miércoles, 3 de diciembre de 2014
domingo, 16 de noviembre de 2014
Jerry Lewis y los arquetipos: caso Clown.
Jerry Lewis utilizó personajes arquetípicos a lo largo de su carrera.
Uno de ellos es el Clown.
Se sirvió de este arquetipo para el personaje de Jerrico en el film "Three Ring Circus" (1954), para "Jazz Singer" (1959), y "Day Clown Cried" (1972), descontando algunas referencias cruzadas que hizo en forma de sketches, tanto en films como en televisión (Bobo Clown, en "Errand Boy" de 1961, "Family Jewels" de 1965)
En varias entrevistas dijo que él es un clown. Tiene en su casa una gran colección de payasos de todo el mundo, y de todas las épocas, y advierte que esta tradición, la del clown, comenzó con la Comedia del Arte italiana renacentista, señalando con orgullo al Arlequín como el principio de todo.
Su vida está impregnada de esta visión recurrente de la cara blanca, a tal punto que en Errand Boy, una famosa escena de 2 minutos, aparece con el títere Bobo el Clown, esta pequeñisimo títere que lo mira como si fuese en un espejo. Ese número fue catalogado como uno de los más hermosos y tiernos en su carrera, y lo reprodujo en su show televisivo cantándole una canción.
En la construcción del personaje se aprecia el mismo molde, la inspiración en el modelo de clown antiguo llamado Augusto, por su nariz roja, y la utilización de blanco para resaltar boca y ojos con delineado negro, el cual difiere del antiguo clown que remitía directamente al estilo de la Comedia del Arte, que mezclaba al Pulcinello con tardías versiones de Pagliacci, el cual lleva la cara blanca, con muy pocos delineados en negro, de tipo nostálgico, pero enérgico y autoritario.
El clown Augusto lleva generalmente un sombrero muy pequeño, ladeado en su cráneo, y sus ropas son dos o tres talles más grandes. Tiene un carácter alegre, es impertinente y lo que hace termina en catástrofe.
Sobre este molde de personaje, Lewis fue dando matices, como si hubiese creado una variedad de su propia versión del clown Augusto. Sea como fuere su clown es profundamente triste.
Desde el Jerrico en el Circo de Tres Pistas, donde se aprecia la ternura y dulzura por encima de los disparates, pasando por el compungido Joey Robin del Jazz Singer, por el arrogante Everett de Family Jewels, hasta el amargado y denso Helmut Doork de Day Clown Cried.
Y fue su propia metamorfosis, ya no era el mismo Lewis de 1959 que el de 1972, ese clown mutó dentro de sí expresando dolor, rabia, altanería, amargura. Este clown avejenta como él. El del 1972 ya tiene canas en la sien. Se mueven diferente.Cambian algunos compases pero la melodía es la misma.
No se sabe por que Lewis caratuló a su film de 1972 como malo, pero se puede inferir que conociendo su metodología de trabajo artístico, y los problemas que padeció en la filmación, hizo que lo detestara. Roberto Benini hizo "La vida es bella" en 1997 siguiendo casi un calco del guión del film de 1972 y fue aplaudido por el mundo entero. Por que razón el público no aceptó la idea de un clown que trabaja en un campo de concentración en pleno holocausto haciendo reír a los niños antes de que los lleven a morir a la cámara de gas? Que pudo ser tan terrible que el propio Lewis dijo que era todo malo? Pudo ser la inclusión en el film de bromas hacia Hitler? O demasiados retoques del guión que desvirtuaron la esencia discursiva? Que pudo ser lo que le resultó deleznable?
Ese film permanecerá en las bóvedas sin ver la luz hasta Dios sabe cuándo.
En tanto solo se cuenta con siete minutos y fotos de la filmación, pero no se puede decir nada salvo pensar en la construcción del personaje siguiendo el molde del clown Augusto.
De todos modos, en esta idea convergen el estilo de Al Jolson, con un toque, solo un toque, de Chaplin, y su propio sello en el arquetipo.
Jerrico, 3 Ring Circus (1954).
El clown Bobo. Errand Boy (1961)
Joey Robin. The Jazz Singer (1959).
Everett the Clown. Family Jewels (1965).
Helmut Doork. Day Clown Cried (1972).
Uno de ellos es el Clown.
Se sirvió de este arquetipo para el personaje de Jerrico en el film "Three Ring Circus" (1954), para "Jazz Singer" (1959), y "Day Clown Cried" (1972), descontando algunas referencias cruzadas que hizo en forma de sketches, tanto en films como en televisión (Bobo Clown, en "Errand Boy" de 1961, "Family Jewels" de 1965)
En varias entrevistas dijo que él es un clown. Tiene en su casa una gran colección de payasos de todo el mundo, y de todas las épocas, y advierte que esta tradición, la del clown, comenzó con la Comedia del Arte italiana renacentista, señalando con orgullo al Arlequín como el principio de todo.
Su vida está impregnada de esta visión recurrente de la cara blanca, a tal punto que en Errand Boy, una famosa escena de 2 minutos, aparece con el títere Bobo el Clown, esta pequeñisimo títere que lo mira como si fuese en un espejo. Ese número fue catalogado como uno de los más hermosos y tiernos en su carrera, y lo reprodujo en su show televisivo cantándole una canción.
En la construcción del personaje se aprecia el mismo molde, la inspiración en el modelo de clown antiguo llamado Augusto, por su nariz roja, y la utilización de blanco para resaltar boca y ojos con delineado negro, el cual difiere del antiguo clown que remitía directamente al estilo de la Comedia del Arte, que mezclaba al Pulcinello con tardías versiones de Pagliacci, el cual lleva la cara blanca, con muy pocos delineados en negro, de tipo nostálgico, pero enérgico y autoritario.
El clown Augusto lleva generalmente un sombrero muy pequeño, ladeado en su cráneo, y sus ropas son dos o tres talles más grandes. Tiene un carácter alegre, es impertinente y lo que hace termina en catástrofe.
Sobre este molde de personaje, Lewis fue dando matices, como si hubiese creado una variedad de su propia versión del clown Augusto. Sea como fuere su clown es profundamente triste.
Desde el Jerrico en el Circo de Tres Pistas, donde se aprecia la ternura y dulzura por encima de los disparates, pasando por el compungido Joey Robin del Jazz Singer, por el arrogante Everett de Family Jewels, hasta el amargado y denso Helmut Doork de Day Clown Cried.
Y fue su propia metamorfosis, ya no era el mismo Lewis de 1959 que el de 1972, ese clown mutó dentro de sí expresando dolor, rabia, altanería, amargura. Este clown avejenta como él. El del 1972 ya tiene canas en la sien. Se mueven diferente.Cambian algunos compases pero la melodía es la misma.
No se sabe por que Lewis caratuló a su film de 1972 como malo, pero se puede inferir que conociendo su metodología de trabajo artístico, y los problemas que padeció en la filmación, hizo que lo detestara. Roberto Benini hizo "La vida es bella" en 1997 siguiendo casi un calco del guión del film de 1972 y fue aplaudido por el mundo entero. Por que razón el público no aceptó la idea de un clown que trabaja en un campo de concentración en pleno holocausto haciendo reír a los niños antes de que los lleven a morir a la cámara de gas? Que pudo ser tan terrible que el propio Lewis dijo que era todo malo? Pudo ser la inclusión en el film de bromas hacia Hitler? O demasiados retoques del guión que desvirtuaron la esencia discursiva? Que pudo ser lo que le resultó deleznable?
Ese film permanecerá en las bóvedas sin ver la luz hasta Dios sabe cuándo.
En tanto solo se cuenta con siete minutos y fotos de la filmación, pero no se puede decir nada salvo pensar en la construcción del personaje siguiendo el molde del clown Augusto.
De todos modos, en esta idea convergen el estilo de Al Jolson, con un toque, solo un toque, de Chaplin, y su propio sello en el arquetipo.
Jerrico, 3 Ring Circus (1954).
El clown Bobo. Errand Boy (1961)
Joey Robin. The Jazz Singer (1959).
Everett the Clown. Family Jewels (1965).
Helmut Doork. Day Clown Cried (1972).
sábado, 8 de noviembre de 2014
Jerry Lewis in Cinderfella - 1960
This is a short paper about the film, originally wrote by myself in spanish. I can't translate it complete, so, I give here a summary (pardon my poor english)
About the film
Cinderfella was released on 16 december 1960, becoming an instantaneous blockbuster since the public was anxious to watch the new "romantic fairy tale revisited" (as well as also the soundtrack launched simultaneously).Directed by Frank Tashlin, with Ed Wynn, Judith Anderson, Henry Silva, Robert Hutton and Ana María Alberghetti. Produced by Jerry Lewis. Script: Frank Tashlin. 90 minutes running time.
With an impressive première, held in Chicago on 22 november 1960, Lewis set up his charismatic vision about how to please his fans, arriving to the festival in a "pumpkin carriage", meeting the lovely Cinderella...whom hit his head with the magic wand investing him of magical charm.
And was a blast.
Nominée to Golden Laurel Award for Best Actor, Jerry Lewis won the fourth place.
Judith Anderson made a good play as the stepmother and we can say that is all about. Ana Maria Alberghetti as the Princess Charming, fits well in the role, even the reminiscenses with Audrey Hepburn, the italian actress done it well.
I wonder why they do not took advantage of the super expensive car Golden Sahara II, property of Jim Street Skonzakes, just for few takes? This amazing car was designed by George Barris from a Lincoln Capri in 1953. The model used in the movie is the second version of 1960.
The owner drove the car and actor Norman Leavitt played the role of chauffer only for three takes!.
Nor George Barris and Jim Street neither Norman Leavitt appears in film credits.
And a bad choice was do not show the splendid car when Fella arrives to the ballroom, being a crucial scene! And more about the transitions!
Altough in the '50 they had not many FX, at least they could do some fading out, or flash blast, or black out!
Some technical failures in the film: the scene when Fella is sleepwalker and goes out across the left side of window, walking crouched below the frame, leaving visible his yellow shirt (maybe because was made in one take), the umbrella at the piscine spinning around without reason, Fella spilling the salt into his soup then trying to scoop the salt out of the soup with the salt shaker, in the next shot, the salt shaker is dry and full.
The musical numbers do not get along with the discursive level of the plot and break the
attention. Originally there were three musical numbers, but the third was discarded in the post production.
Another musical number with Francesca Bellini, Joi Lansing, Barbara Luna, Frances Mc Hale and Darlene Tompkins was discarded, this scene was called "dream sequence", never shown even as archive material for dvd release. The original running time of 99 minutes ended in 90. With this vast edition caused the existence of gaps in the plot.
Anyway is a good movie.Don' t get me wrong, I love Jerry Lewis, but I think we need to be objective.!
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Panoramic. Première. Still. A. Scaffino.
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The impossible love between "people" and "person" in Lewis thinking. Still: A. Scaffino.
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13-45-57%5D.JPG)
13-38-05%5D.JPG)
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Lewis with Frank Tashlin.
Dozens... dozens of wonderful dresses. Still: A. Scaffino.
Pictures not marked as A. Scaffino were
taken from several internet sources, not copyright infringement is intended.
About the film
Cinderfella was released on 16 december 1960, becoming an instantaneous blockbuster since the public was anxious to watch the new "romantic fairy tale revisited" (as well as also the soundtrack launched simultaneously).Directed by Frank Tashlin, with Ed Wynn, Judith Anderson, Henry Silva, Robert Hutton and Ana María Alberghetti. Produced by Jerry Lewis. Script: Frank Tashlin. 90 minutes running time.
And was a blast.
Nominée to Golden Laurel Award for Best Actor, Jerry Lewis won the fourth place.
With amazing wardrobe design of Edith Head, the legendary Paramount's designer, who made dozens of incredible suits, the Count Basie Orchestra, the luxurious plateau, the sensational locations in Bel Air (Polo and Golf Club scenes in Will Rogers State Historic Park near Santa Monica and Holmby Park in Los Angeles) the movie combines fantasy, comedy and naif romance.
Damn stairs!: the sets have stairs anywhere, in the paradisiac mansion (the Kirkeby's, in 750 Saint Cloud Road, Bel Air), in the ballroom (the entrance and the exit) (Paramount). It was Lewis's nightmare. After several reharsals, up stair and down stair, when the ball scene was shot in Paramount Studios and
when the clock warned him he rushed up the 63 steps of the staircase in seven seconds, and
collapsed. The bodyguard Fritz Hawks at the time guarding a chest of jewels valued at fifty thousand dollars, ran desperately for oxygen and took Lewis to the hospital.
when the clock warned him he rushed up the 63 steps of the staircase in seven seconds, and
collapsed. The bodyguard Fritz Hawks at the time guarding a chest of jewels valued at fifty thousand dollars, ran desperately for oxygen and took Lewis to the hospital.
Doe to the overexercise because of Jerry spent four days observing and filming delayed two weeks after which he returned to the set and ended with shots.
After legal struggles with Walt Disney who claimed for the use of the term and concept "Cinderfella" close to his "Cinderella", and another legal incident over the "diner scene at the huge table", which allegedly was written by Cy Howard in 1953 for duo with Dean Martin, suddenly ended when the Paramount's lawyers buffet presented some evidences favoring the writer, the production was done.
But it was not the dream movie that Lewis once dreamt.
Although the good critics and unconditional love from his fans, the movie had several problems.
Ed Wynn who played the role of fairy godfather, was completely wasted and after a vaste edition, some of his scenes were deleted and at the plot's end, he dissapears at all.
The charming Fella, conceived by Lewis itself, dragged a lot of critics among the media. No romanticism, no sensual approaching to the Princess, dissapointed the female audience, not matter how many times Lewis emphasized his love for children, most of his public at this time were women!
His conception of "charmed Fella" is an old man (the shadow of his father) without any emotion, just playing the role as an archetype. His manners and customs are those of a simple guy that is mocked all the time for a terrible family, clowning with his crazy faces and gestures, but moody, naif.
Judith Anderson made a good play as the stepmother and we can say that is all about. Ana Maria Alberghetti as the Princess Charming, fits well in the role, even the reminiscenses with Audrey Hepburn, the italian actress done it well.
How to deal with the unacceptable concept of : "you are person, I am people"???
Which was the secret behind this Lewis concept? Maybe he desired to erase all sensual or sexual connotations in the tale?
Why he wore the red jacket instead of a black or grey suit or a tuxedo? Maybe as a protest against the "blue" dress code tagged for "princes"? Or was it just a visual appeal to distinguish it from other men in the ballroom?
No signs of continental ways, nor the behaviour, neither the context. The transitions between the poor guy to the refinated old man, and from the old man to the poor guy was brutally cut in post edition. Two simple sequences shot were cut off and concealed the metamorphosis leaving a bitter taste.
No signs of continental ways, nor the behaviour, neither the context. The transitions between the poor guy to the refinated old man, and from the old man to the poor guy was brutally cut in post edition. Two simple sequences shot were cut off and concealed the metamorphosis leaving a bitter taste.
The dense atmosphere of the ghostly presence of his faher (exemples: the shadow at the mansion stair, wearing the father's tuxedo, protesting in the basement deeply moody, sleeping in a twin matress disposed in a king size bed) take off rhytm and freshness to the movie. Maybe as a result of the systematic great post edition cuts, the movie runs slow and disjointed.
I wonder why they do not took advantage of the super expensive car Golden Sahara II, property of Jim Street Skonzakes, just for few takes? This amazing car was designed by George Barris from a Lincoln Capri in 1953. The model used in the movie is the second version of 1960.
The owner drove the car and actor Norman Leavitt played the role of chauffer only for three takes!.
Nor George Barris and Jim Street neither Norman Leavitt appears in film credits.
And a bad choice was do not show the splendid car when Fella arrives to the ballroom, being a crucial scene! And more about the transitions!
Altough in the '50 they had not many FX, at least they could do some fading out, or flash blast, or black out!
Some technical failures in the film: the scene when Fella is sleepwalker and goes out across the left side of window, walking crouched below the frame, leaving visible his yellow shirt (maybe because was made in one take), the umbrella at the piscine spinning around without reason, Fella spilling the salt into his soup then trying to scoop the salt out of the soup with the salt shaker, in the next shot, the salt shaker is dry and full.
The musical numbers do not get along with the discursive level of the plot and break the
attention. Originally there were three musical numbers, but the third was discarded in the post production.
Another musical number with Francesca Bellini, Joi Lansing, Barbara Luna, Frances Mc Hale and Darlene Tompkins was discarded, this scene was called "dream sequence", never shown even as archive material for dvd release. The original running time of 99 minutes ended in 90. With this vast edition caused the existence of gaps in the plot.
Anyway is a good movie.Don' t get me wrong, I love Jerry Lewis, but I think we need to be objective.!
Première. Ana María Alberghetti and Jerry Lewis on stage. Still. A.Scaffino.
Panoramic. Première. Still. A. Scaffino.
Première. Pumpkin carriage. Still. A.Scaffino.
Artwork A. Scaffino
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13-45-44%5D.JPG)
13-45-57%5D.JPG)
The unique moment of love and tenderness between the boy and the Princess. Stills: A. Scaffino.
The luxurious Golden Sahara II model 1959 valued in US 75.000 .- !!!. Still: A. Scaffino.
13-38-05%5D.JPG)
The owner drove the car and actor Norman Leavitt played the chauffeur for three takes.
Stills: A. Scaffino.
13-32-04%5D.JPG)
13-32-26%5D.JPG)
The amazing dress of Princess Charming. Still: A. Scaffino.
The dress highlighted by Louella Parsons in Los Angeles Examiner.
Edith Head's wardrobe designs.
The Count Basie Orchestra.
The charmed Fella. Still: A. Scaffino.
Pictures not marked as A. Scaffino were
taken from several internet sources, not copyright infringement is intended.
martes, 21 de octubre de 2014
Hace 100 años ---Louis de Funès
Se han cumplido este año los cien años del nacimiento del genial Louis de Funès. Fue un gigante, un genio de la comedia, un olímpico de las tablas, uno de esos que nace cada 200 o 300 años... Me acordé de este evento buscando fotos de Jerry Lewis cuando estuvo en Francia y fue él el que le dio el Cesar a la trayectoria en 1980, dos genios en escena!
Lamento que en Argentina no se difunda casi nada de este actor (y otros maravillosos del orbe).
Vaya mis respetos a este uno y único de la comedia europea.
Lamento que en Argentina no se difunda casi nada de este actor (y otros maravillosos del orbe).
Vaya mis respetos a este uno y único de la comedia europea.
lunes, 8 de septiembre de 2014
lunes, 25 de agosto de 2014
lunes, 21 de julio de 2014
domingo, 20 de julio de 2014
lunes, 3 de marzo de 2014
TCM Classic Film Festival will honor Jerry Lewis on April 12 in Chinese Theatre Imax- Los Angeles
The 2014 TCM Classic Film Festival will honor actor, filmmaker and humanitarian Jerry Lewis. As a part of the ceremony that will highlight his prolific career, Lewis will have his hand and footprints cemented in concrete in front of the TCL Chinese Theatre IMAX on April 12.
In addition to his successful career as an actor and director, Lewis is also a world-renowned humanitarian and the only entertainer to ever be nominated for a Nobel Peace Prize. He was also named one of “The Most Recognized Personalities on the Planet” by Newsweek magazine.
“Jerry has provided the world with great merriment and laughter, while also showing…what an exceptional dramatic actor he can be,” TCM host Robert Osborne said. “Add to that his many credits as a popular director, producer and writer, and you see the reasons we are pleased to be able to honor him for his more than 60 years of contributions to the world of motion pictures.”
Following the ceremony, Lewis will attend a screening of one of his most memorable films, “The Nutty Professor,” which he also directed. Prior to the film, Lewis will be interviewed by award-winning actress Illeana Douglas. Afterwards, he will stick around to answer questions from the audience.
The film festival will take place April 10-13 in Hollywood.
Jerry Lewis received the LifetimeAchievement Award at the ICG Publicists Awards Luncheon - 2014
LOS ANGELES, Jerry Lewis received the Lifetime Achievement Award at the ICG Publicists Awards Luncheon at the Beverly Wilshire Hotel, Beverly Hills onFebruary 28, 2014.
Steven Poster, ASC, president of the ICG, said: “Lewis is “a national treasure who has provided generationsworldwide with decades of laughs. The money he has raised for the Muscular Dystrophy Association and ‘Jerry’’s Kids’ is simply astounding. Jerry is also one of the main reasons I wanted to get into show business when I was a child.””
“Jerry Lewis has achieved what few other performers have – success in movies, television and live performances.” said Awards Committee chairman Henri Bollinger. “This is due in large measure to his enormous talent, of course, but also because of his uncanny appreciation and knowledge of the importance of publicity in attracting audiences.”
At the age of 86, Lewis stepped back in front of the cameras as the star of the upcoming feature Max Rose. Written and directed by Daniel Noah, “Max Rose” premiered in the official lineup of the 2013 Cannes Film Festival. It co-stars Kerry Bishé, Kevin Pollak, Claire Bloom, Dean Stockwell, Fred Willard and Mort Sahl.
In his more than six decades as the chairman of the MDA and host of their annual telethon, Lewis raised more than 2.6 billion dollars for the charitable organization. He has been nominated for a Nobel Peace Prize, has been presented with the French Legion of Honor, and received the Jean Hersholt Humanitarian Award at the 2009 Academy Awards.
(Los Angeles, California--March 1, 2014) A sold-out audience of Hollywood publicity and marketing executives, producers, studio and network executives, celebrities and press gathered for the International Cinematographers Guild (ICG, IATSE LOCAL 600) 51st Annual ICG Publicists Awards at the Beverly Wilshire Hotel today, chaired by Henri Bollinger and co-chaired by Tim Menke. Jerry Lewis received the Lifetime Achievement Award from fellow comedian and long-time friend Carol Burnett.
Sponsors of the event are Paramount Pictures, 20th Century Fox Television, Universal Pictures,The Walt Disney Studios, 20th Century Fox Film, Friends of Max Rose, Junket Productions, Relativity Media, Variety, Creative Handbook, The Hollywood Reporter, MDS West, ICM Partners, Warner Bros. Photo Lab, City National Bank, Will Rogers Foundation, ET and LA Party Rents.
domingo, 26 de enero de 2014
domingo, 12 de enero de 2014
martes, 7 de enero de 2014
Battlestar Galactica 30th Anniversary: Favourite Scenes
En 2013 se cumplieron 35 años de esta grandiosa serie de SyFy
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