If you’re wondering what Jerry Lewis’ decidedly non-classic The Family Jewels is doing on my Blind Spot list, well, you can easily be forgiven. I blame the NetFlix gods for unceremoniously turfing The Nutty Professor from the ranks of their streaming library, so I took a flier with his 1965 effort that (just like The Nutty Professor) was also written and directed by Lewis (and additionally produced in this case). The intent was to watch and compare two of the top comedies from a pair of brilliant physical comedians who also worked behind the camera. One of them (Buster Keaton) is a personal favourite while the other (Jerry Lewis) is someone whose filmography has barely been scratched by me. Keaton, of course, is the great Stone Face: a gifted and slightly bonkers physical comedian who did insanely dangerous stunts, but whose characters on screen rarely showed any emotion. Lewis, on the other hand, drew strongly on his elastic facial expressions to double down on the physical gags of his films. My preference has always been with Keaton (knowing Lewis just from clips off TV, etc.), but a viewing of one of Lewis’ earliest films called The Bellboy made me reconsider digging into his film career.
Therefore The Nutty Professor was the obvious next step for investigating Lewis – it’s typically his highest rated film (among those he directed and starred in), is rife with potential for slapstick and is essentially part of general pop culture at this point. The Bellboy was an excuse to squeeze numerous skits and ideas together into a non-plot film, but it succeeded in impressing me along several lines. Lewis showed he could actually be subtle and very inventive while being a complete goofball. The Nutty Professor will have to wait, but I had some high hopes going into The Family Jewels that I’d get at least more of the same and build further anticipation to his other films. How did that pan out? Well, let’s review my first sentence of this post again…Barring several moments of reasonably inspired absurdity and several deftly timed bits by Lewis, the film flops and flounders as it haphazardly wanders through its plot mechanism: a 9-year-old heiress (first time actress – and boy does it show – Donna Butterworth) gets to spend 2 weeks with each of her five different uncles (all played by Lewis) to see who she prefers to be her guardian. The family chauffeur Willard (also Lewis) is her best friend and escorts her to each new candidate. He also happened to accidentally stop an armoured car holdup at the start of the movie which is not forgotten by the gangsters he thwarted.