An artist has an opportunity to go to Paris and wants to bring his fiancee along. However, she's a psychiatrist who currently has three female patients who don't like men. So, he guises ... See full summary »
Man (Lewis) is told by his doctor (Lawford), and best friend, that he has a terminal illness. At his wife's urging, he lives life to the fullest, racking up insurmountable debts. When the ... See full summary »
While fishing on a San Diego beach, Gerald Clamson catches ... a sea diver! Even more weird, the "fish" resembles him. The man, who is not (yet) dead, reveals his secret to the peaceful ... See full summary »
Harold J. Stone,
Susan Bay Nimoy
Mute bellboy Stanley works at the luxurious Fontainebleau Hotel in Miami Beach. In spite of being a serviceable and friendly employee, the clumsy Stanley gets successively into trouble with his mistakes.
Private Meredith Bixby is so out of step in the Army that his six weeks of planned basic training has now stretched to 17 months. After he loses a tank, WAC Major Shelton, a psychologist, ... See full summary »
Sidney Pythias is a bumbling janitor picked up by cop Mike Damon as a teenage gang member worth saving from delinquency. With Damon's help, Sidney works his way through the Police Academy to become a cop too.
In 1989, the Americans and the Russians each have a two-person base on the moon. The Americans have had to keep replacing their astronaut teams because they quickly go crazy; they have been using only male astronauts on the unspoken assumption that this would avoid any possibility of impropriety. The Russians, as godless Communists, are under no such constraints, and their male-female team has remained well-adjusted. At the start of the film, a male and female American astronaut team is sent up to replace the sex-starved all-male team. The government insists on them being married first to preserve morality. Most of the story revolves around the eventual consummation of this marriage of convenience, and around their relationship with their Russian neighbors, who keep casually dropping by.Written by
During the elevator ride to board the rocket the building in the background doesn't change position or angle as it would in real life, revealing that the background film loop simply keeps repeating as the elevator supposedly passes each level. See more »
[loading the sex-crazed Schmilap onto the return vessel]
When do you untie him?
When I rendezvous with Deuce in the main ship, and get some help.
NOTHIN'S gonna help ya Hoffman! You no good dir...
[Hoffman yanks the cord on Schmidlap's suit radio. Schmidlap continues shouting in silence, until quieted by a few blows by Hoffman to the side of his helmet]
What happens when Schmidlap gets back, and there's girls all over the place?
Oh I don't know... I honestly don't know... If I could just get him ...
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Incredible sets, good camera-work, a few great gags
A few parts had me howling, even though the rest of the room was dead quiet. But I've always been a fan of Jerry's more subtle "deadpan" humour and surrealistic, wordless scenes where the comedy seeps into you rather than the bang-pow punchline type of laugh.
For example in CINDERFELLA there's that scene where he's trying to light his stepbrother's cigarette. No music, no dialogue, no camera motion at all. Just 120 seconds of pure disaster. Or in NUTTY PROFESSOR there's the hilarious scene where he timidly enters the dean's office--again, no sound, no words, just a thick, hilarious atmosphere.
WAY... WAY OUT has a few of those types of gags, and they were brilliantly done, including one of the funniest gags I've ever seen ("If I'm not mistaken, that's Stella Mary right there"). Unfortunately the film seemed to switch gears halfway through, once they're on the moon, and it became more of a silly sitcom. Still, I enjoyed it until the end.
A word about the visual presentation: magnificent! Sure, we don't generally go to Jerry Lewis movies to see artistic cinematography, but it's there. The sets are surreal (futuristic in a cool retro-60s way). Everything was large and colourful. Shots are framed wonderfully (be sure to see it in widescreen). The camera moves smoothly and brilliantly throughout the action. But then, as I said above, everything changes once they're on the moon. The sets become smaller, more claustrophobic and less grandiose. This returns us to the silly sitcom feel.
Overall it was wacky & entertaining. I think it's best watched by people who are familiar with Jerry's subtle style, rather than his slapstick skits. For that reason I'm afraid most people will be disappointed. But a few of you may really enjoy it.
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