appearances.DuringWorld War II,Lewis was rejected from military service because of aheart murmur.

Career

1945–1956: Teaming with Dean Martin

Main article:Martin and Lewis

Lewis withDean Martinin 1950

In 1945, Lewis was 19 when he met 27-year-old singerDean Martinat the Glass Hat Club in New York City, where the two performed until they debuted atAtlantic City's500 ClubasMartin and Lewison July 25, 1946. The duo gained attention as a double act with Martin serving as thestraight manto Lewis's zany antics. The inclusion of ad-libbed improvisational segments in their planned routines added a unique quality to their act and separated them from previous comedy duos.

Lewis and Martin quickly rose to national prominence, first with their popular nightclub act, then as stars of their radio programThe Martin and Lewis Show.The two made their television debut on CBS'Toast of the Town(later renamed asThe Ed Sullivan Show) June 20, 1948.

In 1950, they signed with NBC to be one of a series of weekly rotating hosts ofThe Colgate Comedy Hour,a live Sunday evening broadcast. Lewis, writer for the team's nightclub act, hiredNorman Learand Ed Simmons as regular writers for theirComedy Hourmaterial.By 1951, with an appearance at theParamount Theatrein New York, they were a hit. The duo began their film careers atParamount Picturesas ensemble players, inMy Friend Irma(1949) and its sequelMy Friend Irma Goes West(1950). Followed by their own series of 14 new movies,At War with the Army(1950),That's My Boy(1951),Sailor Beware(1952),Jumping Jacks(1952),The Stooge(1952),Scared Stiff(1953),The Caddy(1953),Money from Home(1953),Living It Up(1954),3 Ring Circus(1954),You're Never Too Young(1955),Artists and Models(1955),Pardners(1956) andHollywood or Bust(1956). The two appeared on theOlympic Fund Telethonand cameoed inRoad to Bali(1952).

CrosbyandHopewould do the same inScared Stiffa year later. Attesting to the duo's popularity,DC ComicspublishedThe Adventures of Dean Martin and Jerry Lewisfrom 1952 to 1957. The team appeared onWhat's My Line?in 1954, the 27th annualAcademy Awardsin 1955,The Steve Allen ShowandThe Today Showin 1956.Martin's participation became an embarrassment in 1954 whenLookmagazine published a publicity photo of the team for the magazine cover but cropped Martin out.

The boys did their final live nightclub act at theCopacabanaon July 24, 1956. Both Lewis and Martin went on to have successful solo careers, but neither would comment on the split nor consider a reunion. Martin surprised Lewis on his appearance onThe Eddie Fisher Showon September 30, 1958, appeared together at the 1959 Academy Awards closing, reunited several times publicly and sometimes privately according to interviews they gave to magazines.

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."While there, he received an urgent request from his friendSid Luft,who wasJudy Garland's husband and manager, saying that she couldn't perform that night in Las Vegas because ofstrep throat,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. "At his wife's urging, Lewis used his own money to record the songs on a single.Decca Recordsheard it, liked it and insisted he record an album for them.The single of "Rock-a-Bye Your Baby" went to No. 10 and the albumJerry Lewis Just Singswent to No. 3 on theBillboardcharts, staying near the top for four months and selling a million and a half copies.

Lewis in 1958

With the success of that album, he recorded additional albumsMore Jerry Lewis(an EP of songs from this release was released asSomebody Loves Me), andJerry Lewis Sings Big Songs for Little People(later reissued with fewer tracks asJerry Lewis Sings for Children). Non-album singles were released, andIt All Depends On Youhit the charts in April and May 1957, but peaked at only No. 68. Further singles were recorded and released by Lewis into the mid-1960s. But these were not Lewis's first forays into recording, nor his first appearance on the hit charts. During his partnership with Martin, they made several recordings together, charting at No. 22 in 1948 with the 1920sThat Certain Partyand later mostly re-recording songs highlighted in their films.

In late 1956, Lewis began performing regularly at theSands Hotel and Casinoin Las Vegas, which marked a turning point in his life and career. The Sands signed him for five years to perform six weeks each year and paid him the same amount they had paid Martin and Lewis as a team.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 thePalace Theaterin New York and Martin called on the phone during this period to wish him the best of luck."I've never been happier," said Lewis. "I have peace of mind for the first time."Lewis established himself as a solo act, starting with the first of six appearances onWhat's My Line?from 1956 to 1966, then guest starred onThe Tennessee Ernie Ford Show,Tonight Starring Jack PaarandThe Ed Sullivan Show.

In January 1957, Lewis did a number of solo specials for NBC and starred in his adaptation of "The Jazz Singer"forStartime,then hosted the Academy Awards three times, in 1956, 1957 and 1959. The third telecast, which ran twenty minutes short, forced him to improvise to fill time.

Lewis remained at Paramount and started off with his first solo filmThe Delicate Delinquent(1957) then starred inThe Sad Sack(1957).Frank Tashlin,whose background as aLooney Tunescartoon director (forWarner Bros.) suited Lewis's brand of humor and came on board. The pair did new films, first withRock-A-Bye Baby(1958) and thenThe Geisha Boy(1958).Billy Wilderasked Lewis to play the lead role of an uptight jazz musician, who winds up on the run from a mob inSome Like It Hot,but turned it down.Lewis then appeared inDon't Give Up The Ship(1959) and cameoed inLi'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.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 strongthatBarney Balaban,head of production at Paramount, told the press, "If Jerry wants to burn down the studio I'll give him the match!"

1960–1965: Paramount films

Publicity photo of Lewis forThe Jerry Lewis Show

Lewis ended his association with Hal Wallis, their last joint venture beingVisit to a Small Planet(1960). His next film wasCinderfella(1960), directed by Frank Tashlin; it was supposed to be Lewis's summer release, but Paramount withheld it in preparation for a Christmas 1960 release. Paramount, needing a quickie movie for its summer 1960 schedule, insisted that Lewis must produce one.

This resulted in Lewis's sudden transformation from movie clown to all-around filmmaker. He produced, directed, co-wrote, and starred inThe Bellboy(1960). Using theFontainebleau Hotelin 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.Bill Richmondcollaborated with him on many of the episodic blackouts and sight gags. The film presented a new approach for the usually frenetic and highly vocal comedian: inThe BellboyLewis doesn't speak at all—he only whistles—until a punchline at the very end of the film.

This was really a time-saving device; by concentrating on visual action, Lewis could film the scenes faster without bothering to remember written dialogue. Another time-saver was his innovative use of instant video playback, which allowed Lewis to review each scene on videotape immediately after filming it, thus eliminating film-laboratory delays and expenses. Trade reviewer Pete Harrison noted the sight gags but felt that Lewis was not a true pantomime artist: "As a mute, there are only brief moments of his work coming close toChaplin,Jacques Tati,orHarpo Marx.

Lewis, always laughed at, fails to win the viewer's heart. "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.The Bellboyturned out to be a hit, ranking with his better successes.Variety's Gene Arneel reported independent producerHall Bartlett's observation, "Lewis is the only star whose pictures all turn out in the black."

Lewis continued to direct more films that he co-wrote with Bill Richmond, includingThe Ladies Man(1961), where Lewis constructed a three-story dollhouse-like set spanning two sound stages, with the set equipped with state-of-the-art lighting and sound, eliminating the need for boom microphones in each room. His next movieThe Errand Boy(1961), used the same formula asThe Bellboy,with Lewis turned loose in a movie studio for blackouts and sight gags.

Lewis was also somewhat active in television.NBCreleased him from a long-term contract in 1960; the official reason given was that Lewis was devoting more time to his motion pictures. A more probable reason was the difficulty in finding a weekly television vehicle for Lewis. (NBC did announce two series in development, "Permanent Waves" and "The Comedy Concert." )

Lewis's TV appearances were usually guest shots. He appeared inThe Wacky World of Jerry Lewis,Celebrity Golf,The Garry Moore Show,The Soupy Sales Show,It's Only Money(1962) and guest hostedThe Tonight Showduring the transition fromJack PaartoJohnny Carsonin 1962, and his appearance on the show scored the highest ratings thus far in late night, surpassing other guest hosts and Paar.

The three major networks began a bidding war, wooing Lewis for his own talk show.Lewis then directed, co-wrote and starred inThe Nutty Professor(1963). A parody ofDr. Jekyll and Mr. Hyde,it featured him asProfessor Kelp,a socially inept scientist who invents a serum that turns him into a handsome but obnoxious ladies' man. It is often considered to be Lewis's best film.

Lewis asProfessor Kelp,with co-starStella Stevens,inThe Nutty Professor(1963)

In 1963, he had a cameo inIt's a Mad, Mad, Mad, Mad World(1963), fully starred inWho's Minding the Store?(1963) and hostedThe Jerry Lewis Show,a lavish 13-week, big-budget show which aired onABCfrom September to December in 1963.Lewis next starred inThe Patsy(1964), his satire about the Hollywood star-making industry,The Disorderly Orderly(1964), his final collaboration with Tashlin, appeared in a cameo onThe Joey Bishop Showand starred inThe Family Jewels(1965) about a young heiress who must choose among six uncles, one of whom is up to no good and out to harm the girl's beloved bodyguard who practically raised her.

In 1965, Lewis went onThe David Susskind Show,starred in his final Paramount-released filmBoeing Boeing(1965),in which he received aGolden Globenomination, then guest appeared onBen Casey,The Andy Williams ShowandHullabaloowith sonGary Lewis.Lewis left Paramount in 1966, after 17 years, as the studio was undergoing a corporate shakeup, with the industrial conglomerateGulf + Westerntaking over the company. Gulf + Western, scrutinizing the balance sheets, noted the diminishing box office returns of Lewis's recent pictures and did not renew his contract.

1966–1980: Columbia and other projects

Lewis in 1973

Undaunted, Lewis signed withColumbia Pictures,where he tried to reinvent himself with more serious rolesand starred in a string of more new box-office successes:Three on a Couch(1966), also during this period, he appeared inWay...Way Out(1966) for20th Century-Fox,thenThe Big Mouth(1967),Don't Raise the Bridge, Lower the River(1968) andHook, Line & Sinker(1969).

Lewis continued to make television appearances:The Merv Griffin Show,The Sammy Davis Jr. Show,Batman,Rowan & Martin's Laugh-In,Password,a pilot calledSheriff Who,a second version ofThe Jerry Lewis Show(this time as a one-hour variety show for NBC, which ran from 1967 to 1969),andThe Danny Thomas Hour.

He also appeared onPlayboy After Dark,Jimmy Durante's The Lennon Sisters Hour,The Red Skelton Show,The Jack Benny Birthday Special,The Mike Douglas Show,The Sonny & Cher Comedy Hour,The Hollywood Palace,The Engelbert Humperdinck Show,The Irv Kupcinet ShowandThe Linkletter Show.Behind the scenes, he contributed to some scripts forFilmation's animated seriesWill the Real Jerry Lewis Please Sit Down,directed an episode ofThe Bold Onesand directed thePeter LawfordandSammy Davis, Jr.comedyOne More Time(1970), a sequel toRichard Donner'sSalt and Pepper(1968).

Lewis would leave Columbia after his agreement with the studio lapsed, leaving him to produce his next movie independently.Which Way to the Front?(1970) was aWorld War IImilitary comedy starring Lewis as a wealthy playboy who wants to enlist in the armed forces. Rejected, he forms his own volunteer army and infiltrates the enemy forces on the Italian front. The cast included many of Lewis's cronies, includingJan Murray,Steve Franken,Kathleen Freeman,Kenneth MacDonald,Joe Besser,and (in a broad caricature ofAdolf Hitler)Sidney Miller.The film received only a limited release byWarner Bros.,and was not well received by the critics or the public.

The Day the Clown Cried(1972), a drama directed by and starring Lewis and set in aNazi concentration camp,received only brief exposure. The film was rarely discussed by him, but he said that litigation over post-production finances and copyright prevented its completion and widespread theatrical release. He also said a factor for the film's burial was that he was not proud of the effort.It was the earliest attempt by an American film director to address the subject ofThe Holocaust.Following this, Lewis took a break from the movie business for several years.

His television appearances during this period includedGood Morning America,The Dick Cavett Show,NBC Follies,Celebrity Sportsman,Cher,Dinah!,Tony Orlando and Dawn.As Lewis continued to appear on and annually emceehis telethons,one of the most memorable was the 1976 show,whereas on that broadcast, unrehearsed, 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.

In 1976, producerAlexander H. Cohensigned Lewis to star in a revival ofOlsen and Johnson's musical-comedy revueHellzapoppin."I do think that to succeed today, a comedy revue requires a larger-than-life comic," Cohen told syndicated columnistJack O'Brian."That is why I have engaged Jerry Lewis to star in the new production ofHellzapoppin,which I'm preparing for the coming season. "Cohen had revivedHellzapoppinas a TV special in 1972, and was impressed by the contributions ofLynn Redgrave;he signed her to appear opposite Lewis. This was Lewis's first Broadway show, and was so eagerly awaited thatNBC-TVpromised Cohen $1,000,000 for the rights to broadcast the opening night live on national television.

Out-of-town tryouts were staged inWashington, DC,Baltimore,andBostonto excellent business but mixed reviews. There was turmoil behind the scenes, as comedy star Lewis dominated the production and had serious arguments with producer Cohen, co-star Redgrave, and writer-adaptorAbe Burrows."Lewis and Miss Redgrave had been having a much publicized feud," according to an account in thePittsburgh Press."He would neither rehearse nor perform any songs with her, reports said."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."

1979–2018: Later roles and final work

Lewis went on and starred inCircus of the Stars,Pink Lady and Jeff,Hardly Working(1981, his first "comeback"film in 11 years),Late Night with David Letterman,The King of Comedy(1982),Star Search,Cracking Up(1983, originally titled asSmorgasbord),Slapstick (Of Another Kind)(1984) and the two French moviesTo Catch a Cop(1984) andHow Did You Get In? We Didn't See You Leave(1984), both which had their distribution under Lewis's control.

Lewis at the Cannes Film Festival, 2013

Later, he hosted a third and final version ofThe Jerry Lewis Show,this time as a syndicated talk show for Metromedia, which was not continued beyond the scheduled five shows, directed an episode ofBrothers,appeared at the firstComic Reliefin 1986, where he was the only performer to receive a standing ovation, appeared forClassic Treasures,Fight for Life(1987),did a second double act with Davis Jr., hostedAmerica's All-Time Favorite Moviesand came onSpeaking of Everything.While guest starring in five episodes ofWiseguy,its filming schedule forced Lewis to miss theMuseum of the Moving Image's opening with a retrospective of his work.

Lewis then attended Martin's 72nd birthday at Bally's in Las Vegas, wheeling out a cake, sang "Happy Birthday"to him and joked," Why we broke up, I'll never know. "Then starred inCookie(1989),directed episodes ofSuper Forcein 1990 andGood Griefin 1991 and appeared inMr. Saturday Night(1992),The Arsenio Hall Show,The Whoopi Goldberg Show,Inside The Comedy Mind,Mad About YouandArizona Dream(1993).

Then appeared forFunny Bones(1995),a revival ofDamn Yankees,Inside the Actors Studio,The Martin Short Show,The Simpsons,Late Night with Conan O'Brien,Law & Order: Special Victims Unit,The Nutty Professor II(2008),The Talk,Max Rose(2013)The Tonight Show Starring Jimmy Fallon,The Trust(2016) andComedians in Cars Getting Coffee.

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."

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. Hisimprovisationsand 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."Will Sloan, ofFlavorwirewrote, "In the late '40s and early '50s, nobody had ever seen a comedian as wild as Jerry Lewis."Placed in the context of the conservative era, his antics were radical and liberating, paving the way for future comediansSteve Martin,Richard Pryor,Andy Kaufman,Paul Reubens,andJim 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,"and "I am because he was."

Acting the bumblingeveryman,Lewis used tightly choreographed, sophisticated sight gags, physical routines, verbaldouble-talkandmalapropisms."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."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."

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'sJewish identityis hinted at in passing, and was never made a defining characteristic of his onscreen persona. Aside from the 1959 television movieThe Jazz Singerand the unreleased 1972 filmThe Day the Clown Cried,Lewis never appeared in a film or film role that had any ties to his Jewish heritage.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."

Lewis's physical movements in films received some criticism because he was perceived as imitating or mocking those with a physical disability.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 asThe Ladies Man(1961),The Disorderly Orderly(1964),The Patsy(1964) andCracking 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.

Directorial technique

During the 1960 production ofThe Bellboy,Lewis pioneered the technique of using video cameras and multiple closed circuit monitors,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 thedailies.

Man in Motion,afeaturetteforThree on a Couch,features the video system, named "Jerry's Noisy Toy"and shows Lewis receiving the Golden Light Technical Achievement award for its development. Lewis stated he worked with the head ofSonyto produce the prototype. While he initiated its practice and use, and was instrumental in its development, he did not hold a patent.

Lewis screened Spielberg's early filmAmblin'and told his students, "That's what filmmaking is all about."The class covered all topics related to filmmaking, including pre and post production, marketing and distribution and filming comedy with rhythm and timing.His 1971 bookThe Total Film Maker,was based on 480 hours of his class lectures.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 companyMedtronic.

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." —BiographerJeanine BasingerinSilent Stars(1999).

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 ofauteurtheory in French intellectual film criticism and theFrench New Wavemovement. He earned consistent praise from French critics in the influential magazinesCahiers du CinémaandPositif,where he was hailed as an ingenious auteur.

His singularmise-en-scène,and skill behind the camera, were aligned withHoward Hawks,Alfred HitchcockandSatyajit Ray.Appreciated too, was the complexity of his also being in front of the camera. The new French criticism viewedcinemaas 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.Jean-Pierre Coursodonstates in a 1975Film Commentarticle, "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."

Not yet curricula at universities or art schools,film studiesandfilm theorywereavant-gardein early 1960s America. Mainstream movie reviewers such asPauline 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.

Appreciation of Lewis became a misunderstood stereotype about "the French," and it was often the object of jokes in American pop culture."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 bookWhy the French Love Jerry Lewis.

Acting credits and accolades

Further information:Jerry Lewis filmographyandList of awards and nominations received by Jerry Lewis

Lewis's motion picture star on theHollywood Walk of Fameat 6821 Hollywood Blvd.

Lewis received numerous honorary awards including theAcademy of Motion Pictures Arts and Sciences'sJean Hersholt Humanitarian Awardin 2008, theAcademy of Television Arts & Sciences' Governor's Award in 2005, and theVenice International Film Festival'sCareer Golden Lionin 1999. He was nominated for aPrimetime Emmy AwardforBest Comedian or Comediennein 1952 and theBest Actor in a Comedy or Musical Filmfor his performance inBoeing, Boeing(1965). For his Broadway debut, he received aTheatre World Awardnomination. Lewis was nominated for tenGolden Laurel Awardswinning twice. Lewis also received a nomination for theRazzie Award for Worst Actorfor his performance inSlapstick of Another Kind(1985), as well as twoStinker Awardnominations forWorst Director and Worst ActorforHardly Working(1981).

Charity and activism with MDA

Lewis with PresidentRonald Reaganand First LadyNancy Reaganmeeting with MDA poster child Christi Bartlett inThe Oval Office,March 1981

After meeting with Paul Cohen, founder of theMuscular Dystrophy Association(MDA), Lewis and Martin made their first appeal in early December 1951 on the finale ofThe Colgate Comedy Hour,followed by another in 1952. Lewis foughtRocky Marcianoin a bo xing bout for MDA's fund drive in 1954.In 1956, the duo hosted MDA's first telethon from June 29 to June 30, before the end of their comedy act on July 25. Afterwards, the association named Lewis national chairman and helmed twoThanksgivingspecials in 1957 and 1959.

He would soon begin hosting and emceeingThe Jerry Lewis MDA Labor Day Telethonin late 1966. Since its first broadcast on one station that year, the annual telethon aired live everyLabor Dayweekend for 44 years over five decades.Johnny Olsonserved as announcer for the first seven years, thenEd McMahonfor the latter thirty-six years and Shawn Parr for Lewis's final two shows. It originated from different locations including New York, Las Vegas, Hollywood and Chicago, becoming the most watched and most successful fundraising event in the history of television.The live program's opening and closing used the songs "Smile"(byCharlie Chaplin) and "You'll Never Walk Alone"(byRodgers and Hammerstein) while "What the World Needs Now Is Love"(byJackie DeShannon) had been used for the tote board totals.

On the 1990, 1996, 1998 and 2009 telethons, special tributes were each held for Davis Jr., Martin, Sinatra and McMahon (following their deaths) for their contributions and help to the cause. The eventwas the first to: raise over $1 million, in 1966;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 theGuinness 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.

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."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.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."The activist protests represented a very small minority of countless MDA patients and clients who had directly benefitted from Lewis's MDA fundraising.

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.Over 200 research and treatment facilities were built with donations raised by the Jerry Lewis telethons.For significant and lasting contributions to the health and welfare of humanity,Lewis received aNobel Peace Prizenomination, a Lifetime Achievement Award from theAmerican Medical Association,a Governors Award and theJean Hersholt Humanitarian Award.He would host his final telethon in 2010.

On August 3, 2011, MDA announced that Lewis would no longer host its telethonsand 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."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 atCarnegie Hallin New York City, Lewis broke a five-year silence during a special taped message, 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.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.

Personal life

Relationships and children

Lewis wed Patti Palmer (née Esther Grace Calonico; 1921–2021), a singer withTed Fio Rito,on October 3, 1944.They had six sons together; five biological:Gary(born 1945),Scott (born 1956), Christopher (born 1957), Anthony (born 1959) and Joseph (1964–2009);and oneadopted:Ronald (born 1949).It was aninterfaith marriage;Lewis was Jewish and Palmer was Catholic.

While married to Palmer, Lewis likely fathered a daughter, Suzan (born 1952) with Lynn Dixon Kleinman.DNAtesting indicated an 88.7 percent probability that Suzan is related to Lewis' acknowledged son Gary.Lewis openly pursued relationships with other women and gave unapologetic interviews about hisinfidelity,revealing his affairs withMarilyn MonroeandMarlene DietrichtoPeoplein 2011.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.All of Lewis's children and grandchildren from his marriage to Palmer were excluded from inheriting any part of his estate.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.

Lewis's second wife was Sandra "SanDee" Pitnick,aUniversity of North Carolina School of the Artsprofessionally trained ballerina andstewardess,who met Lewis after winning abit partin a dancing scene on his filmHardly Working.They wed on February 13, 1983, inKey Biscayne,Florida,adopted a daughter, Danielle (born 1992), and were married for 34 years until Lewis's death on August 20, 2017.

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.

In addition to Lewis's name, each Jerry Lewis Cinema bore a sign with a cartoon logo of Lewis in profile.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.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.

In 1973, Lewis appeared on the 1st Annual 20-hour Highway Safety Foundation Telethon, then in 1990, wrote and directedBoy,a short film forUNICEF'sHow Are The Children?anthology,meeting up with seven-year-old Lochie Graham in 2010, who shared his idea for "Jerry's House," a place for vulnerable and traumatized childrenand in 2016, would lend his name and star power toCriss Angel's HELP (Heal Every Life Possible) charity event.

Political views

Lewis kept a low political profile for many years, having taken advice reportedly given to him by PresidentJohn F. Kennedy,who told him, "Don't get into anything political. Don't do that because they will usurp your energy."Nevertheless, he campaigned and performed on behalf of both JFK andRobert F. Kennedy,and was a supporter of thecivil rights movement.For his 1957 NBC special, Lewis held his ground when southern affiliates objected to his friendship with Sammy Davis, Jr.In a 1971Movie Mirrormagazine article, Lewis spoke out against theVietnam Warwhen his son Gary returned from service traumatized.He vowed to leave the country rather than send another of his sons.

Lewis observed that political speeches should not be at theOscars.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."In a 2004 interview withThe Guardian,Lewis was asked what he was least proud of, to which he answered, "Politics."

He mocked citizens' lack ofpride in their country,stating, "PresidentBushis 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 theQueen of England,you moron. Do you know how tough a job it is to be the Queen of England? "

In a December 2015 interview on EWTN'sWorld Overwith Raymond Arroyo, Lewis expressed opposition to the United States letting inSyrian refugees,saying, "No one has worked harder for the human condition than I have, but they're not part of the human condition if 11 guys in that group of 10,000 areISIS.How can I take that chance? "In the same interview, he criticized PresidentBarack Obamafor not being prepared for ISIS, while expressing support forDonald Trump,saying he would make a good president because he was a good "showman."He also added that he admiredRonald Reagan's presidency.

Stalking incident

In February 1994, a man named Gary Benson was revealed to have been stalking Lewis and his family.Benson subsequently served four years in prison.

Allegations of sexual assault

In February 2022,Vanity Fairreported that several of Lewis's co-stars from the 1960s had come forward to share allegations of sexual assault, harassment, and verbal abuse.Those whose accounts were made public includedKaren Sharpe,Hope Holiday,Anna Maria Alberghetti,andLainie Kazan.

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 comedicpratfall.The fall has been stated as being either from a piano while performing at theSands Hotel and Casinoon theLas Vegas Stripon March 20, 1965,or during an appearance onThe Andy Williams Show.In its aftermath, Lewis became addicted to the painkillerPercodanfor thirteen years.He said he had been off the drug since 1978.In April 2002, Lewis had aMedtronic"Synergy"neurostimulatorimplanted in his back,which helped reduce the discomfort. He was one of the company's leading spokesmen.

Lewis suffered numerous heart problems throughout his life; he revealed in the 2011 documentaryMethod to the Madness of Jerry Lewisthat he suffered his first heart attack at age 34 while filmingCinderfellain 1960.In December 1982, at age 56, he suffered his second heart attack. Two months later, in February 1983, Lewis underwentopen-heartdouble-bypass surgery.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.It was discovered that he hadpneumonia,as well as a severely damaged heart. He underwent acardiac catheterizationdays after the heart attack, and twostentswere inserted into one of his coronary arteries, which was 90 percent blocked.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.

In 1999, Lewis's Australian tour was cut short when he had to be hospitalized inDarwinwith viralmeningitis.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.

In addition to his decades-long heart problems, Lewis hadprostate cancer,type 1 diabetes,andpulmonary fibrosis.In the late 1990s, Lewis was treated withprednisonefor 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 theLondon Palladium.He was the headlining act, and was introduced, but did not appear onstage. He had suddenly become unwell, apparently with cardiac problems.

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 fromhypoglycemiaat aNew York Friars Clubevent. This forced him to cancel a show in Sydney.In an October 2016 interview withInside 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.In June 2017, Lewis was hospitalized at a Las Vegas hospital for aurinary tract infection.

Lewis died at his home inLas Vegas,Nevada, on August 20, 2017, at the age of 91.The cause was end-stage cardiac disease andperipheral artery disease.Lewis wascremated.In hiswill,he left his estate to his second wife of 34 years, SanDee Pitnick, and their daughter, and explicitlydisinheritedhis children from his first marriage and their children.

Controversies

In 1998, at theAspen U.S. Comedy Arts Festival,when asked which women comics he admired, Lewis answered, "I don't like any female comedians. A woman doing comedy doesn't offend me but sets me back a bit. I, as a viewer, have trouble with it. I think of her as a producing machine that brings babies in the world."He went on to praiseLucille Ballas "brilliant" and saidCarol Burnettis "the greatest female entrepreneur of comedy." On other occasions, Lewis expressed admiration for female comediansTotie Fields,Phyllis Diller,Kathleen Freeman,Elayne Boosler,Whoopi Goldberg,andTina Fey.During the 2007 MDA Telethon, Lewis used the slur "fag"in a joke, for which he apologized.Lewis used the same word the following year on Australian television.

Tributes and legacy

From the late 1940s to the mid-1960s, "Lewis was a major force in American popular culture."Widely acknowledged as a comic genius, Lewis influenced generations of comedians, comedy writers, performers and film makers.As Lewis was often referred to as the bridge fromVaudevilleto modern comedy,Carl Reinerwrote after Lewis's death, "All comedians watch other comedians, and every generation of comedians going back to those who watched Jerry on theColgate Comedy Hourwere 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. "

Lewis's films, especially his self-directed films, have warranted steady reappraisal.Richard BrodyofThe New Yorkersaid 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."Dave Kehr,a film critic and film curator for theMuseum of Modern Art,wrote inThe New York Timesof Lewis's "fierce creativity" and "the extreme formal sophistication of his direction."Kehr wrote that Lewis was "one of the great American filmmakers."

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 anauteurby 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."

Lewis was at the forefront in the transition toindependent filmmaking,which came to be known asNew Hollywoodin the late 1960s. Writing for theLos Angeles Timesin 2005, screenwriterDavid Weddlelauded Lewis's audacity in 1959 "daring to declare his independence from thestudio system."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."

No other comedic star, with the exceptions ofChaplinandKeatonin thesilent era,dared to direct himself. "Not only would Lewis's efforts as a director pave the way for the likes ofMel BrooksandWoody 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. ""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."

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 nearsurrealistuse of color and art direction.This prompted his peer, filmmakerJean Luc Godardto proclaim, "Jerry Lewis... is the only one in Hollywood doing something different, the only one who isn't falling in with the established categories, the norms, the principles.... Lewis is the only one today who's making courageous films. He's been able to do it because of his personal genius."Jim HemphillforAmerican Cinemathequewrote, "They are films of ambitious visual and narrative experimentation, provocative and sometimes conflicted commentaries on masculinity in post-war America, and unsettling self-critiques and analyses of the performer's neuroses."

Intensely personal and original, Lewis's films were groundbreaking in their use of dark humor for psychological exploration.Justin Changof theLos Angeles Timessaid, "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."

Before 1960, Hollywood comedies werescrewballorfarce.Lewis, from his earliest 'home movies, such asHow to Smuggle a Hernia Across the Border,made in his playhouse in the early 1950s, was one of the first to introduce satire as a full-length film. This "sharp-eyed" satire continued in his mature work, commenting on the cult of celebrity, the machinery of 'fame', and "the dilemma of being true to oneself while also fitting into polite society." Stephen Dalton inThe Hollywood Reporterwrote, Lewis had "an agreeably bitter streak, offering self-lacerating insights into celebrity culture which now look strikinglymodern.Evenpost-modernin places. "Speaking ofThe King of Comedy,"More contemporary satirists likeGarry Shandling,Steve CooganandRicky Gervaisowe at least some of their self-deconstructing chops to Lewis's generously unappetizing turn in Scorsese's cult classic. "

Lewis was an early master ofdeconstructionto enhance comedy. From the firstComedy Hours he exposed the artifice of on-stage performance by acknowledging the lens, sets, malfunctioning props, failed jokes, and tricks of production. AsJonathan Rosenbaumwrote: Lewis had "the impulse to deconstruct and even demolish the fictional" givens "of any particular sketch, including those that he might have dreamed up himself, a kind of perpetual auto-destruction that becomes an essential part of his filmmaking as he steadily gains more control over the writing and direction of his features."His self directed films abound in behind-the-scene reveals, demystifying movie-making. Daniel Fairfax writes inDeconstructing Jerry: Lewis as a Director,"Lewis deconstructs the very functioning of the joke itself."... quoting Chris Fujiwara, "The Patsyis a film so radical that it makes comedy out of the situation of a comedian who isn't funny. "The final scene ofThe Patsyis famous for revealing to the audience the movie as a movie, and Lewis as actor/director.Lewis wrote inThe Total Filmmaker,his belief inbreaking the fourth wall,actors looking directly into the camera, despite industry norms.

Robert De NiroandSandra Bernhard,both of whom starred with Lewis inThe 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."There was also aNew York Friars Clubroast in honor of Lewis withSarah SilvermanandAmy Schumer.Martin Scorsese recalls working with him onThe King of Comedy,"It was like watching a virtuoso pianist at the keyboard."Lewis was the subject of a documentaryJerry Lewis: Method to the Madness.

Peter Chelsom,director ofFunny Boneswrote, "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 whotellfunny and those whoarefunny. "Director Daniel Noah recalling his relationship with Lewis during production ofMax Rosewrote, "He was kind and loving and patient and limitlessly generous with his genius. He was unbelievably complicated and shockingly self-aware."

Actor and comedianJeffrey Tamborwrote after Lewis's death, "You invented the whole thing. Thank you doesn't even get close."

Actor and comedianJim Carreytweeted after Lewis's death, "I am because he was."

There have been numerous retrospectives of Lewis's films in the U.S. and abroad, most notablyJerry Lewis: A Film and Television RetrospectiveatMuseum of the Moving Image,the 2013Viennale,the 2016Melbourne International Film Festival,The Innovator: Jerry Lewis at ParamountatAmerican Cinemathequein Los Angeles,Happy Birthday Mr. Lewis: The Kid Turns 90atMoMAin New York City,and "Jerry Lewis, cinéaste" at theFrench Cinémathèquein 2023.

In 2017, Lewis with others inaugurated and founded Legionnaires of Laughter and Legacy Awards, and the first Legacy Award held in Downtown, New York.On August 21, 2017, multiple hotel marquees on theLas Vegas Striphonored Lewis with a coordinated video display of images of his career as a Las Vegas performer and resident.

In popular culture

Between 1952 and 1957,DC Comicspublished a 40-issue comic book series with Martin & Lewis as the main protagonists, titledThe Adventures of Dean Martin and Jerry Lewis.They continued the series under the new titleThe Adventures of Jerry Lewisafter the team slit up, running until issue #124 in 1971.

InThe Simpsons,the character ofProfessor Frinkis based on Lewis's Julius Kelp fromThe Nutty Professor.Lewis himself would later voice the character's father in the episode "Treehouse of Horror XIV."InAnimaniacs,Lewis is parodied in the form of a recurring character named Mr. Director (voiced by series writerPaul Rugg), who initially appears as a comedy director whose appearance and mannerisms are based around those of Lewis, complete with frequent exclamations of faux-Yiddish. While he is typically depicted as a caricature of Lewis, on some occasions Mr. Director has also been seen as a caricature ofMarlon Brandoand as a birthday clown, although still retaining the voice and mannerisms inspired by Lewis.

InFamily Guy,Peter recreates Lewis's 'chairman of the board' scene fromThe Errand Boy.Comedian, actor and friend of Lewis,Martin Short,satirized him on the seriesSCTVin the sketches "The Nutty Lab Assistant," "Martin Scorsese presents Jerry Lewis Live on the Champs Elysees!," "The Tender Fella," and "Scenes From an Idiots Marriage,"as well as onSaturday Night Live's "Celebrity Jeopardy!." Also onSNL,the Martin and Lewis reunion on the 1976 MDA Telethon is reported byChevy ChaseonWeekend Update.Comedians Eddie Murphy andJoe Piscopoboth parodied Lewis when he hosted SNL in 1983. Piscopo also channeled Jerry Lewis while performing as a 20th-century stand-up comedian inStar Trek: The Next Generation;in the second-season episode "The Outrageous Okona," Piscopo's Holodeck character, The Comic, tutors android Lieutenant CommanderDataon humor and comedy.Comedian and actorJim Carreysatirized Lewis onIn Living Colorin the sketch "Jheri's Kids Telethon."Carrey had an uncredited cameo playing Lewis in the seriesBuffalo Billon the episode "Jerry Lewis Week."He also played Lewis, with impersonatorRich LittleasDean Martin,on stage. ActorSean Hayesportrayed Lewis in the made-for-TV movieMartin and Lewis,withJeremy Northamas Dean Martin.ActorKevin Baconplays the Lewis character in the 2005 filmWhere The Truth Lies,based on a fictionalized version of Martin and Lewis.In the satiric novel,Funny Men,about singer/wild comic double act, the character Sigmund "Ziggy" Blissman, is based on Lewis.

John Saleeby, writer forNational Lampoonhas a humor piece "Ten Things You Should Know About Jerry Lewis."In the animated cartoonPopeye's 20th Anniversary,Martin and Lewis are portrayed on the dais.The animated seriesAnimaniacssatirized Lewis in several episodes. The voice and boyish, naive cartoon characterSpongeBob SquarePantsis partially based on Lewis, with particular inspiration from his filmThe Bellboy.In 1998, TheMTVanimated showCelebrity Deathmatchhad a clay-animated fight to the death between Dean Martin and Lewis. In a 1975 re-issue ofMAD Magazinethe contents of Lewis's wallet is satirized in their on-going feature "Celebrities' Wallets."

Lewis, and Martin & Lewis, as himself or his films, have been referenced by directors and performers of differing genres spanning decades, includingAndy Warhol'sSoap Opera(1964),John Frankenheimer'sI Walk the Line(1970),Francis Ford Coppola'sThe Godfather(1972),Randal Kleiser'sGrease(1978),Rainer Werner Fassbinder'sIn a Year of 13 Moons(1978),Robert Zemeckis'sBack to the Future(1985),Quentin Tarantino'sFour Rooms(1995),Quentin Tarantino'sPulp Fiction(1994),Martin Scorsese'sGangs of New York(2002),Hitchcock(2012),Ben Stiller'sThe Secret Life of Walter Mitty(2013),Jay Roach'sTrumbo(2015),The Comedians(2015),Baskets(2016),The Sopranos(1999),Seinfeld(1996, 1998), andThe Marvelous Mrs. Maisel(2017, 2018).

Similarly, varied musicians have mentioned Lewis in song lyrics including,Ice Cube,The Dead Milkmen,Queen Latifah,andFrank Zappa.Thehip hop musicbandBeastie Boyshave an unreleased single "The Jerry Lewis," which they mention, and danced to, on stage in Asheville, North Carolina in 2009.In their filmPaul's Boutique—A Visual Companion,clips fromThe Nutty Professorplay to"The Sounds of Science".

AppleiOS 10includes anauto-textemojifor 'professor' with a Lewis lookalike portrayal fromThe Nutty Professor. 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.In a 2016 episode of the podcastWest Wing Weekly,Joshua Malinais heard saying "flaven" when trying to remember a character's correct last name. Lewis's signature catchphrase "Hey, Laaady!" is ubiquitously used by comedians and laypersons alike.

Sammy Petrillobore a coincidental resemblance to Lewis,so much so that Lewis at first tried tocatch and killPetrillo'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 toblackballPetrillo by pressuring television outlets and then nightclubs,also threatening legal action after Petrillo used his Lewis impersonation in the filmBela Lugosi Meets a Brooklyn Gorilla.

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.

Bibliography

Jerry Lewis photographed byOliver Markin the library of theAmerican Academy in Berlin(2006)

• Lewis, Jerry (1962).Instruction Book For... "Being a Person" or (Just Feeling Better).Self-published.ISBN978-0-937-539743.(ISBN is for the 2004 Mass Market Edition)
• Lewis, Jerry (1971).The Total Film-Maker.New York City:Random House.ISBN978-0-394-46757-3.
• Lewis, Jerry; Gluck, Herb (1982).Jerry Lewis: In Person.New York:Atheneum.ISBN978-0-689-11290-4.
• Lewis, Jerry;Kaplan, James(2005).Dean & Me (A Love Story).New York:Doubleday.ISBN978-0-7679-2086-5.

Biography

• Levy, Shawn (1997).King of Comedy: The Life and Art of Jerry Lewis.ArchivedMay 30, 2023, at theWayback MachineNew 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).

Further reading

• Dale, Alan (2000).Comedy Is A Man In Trouble.University of Minnesota Press.ISBN978-0-8166-3657-0.
• Fujiwara, Chris (2010).Jerry Lewis (Contemporary Film Directors).University of Illinois Press.ISBN9780252076794.
• Gehman, Richard(1964).That Kid: The Story of Jerry Lewis.New York:Avon Books.ASINB0006BLNAO.
• Gordon, Rae Beth (2002).Why The French Love Jerry Lewis, From Cabaret to Early Cinema.Stanford University Press.ISBN9780804738941.
• Hayde, Michael J. (2018).Side by Side:Dean Martin and Jerry Lewis on TV and Radio.BearManor Media.ISBN9781629333526.
• Krutnik, Frank (2001). "Jerry Lewis:deformation of the comic". In Rickman, G. (ed.).The Film Comedy Reader.New York: Limelight Editions.ISBN9780879102951.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.ISBN9781560983668.
• Krutnik, Frank (Spring 1995). "The Handsome Man and His Monkey".Journal of Popular Film & Television.Vol. 23, no. 1.
• Levy, Shawn Anthony(1997).King of Comedy: The Life and Art of Jerry Lewis.New York:St. Martin's Press.ISBN978-0-312-13248-4.
• Marx, Arthur(1974).Everybody Loves Somebody Sometime (Especially Himself): The Story of Dean Martin and Jerry Lewis.New York:Hawthorne Books.ISBN978-0-8015-2430-1.
• Neibaur, James L.;Okuda, Ted(1994).The Jerry Lewis Films:An Analytical Filmography of the Innovative Comic.Jefferson, NC:McFarland & Company.ISBN978-0-89950-961-7.
• Pomerance, Murray, ed. (2002).Enfant Terrible: Jerry Lewis in American Film.NY:New York University Press.ISBN9780814767061.
• Rapf, Joanna E (1993). "Comic Theory from a Feminist Perspective: A Look at Jerry Lewis".Journal of Popular Culture.
• Tosches, Nick(1992).Dino: Living High in the Dirty Business of Dreams(1st ed.). New York: Delta Trade Paperbacks.ISBN0-385-33429-X.
• Lamarca, Manuel (2017).Jerry Lewis. El día en el que el cómico filmó.Barcelona, Spain. Ediciones Carena.ISBN978-8416843749

Film criticism links

• Bright Lights Film Online Journal
• Film School RejectsArchivedAugust 2, 2020, at theWayback Machine
• la furia umana (Multilingual Film Quarterly)ArchivedFebruary 24, 2018, at theWayback Machine
• ‘jerrython’ArchivedFebruary 9, 2018, at theWayback MachineatMUBI
• Museum of the Moving Image
• An American Original: The RogerEbert Staff Remembers Jerry LewisArchivedFebruary 11, 2018, at theWayback Machine
• Senses of Cinema

External links

• Jerry Lewisat theAmerican Film Institute Catalog
• Jerry LewisatIMDb
• Jerry LewisatAllMovie
• Jerry Lewisat theTCM Movie Database
• Jerry Lewisat theInternet Broadway Database
• Jerry LewisatThe Interviews: An Oral History of Television
• Jerry Lewis Interview videoArchivedFebruary 8, 2018, at theWayback MachineatDirectors Guild of America
• Lewis interview videowithPeter BogdanovichMuseum of the Moving ImagePinewood Dialogues
• Jerry Lewis Interview Podcast WTF with Marc MaronArchivedFebruary 12, 2018, at theWayback Machine
• Drum Solo Battle (1955)ArchivedOctober 5, 2020, at theWayback MachinewithBuddy Richat[1]