{"id":5295,"date":"2006-09-14T07:49:19","date_gmt":"2006-09-14T11:49:19","guid":{"rendered":"http:\/\/www.sheilaomalley.com\/?p=5295"},"modified":"2022-10-11T20:46:06","modified_gmt":"2022-10-12T00:46:06","slug":"dean-martin-appreciation-day-7","status":"publish","type":"post","link":"https:\/\/www.sheilaomalley.com\/?p=5295","title":{"rendered":"Dean Martin and Jerry Lewis"},"content":{"rendered":"

Excerpt from Peter Bogdanovich’s Who the Hell’s in It: Conversations with Hollywood’s Legendary Actors<\/a>\"\"<\/i>:<\/p>\n

Peter Bogdonavich writes:<\/p>\n

What I saw them do onstage at the Paramount was much like what they are seen doing at the end of The Caddy<\/i>, and for the last ten minutes of each of their Colgate Comedy Hours<\/i>: the boys in tuxedos (even during Paramount’s morning and afternoon shows), their bow ties untied, fooling around in front of Dick Stabile’s orchestra, their caricatures displayed thorughout the band. Dean sings — Jerry disrupts. They sing together. They throw things into the audience or Jerry runs into the auditorium. They do jokes putting each other down. Dean sings as if he’s sending up crooners and doesn’t mean a word, Jerry screeches hysterically for attention and his outrageousness becomes contageious. For a privileged minority, Dean was as funny in his own dry way as Jerry was so obviously. In fact, even Frank Sinatra had originally missed the self-deprecating wit behind Dean’s comedy. When Frank saw the act the first time at New York’s Copacabana, he reportedly said, “The wop’s not much, but the Jew’s funny.”<\/p><\/blockquote>\n

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