The Nutty Professor (1963)

Director:

Jerry Lewis

Writers:

Jerry Lewis (written by) and
Bill Richmond (written by)

Release Date:

4 June 1963 (USA)

Genre:

Comedy | Sci-Fi

Tagline:

What does he become? What kind of monster?

Plot:

To improve his social life, a nerdish professor drinks a potion that temporarily turns him into the handsome, but obnoxious, Buddy Love.

Plot Keywords:

Love | Professor | Potion | Chemistry | Nerd

Awards:

1 win

Cast

Jerry Lewis	...	Professor Julius Kelp / Buddy Love / Baby Kelp
Stella Stevens	...	Stella Purdy
Del Moore	...	Dr. Mortimer S. Warfield
Kathleen Freeman	...	Millie Lemmon
Med Flory	...	Warzewski - Football Player
Norman Alden	...	Football Player / Student
Howard Morris	...	Mr. Elmer Kelp
Elvia Allman	...	Edwina Kelp
Milton Frome	...	Dr. M. Sheppard Leevee
Buddy Lester	...	Bartender
Marvin Kaplan	...	English Student
David Landfield	...	College Student
Skip Ward	...	Football Player
Julie Parrish	...	College Student
Henry Gibson	...	Gibson, College Student
Les Brown and His Band of Renown	...	Themselves
Les Brown	...	Himself - Band Leader
rest of cast listed alphabetically:
Murray Alper	...	Gym Attendant (uncredited)
Les Brown Jr.	...	Student at Senior Prom (uncredited)
Stumpy Brown	...	Band Member (uncredited)
Joseph Forte	...	College Faculty Member (uncredited)
Art Gilmore	...	Narrator (voice) (uncredited)
Gavin Gordon	...	Clothing Salesman (uncredited)
Terry Higgins	...	Purple Pit Cigarette Girl (uncredited)
Stuart Holmes	...	Faculty Member at Senior Prom (uncredited)
Robert Keys	...	Policeman (uncredited)
Richard Kiel	...	Bodybuilder at Gym (uncredited)
Carl M. Leviness	...	Elderly Professor (uncredited)
Gary Lewis	...	Boy (uncredited)
Forbes Murray	...	Faculty Member at Senior Prom (uncredited)
Emil Richards	...	Musician - Percussionist (uncredited)
Michael Ross	...	Weight Lifter at Gym (uncredited)
William Smith	...	Gym Assistant (uncredited)
Bert Stevens	...	Purple Pit Customer (uncredited)
Roger Torrey	...	Football Player (uncredited)
Doodles Weaver	...	Rube (uncredited)
Dave Willock	...	Purple Pit Customer (uncredited)
Celeste Yarnall	...	College Student (uncredited)
Francine York	...	College Student (uncredited)

Directed by
Jerry Lewis

Writing credits
Jerry Lewis		(written by) and
Bill Richmond		(written by)

Produced by
Ernest D. Glucksman	....	producer
Arthur P. Schmidt	....	associate producer

Original Music by
Walter Scharf		(music scored by)

Cinematography by
W. Wallace Kelley		(director of photography)

Film Editing by
John Woodcock

Casting by
Edward R. Morse		(uncredited)

Art Direction by
Hal Pereira
Walter H. Tyler		(as Walter Tyler)

Set Decoration by
Robert R. Benton		(as Robert Benton)
Sam Comer

Costume Design by
Edith Head

Makeup Department
Nellie Manley	....	hair style supervisor
Jack Stone	....	makeup artist
Wally Westmore	....	makeup supervisor
Agnes Flanagan	....	hair stylist (uncredited)

Production Management
Hal Bell	....	assistant production manager
William Davidson	....	production manager (as Bill Davidson)

Second Unit Director or Assistant Director
Ralph Axness	....	assistant director
Jack Barry	....	assistant director (uncredited)
William R. Poole	....	assistant director (uncredited)

Art Department
Martin Pendleton	....	property master

Sound Department
Charles Grenzbach	....	sound recordist
Hugo Grenzbach	....	sound recordist
Bud Parman	....	boom operator (uncredited)
Bill Wistrom	....	sound editor (uncredited)

Visual Effects by
Paul K. Lerpae	....	special photographic effects

Stunts
Bob May	....	stunts (uncredited)

Camera and Electrical Department
James Grant	....	assistant camera (uncredited)
Kyme Meade	....	camera operator (uncredited)
Sterling Smith	....	still photographer (uncredited)
Murray Young	....	key grip (uncredited)

Costume and Wardrobe Department
Sy Devore	....	wardrobe: men
Nat Wise	....	wardrobe: men
James M. George	....	wardrobe (uncredited)
Ruth Stella	....	wardrobe (uncredited)

Music Department
Walter Scharf	....	conductor

Other crew
Marshall Katz	....	assistant to producer
Richard Mueller	....	Technicolor color consultant
Marvin Weldon	....	dialogue coach
Dorothy Yutzi	....	script supervisor

Production Companies

• Paramount Pictures
• Jerry Lewis Enterprises (uncredited)

Distributors

• Paramount Pictures (1963) (USA) (theatrical) (as A Paramount Release)
• Paramount (1963) (France) (theatrical)
• American Broadcasting Company (ABC) (1968) (USA) (TV) (broadcast premiere)
• CIC Vídeo (Brazil) (VHS)
• CIC-Taft Home Video (19??) (Australia) (VHS)
• Paramount Home Entertainment (2004) (Brazil) (DVD)
• Paramount Home Entertainment (2002) (UK) (DVD)
• Paramount Home Entertainment (2002) (Netherlands) (DVD)
• Paramount Home Video (19??) (USA) (VHS)
• Paramount Home Video (19??) (USA) (video) (laserdisc)
• Paramount Home Video (2000) (USA) (DVD)
• Paramount Home Video (2004) (USA) (DVD) (special edition)

Other Companies

• Band of Renown  group cast members
• Phoenix Film Office  special thanks

Also Known As:

Runtime:

107 min

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono (Westrex Recording System)

Certification:

Finland:K-8 | Sweden:11 | UK:PG (video rating) (1988) (2002) | USA:Approved (MPAA rating: certificate #20376) | West Germany:16 | Iceland:L | UK:U (original rating) | Argentina:Atp | UK:PG (video rating: DVD audio commentary) (2004) | UK:PG (tv rating)

Filming Locations:

Arizona State University, Tempe, Arizona, USA

Company:

Paramount Pictures

Trivia:

A scene featuring Mushy Callahan as a taxi driver was shot but was never used.

Goofs:

Continuity: When Kelp is jammed into a storage cabinet by a student, his left knee lies on a big brown bottle. In the following scenes, this bottle has simply vanished.

Quotes:

Buddy Love:Here y'are, baby. Take this, wipe the lipstick off, slide over here next to me, and let's get started.

Movie Connections:

Featured in Edith Head: The Paramount Years (2002) (V)

Soundtrack:

That Old Black Magic

"The Satanic Glow of Buddy Love's Lounge Suits"

One of the most depressing symptoms of the phenomenon of "dumbing down" is the drastically diminished time-frame of people's imagination and empathy, which function well enough microscopically and telescopically (at a range of, say, two or three hundred years, or the day before yesterday), but which cannot make the small leap back thirty or forty years. It is surely on such grounds that Jerry Lewis's masterpiece, "The Nutty Professor", might be dismissed as "dated" or be found "unfunny". Ever since I saw this movie as a child back in the late 60s it has haunted my imagination, and taken on a mythic existence that floats free of its actual content and context. On recently viewing it again on a borrowed videocassette I was startled by the internal organisation of the movie, by its pacing, and by the fact that Kelp's odious alter-ego, Buddy Love, who dominates the movie conceptually, is actually on screen for so little of its longish running-time. Since childhood I had cherished Buddy Love for his wit, glamour and self-assurance, which contrast so strongly (and therapeutically) with the painful gaucheness of Julius Kelp. Only now, as a mature adult, do I fully appreciate just how fundamentally unlikeable he is.

It is interesting to note that his allure works better at a distance: idolised by the hipster habitues of the Purple Pit, he is viewed with deep suspicion by Stella Purdy, even as he fascinates and intrigues her. "The Nutty Professor" is as firmly located in its milieu (the United States of the early 60s) as "War And Peace" is in its (Tsarist Russia at the time of the Napoleonic Wars); therefore, talk of "datedness" is beside the point. As an exact picture of life in 2001 the film is hopeless, but as a myth or parable, with Kelp, Buddy Love, Stella, et al., as archetypes, its power is undiminished. Jerry Lewis has never been happy playing it straight, and Buddy Love is as extreme and grotesque in his way as the hapless Kelp. He is also by no means entirely free of Kelp's flaws; his clumsiness during the slow dance with Stella shows how aspects of Kelp's personality continue to permeate his, and point to the incompleteness and volatility of the metamorphosis. Even his name, opportunistically extemporised for Stella's benefit, contains a deep irony, since, in spite of his superficial popularity and supreme sexual confidence, he is essentially friendless and incapable of deep feeling. If kindly Kelp is crippled by involuted intelligence, the sybaritic, self-seeking Buddy Love is stunted by affectlessness. (I am puzzled by the IMDb reviewer who found him insufficiently monstrous.)

Buddy Love's glittering lounge suits emit a satanic glow, and Jennifer, the caged mynah-bird, is a kind of familiar to Kelp, whose Faustian alchemy effects his painfully achieved and all-too-brief transformations into this eerie nightclub singer who generally only appears after nightfall (his one diurnal appearance being a spectacularly successful bid to persuade the otherwise pompous college Principal to sanction his headlining performance at the Senior Prom). In view of their acrimonious split it is tempting to view the Buddy Love persona as an acerbic commentary on Lewis's erstwhile partner Dean Martin, but the character also contains generous helpings of Frank Sinatra, and is perhaps best seen as a broad swipe at the Rat Pack. The wider message of the film is that kindness and intelligence (which Kelp already possesses) are far more important than the kind of shallow and flashy qualities that invest Buddy Love with his powerful but limited appeal (the rapid wearing-off of Kelp's formula, whose ingestion is attended by such agonising side-effects, shows that such a persona is literally unsustainable for any length of time).

Kelp's final speech at the Prom, when his appearance as Buddy Love has been cut catastrophically short, is indeed "heart-wrenching", but as both a summing-up of the main themes of the movie and a token of Kelp's increased self-knowledge, it is indispensable. This brilliant and disturbing film uses comedy as a vehicle to explore serious questions about the nature of identity. The Kelp who wins Stella's love is a better-integrated personality than either his earlier self or the grotesque alter-ego of Buddy Love, but a note of mild cynicism (defusing any hint of sentimentality in Kelp's Prom speech) is sounded when Stella pockets two phials of the formula put on sale by Kelp's formerly timid father (to whom he had entrusted it). (He had also entrusted it, of course, to his domineering mother, but it is perhaps significant to observe that the formula presumably only works with men.)