Frank Tashlin - Artistas e Modelos (Artists nd Models) - 1955

banda desenhada - inglês

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Enviado por safeinpants em 30/03/2011

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Depuis la fin des années 1940, le tandem Dean Martin-Jerry Lewis fonctionnait déjà bien dans des films humoristiques de série B. Mais ici, le duo vedette est celui formé par Lewis et MacLaine. Les patronymes des deux foufous de l’histoire donnent le ton : Eugène Fullstack (monsieur « pile (électrique) chargée ») face à Bessie Sparrowbush (miss « buisson à moineau »). Leur gestuelle et leurs mimiques sont celles des héros des comics d’autrefois : Jerry, yeux qui louchent et lèvres élastiques, et Shirley, paupières papillonnantes et jambes agitées de Betty Boop. Scènes d’anthologie efficaces dans le registre burlesque voire absurde de Frank Tashlin : Jerry en énorme peluche rose fumante et Shirley chantant avec la voix d’Olive Oyl, yeux révulsés et bouche en cœur…

Shirley MacLaine : « La première fois que j’ai travaillé avec Jerry, j’étais censée jouer une scène qui se déroulait sur un palier et qui s’intitulaitL’Énamourée.⁴ Je chantais une chanson d’amour et je portais une sortie de bain jaune. Mon rôle consistait à sautiller sur les marches d’un air provocant, en prenant des poses amusantes pour que Jerry tombe amoureux de moi. J’étais terrorisée par la peur d’être ridicule. […] Je jouais ma scène tant bien que mal et quand ce fut terminé, j’étais assez contente de moi. Pourtant, Jerry quitta le plateau l’air furieux, sans dire un mot. […] Je l’entendis déclarer qu’il ne voulait pas faire cette scène. Je crus évidemment que c’était à cause de moi. L’assistant faisait les gros yeux. Je m’assis et attendis. Quelques minutes plus tard, le producteur, Hal B. Wallis, arriva sur le plateau. Il entra dans la loge de Jerry et ferma la porte derrière lui. Au bout d’un moment, ils sortirent, et je compris que Wallis avait eu le dernier mot. […] Jerry et moi avons repris la répétition. […] La scène avait été écrite pour mettre en valeur le personnage féminin, moi en l’occurrence. Jerry servait de faire-valoir. Mais il avait l’habitude d’être celui qui fait rire et il n’était pas prêt à changer de rôle. En fait, il était extrêmement drôle mais, comme tous les grands comiques, il craignait toujours de ne pas l’être. Les répétitions de cette scène et des autres ne durèrent pas longtemps. Jerry fut plutôt aimable avec moi. J’ignorais que sa survie dépendait de ce film. Dean et lui étaient en train de se séparer. »

Artists and Models is a 1955 Paramount musical comedy in VistaVision and marked Martin and Lewis's fourteenth feature together as a team. The film co-stars Dorothy Malone, Eva Gabor, Anita Ekberg, andShirley MacLaine.

Martin and Lewis' fourteenth feature, Artists and Models was filmed from February 28 to May 3, 1955 at Paramount Studios. It was released on November 7, 1955 by Paramount. The film was one of the team's highest budgeted pictures, at $1.5 million,($12,589,869.40 in 2011)and was shot with Paramount's VistaVision cameras in Eastman color, print by Technicolor, and stereophonic sound by Perspecta. Costumes were by Paramount wardrobe designer Edith Head.

Artists and Models marked the first time Lewis worked with former Looney Tunes director Frank Tashlin, whom he admired greatly.^[Martin and Lewis would reunite with him on their last film, Hollywood Or Bust, and Lewis would then work with Tashlin on six of his solo films.

Producer Hal B. Wallis chose Tashlin for Artists and Models on the basis of his background as a cartoonist, and the film contains many gags influenced by the director's animation work. When MacLaine kisses Lewis in front of a water cooler, the water steams up; in another scene, a massage therapist bends Lewis's leg all the way towards his head. Artists and Models is considered a milestone in movie satire for its mockery of mid-1950s pop culture. One scene satirizes the Kefauver hearings on violent comic books, and other targets in the film include the Cold War, the space race and the publishing business.

Tashlin brought a lot of sexual innuendo to Artists and Models, making it more adult in content than most of Martin and Lewis's previous movies and indulging his own fetishistic fascination with female characters in revealing costumes. Some of his most suggestive ideas were disallowed by theProduction Code; in Tashlin's original script, Lewis's character was named "Fullstick," but the censors ordered the removal of this phallic joke. The censors also asked Paramount to cut a scene where Dorothy Malone is seen wearing only a strategically placed towel, but the studio did not remove it. The finished film contains many jokes that push the boundaries of what was acceptable in the mid-'50s, including many about women's breasts and a number of double entendres.

Long time Martin and Lewis writer Herbert Baker worked on the script which had the original title Rock-A-Bye Baby; the title later being used for Rock-A-Bye Baby a 1958 Jerry Lewis film.

Songs featured were by music legends Harry Warren and Jack Brooks, and included "When You Pretend", "You Look So Familiar", "Innamorata (Sweetheart)", "The Lucky Song", and "Artists and Models." A sixth number, sung by Shirley MacLaine during the party, entitled "The Bat Lady", was cut from the final edit.

MacLaine did not make another film with Lewis, but did go on to appear in six other films with Martin, including Some Came Running, Ocean's Eleven,What a Way to Go! and Cannonball Run II. MacLaine had previously worked with the team in their eighth feature, Scared Stiff.

According to a 1955 column by Sheilah Graham, the part of Abby was originally offered to Lizabeth Scott, who had played opposite the team in Scared Stiff. When she turned the part down, Martin asked for Dorothy Malone, his other love interest from Scared Stiff.

The cast is filled with cameos by many Martin and Lewis regulars. Eddie Mayehoff made his cinematic debut in That's My Boy and also co-starred in The Stooge. Kathleen Freeman also appeared in 3 Ring Circus, along with a number of Lewis' solo films. Jack Elam was in the team's second-to-last picture,Pardners. Anita Ekberg would also appear in Martin and Lewis' final film, Hollywood Or Bust.

The spaceship model seen in the foreign experimental laboratory is actually a leftover miniature from Paramount's 1955 film, Conquest of Space, directed by George Pal.

The "Vincent the Vulture" comic books made as a prop for this picture briefly appear in the unaired pilot for the Get Smart television series (Wikipedia)

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