tashlin + lewis ÷ murphy = "norbit"

Out of the blue recently, an email came in from my friend John.

"I was browsing online, Joe, and the Eddie Murphy movie, 'Norbit.' popped up. I remembered you surprising me with a glowing and very unexpected endorsement a few years back, saying that you even bought the DVD. I checked it out. Damn good movie. Murphy was great. Thanks belatedly, Joe, for the recommendation. Otherwise, I'd have skipped it altogether."

Hey, John, thanks. You've inspired me. Given that this site, as noted, is devoted largely to movies neglected and mostly misunderstood, now is the time to praise "Norbit." Back in 2007, I also came to the film belatedly. Can't remember why. I was probably put off by its dubious trailer.

And, frankly, the dismissive reviews didn't help either, even though it was clear to me at the time that "Norbit" was the kind of vulnerable movie for which reviewers routinely/traditionally save all their venom and bad jokes.

Nevertheless, a hint of the film's political incorrectness and sense of anarchy kept me vaguely interested, along with those curious pans which seemed just a tad too excessive and hysterical. So I gave in and went.

Nothing prepared me for the treat I encountered, and I suppose that a lot of my delight in the film is that it took me totally by surprise. Given all the buzz and hype that surround films these days, how often these days can one go into a film "innocent," untarnished by someone else's opinion?

Never.

For better or worse, "Norbit" is an authentic Jerry Lewis movie, an exhilarating throwback to the kind of movies that Lewis made, specifically the ones he made in tandem with director Frank Tashlin. It is genuinely, side-splittingly funny. While Murphy's timid "Nutty Professor" twins were ostensibly inspired by Lewis, "Norbit" is the real thing, unapologetically so.

Not only does it feature Murphy's best screen work to date - and in three fully-realized roles - but it is elevated by Rick Baker's impressive-as-usual make-up work. The real revelation here, however, is Brian Robbins' direction. Nothing in his filmography ("Varsity Blues," "The Perfect Score," "Good Burger") gives any indication that Robbins knew how to handle what I see as tricky material that is superficially offensive but innocent at heart.

Does it sound ridiculous to wax poetic about Brian Robbins' incredible mise en scène in "Norbit"?

Probably. But so what.

Regarding the critics, either they went in with preconceived notions about "Norbit" and saw the film they wanted to see, or their deadline pressures led to hasty reviews. I can't explain why the critics didn't "get" it, Mick LaSalle, the ever-astute film sage of The San Francisco Chronicle, being a rare exception. Nevertheless, "Norbit" was one of the few films at the time that I wanted to see again. Hence, the DVD in my collection.

What's especially baffling about the critical reaction to "Norbit" is that the very reviewers who panned it probably love Frank Tashlin's stuff.

Tashlin, who successfully transitioned from animation to live-action, always brought a trademark antic quality and a sense of the ridiculous to his features. Cartoons were in his blood. I've a hunch that, for these reasons, he would have appreciated "Norbit."

Notes in Passing: Speaking of Tashlin, too many of his breezy comedies from the the 1950s and early '60s have evaded home entertainment in any form. Sure, it's relatively easy to see his two Jayne Mansfield flicks, "Will Success Spoil Rock Hunter?" and "The Girl Can't Help It."

But what about the many others?

Off the top of my head, I'm thinking of - and would love to see - "The Lieutenant Wore Skirts" (1956), starring the wonderful Sheree North and Tom Ewell; "Say One for Me" (1959),  with Debbie Reynolds paired with Bing Crosby and Robert Wagner; "Bachelor Flat" (1962), with Tuesday Weld and Terry-Thomas, and especially "The Man from the Diner's Club" (1963) with Danny Kaye and Cara Williams. Release them, I say!

And if any of these titles are available, by all means, enlighten me. Share.

For added reading on Tashlin, I recommend two pieces from 2007 that may still be available on-line - "The Tashline Tradition." written for Premiere magazine by Glenn Kenny, and a terrific essay titled "The Nonsense We Call Civilization: The Cartoons and Comedies of Frank Tashlin,," written by Jim Healy when he was Assistant Curator of exhibitions/motion picture Department at the George Eastman House in Rochester, New York. Jim, who now oversees the UW Cinematheque in Madison, WI., wrote the piece in conjunction with a Tashlin rep program that he had put together at the time.

And by all means, check out "Norbit." Actually, be inventive and make it a double-bill, pairing it with one of the comedies Tashlin made with Jerry Lewis ("Rock-a-Bye Baby" or "The Geisha Boy") or an older one with Dean Martin and Lewis ("Artists and Models" or "Hollywood or Bust."

Note in Passing: A note from Michael Schlesinger (from comments below). "Speaking of Tashlin, if I may be permitted, given the passing of Miss Day, I hope you'll allow me to post this link to an observation of when their paths crossed most agreeably on ”The Glass Bottom Boat.”

Regarding Comments: All comments are enthusiastically appreciated but are moderated before publication. Replies signed "unknown" or "anonymous" are not encouraged. Please sign any response with a name (real or fabricated) or initials.  Be advised that a "name" will be assigned to any accepted post signed "unknown" or "anonymous." Thank you. -J 

~images~
(from top) 

~Poster art for "Norbit" 
~Dreamworks 2007©

~Poster art for "The Lieutenant Wore Skirts"
~20th Century-Fox 1956©

~Frank Tashlin at work
~photography: Warner Bros. 1944©