Download press kit here - Viennale
Download press kit here - Viennale
Download press kit here - Viennale
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RETROSPECTIVE<br />
JERRY LEWIS<br />
“A Jerry Lewis retrospective in a German-speaking country? Fantastic! I never thought I’d live to see the day! Can<br />
you recommend a cheap hotel in Vienna?” “Good grief! Who in the world would want to see that? You Europeans<br />
still like Lewis? Unbelievable!”<br />
These two early reactions to the announcement of the 2013 Jerry Lewis retrospective reflect two classic and opposing<br />
camps of film enthusiasts. The first – now in their third generation – primarily reside in Europe and have<br />
venerated the American actor Jerry Lewis since the 1960s. They regard him as the rightful heir to the great classic<br />
film comedians Chaplin, Keaton and Laurel & Hardy, indeed, as the comic actor of American cinema since the<br />
beginning of the sound-film area. They especially admire his extremely physical, grotesque performances and<br />
the true-to-character manner in which he stages his own films as a director. To them, Lewis is an auteur par excellence<br />
– a fully accomplished artist whose films exude a certain aroma in practically every detail and once<br />
you’ve picked up the scent, you become addicted to its sweet fragrance. The film-lovers of the other camp see the<br />
same qualities in Lewis’s oeuvre, sense the same aroma, and are still shaking their heads three generations later.<br />
They consider Lewis to be an egocentric attention-seeker, who has chosen the wrong medium and who should<br />
have stuck with theater, an unsophisticated popular clown lacking urban wit.<br />
W<strong>here</strong> exactly Jerry Lewis – one may say “the phenomenon Lewis” – marks the dividing line between these two<br />
camps, which in turn stand for two cultural orientations, has been a great, fascinating question in the history of<br />
film that has never really been answered. It also touches upon an issue that is often bashfully brushed aside, as<br />
if one were referring to sexual preferences: HOW am I laughing? Loudly? Unrestrainedly? On the sly? From the<br />
head or from the heart? WHAT actually makes me laugh? Puns? Earthiness? Irony? The absurd? Do I enjoy the<br />
playfulness of comedy? For instance, the playfulness of a lanky and almost absurdly elastic body that displays<br />
an incredible suppleness in the “silliness” with which it, for example, is constantly falling down? Do I enjoy this<br />
suppleness, does it whet my appetite for more? These are some of the essential and intimate questions that “the<br />
phenomenon Lewis” has been posing to audiences time and again for decades, long before any critical reflection.<br />
And the answer is clear.<br />
It is mainly as an “emotive body” – one that provokes physical reactions in the audience through its very nature<br />
and ex<strong>press</strong>ive power − that the audience of the great <strong>Viennale</strong> and Filmmuseum retrospective will perceive Jerry<br />
Lewis in a program of more than 30 films, selected TV productions and a comprehensive documentary. We will<br />
have to be careful in watching this man who was born in New Jersey 87 years ago as Joseph Levitch and started<br />
his career as a pantomime: he has given new meaning to the phrase “I laughed until my sides were aching!”<br />
A German-language catalogue on Jerry Lewis will be published on the occasion of the retrospective, including<br />
new and classic essays, selected interviews, autobiographical material and reviews of all the films shown during<br />
this tribute.<br />
A RETROSPECTIVE BY VIENNALE AND AUSTRIAN FILM MUSEUM<br />
October 18 to November 24, 2013<br />
Österreichisches Filmmuseum, Augustinerstraße 1, 1010 Vienna<br />
Tel. +43/1/533 70 54 • www.filmmuseum.at