Herman owes a lot of gambling debts. To pay them off, he promises the mob he'll fix a horse, so that it does not run. He intends to trick his animal-loving cousin, Virgil, an apprentice ... See full summary »
En route to Hollywood, singer Steve, his partner Seymour and fiancée Jane, Jane's airheaded roommate Irma, and Irma's con artist fiancé Al have a series of misadventures and end up involved with a murderous gang.
Although allergic to kissing girls, Seaman Melvin Jones, through a fluke TV appearance, gets the undeserved reputation of a great kisser dubbed "Mr. Temptation" and is pursued by amorous young females.
The last movie with Jerry Lewis and Dean Martin together, is a satire of the life in Hollywood. Steve Wiley is a deceiver who cheats Malcolm Smith when he wins a car, claiming that he won it too. Trying to steal the car, Steve tells Malcolm that he lives in Hollywood, next to Anita Ekberg's. When Malcom hears that, they both set out for Hollywood and the adventure begins...Written by
Chris Makrozahopoulos <firstname.lastname@example.org>
Jerry Lewis maintained that he never saw this film, because the making of it was too painful, as he and Dean Martin had already decided to end their partnership. See more »
When the bull throws Malcolm after a short ride, you can briefly see a rope around its neck, presumably used by the stunt double. But the rest of the bull scenes show no rope. See more »
But remember, I'd have never known about the phony ticket or the stealing if you didn't tell me, which means you're very noble. You're as noble as Abraham Lincoln or Raymond Massey.
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"Hollywood or Bust" was the last of Jerry Lewis and Dean Martin musical comedies and a very good one. Although it is not as bracingly innovative and riotous as Tashlin's "Artists and Models", I kept laughing throughout.
Some hilarious and enjoyable scenes come to mind: The opening moments in the movie theater where Lewis is ruining a woman's hair with popcorn; the rousing musical number "A Day in the Country" (Martin and Lewis in a car) which is Tashlin's homage to the "Beyond the Blue Horizon" number in Lubitsch's 1930 musical "Monte Carlo"; and there is Lewis' imitation of Rudolph Valentino's "Blood and the Sand".
Sure it can be silly and puerile at times, but it's a lot of fun.
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