Saturday, November 18, 2017

Dino Martin Jr. Smokin'

Hey pallies, likes there's an old old sayin' daddy-o, like boypallie.   Most recently we discovered once 'gain the Dino-truth of this solemn statement.   We gotta 'fess up that likes for years we have potently pondered the provocative proposition "Dino Martin Jr. smoked."  Likes we had no problemo findin' incredible images of our Dino's youngest boypallie Ricci lightin' up, but never ever, no matter how much we searched and searched could we spy our Dino's namesake with smoke in hand.

But, likes as we were doin' our most recent 'net search for powerful poses of Dino Jr. as we honor the 66th aniversary of his birth, we were lovin'ly led to the Canadian ebay pad where to likes our supreme surprise and deep delight we found an extremely evocative coolest of cool candid of Dino Jr. out clubbin' with Miss Olivia Hussey, who either at the time was or was soon to be his first wife.

Likes this perfect pose shows Dino Jr. with cigarette ( could it be a Kent?)  coolly cradled in his left hand.  The image was from a clippin' from the Spanish rag, "RADIAL PRESS," located in Madrid.  The tag of the prose, "[Julieta] va da fiesta" translates to "Juliet goes partying," which likes, of course, refers to Miss Hussey starrin' as Juliet in the 1968 Mr.  Franco Zeffirelli film production of  "Romeo and Juliet."  Many of youse Dino-philes will remember it was after seein' this fabulous flick that Dino Jr. pursued Olivia for is very own.  As you note Dino and Olivia were makin' the scene after attendin' a "recital by Duke Ellington and Ella Fitzgerald, celebrating at the Ambassador Hotel in Los Angeles."

And, thus the Dino-proposition has been proven.  Indeed Dino Martin Jr. was a smoker like his daddy-o, like boypallie!  We are totally totally thrilled to share this Dino-revelation with all youse Dino-holics, and likes if any of youse have access to other pixs of Dino Jr. lightin' up, please share 'em with us.  ilovedinomartin  is most appreciative of the pallie who is in possession of this amazin' Dino Jr. clippin' and who has offered it for purchase at Ebay Canada.

We remain,

Yours in Dino,

Dino Martin Peters

CLIPPING recorte olivia hussey dino martin jr
From RADIAL PRESS, Madrid,  Spain

[Juliet] goes partying

The couple in question is formed by the lovely Olivia Hussey and Dino Martin Jr. who both attended a recital by Duke Ellington and Ella Fitzgerald, celebrating at the Ambassador Hotel in Los Angeles.

[Julieta] va da fiesta

La pareja en cuestion esta formada por la encantadora Olivia Hussey y Dino Martin Jr.. lost cuales asistisron juntos a un recital de Duke Ellington y Ella Fitzgerald, celebrando en el Ambassador Hotel en Los Angeles.

Friday, November 17, 2017

On This Day In Dino-history: November 17, 1951

Hey pallies, likes today is one of the happiest of happy days...indeed, if not the happiest day in all of Dino-history 'cause 66 years ago this very day, on November 17, 1951, our most beloved Dino's most beloved boypallie, Dino Martin Jr. was born to proud daddy-o Dino and mother Jeanne.   Likes thinks of the powerfully pure pride our potently  powerful Dino had in namin' his first child by Jeanne after himself. Likes thinks of the  hopes, the dreams our great man had for his little boypallie by givin' his new son his gloriously great name!

And, indeed our Dino's boypallie namesake certainly did live up to the takin' of his amazin' Daddy-o's tag...becomin' a hugely successful entertainer himself while just in his teens as part of the swingin' pop trio Dino, Desi, and Billy.

Dino Jr. went on to acclaim as a tennis pro and football player, and found fame and fortune as an actor on both the small and big screens. And our Dino's golden boy also was gloriously  golden when it came to bein' a pilot of jet airplanes.

Likes Dino Jr. had only one real pressin' problemo...he was so marvelously multi-talented likes his famous father, that he just couldn't decide which of his many interests to put the major accent of his life on.

One thin' for sure pallies, Dino Jr. was definitely  heir apparent to the Dino-throne. And, of course all of that came to a crashin' end when Dino Jr. tragically crashed his National Guard F-4 Phantom fighter jet in California's San Bernardino Mountains during a snowstorm on March 21, 1987.

Today we celebrate this happiest of happy days in our Dino's life as we reverently remember and hugely honor Dino Jr. on the 66th anniversary of his entry into family Martin. But, in the midst of our celebratin' we can't help but be so so sad as well as we know that the end of the Dino Jr. story turned out to break our lovin' Dino's lovin' heart as he never ever got over the death of his beloved namesake.

We remain,

Yours in Dino,

Dino Martin Peters

Thursday, November 16, 2017

.....the closest thing comedy has ever come to Beatlemania, Dean Martin and Jerry Lewis were world famous and two of the first entertainers to conquer radio, television, film, comic books, records and live performance all at once.

Jerry Lewis & Dean Martin

Hey pallies, likes as of late we have been totally thrilled to share many a potent post accentin' the remarkable relationship between our most beloved Dino and his most beloved partner Mr. Jerry Lewis, and quites a number of 'em have been of an incredibly international nature in scope.  Likes today 'though we may not have had to sail the seven seas to share today's Dino-devotion as it comes from north of our borders in Canada and is truly truly a touchin' and tender reverent reflection on our Dino and Mr. Lewis  from the supreme scribin's of Mr. Nicholas Arnold at his self-tagged blog, "Nicholas Arnold."  Mr. Arnold's bio tells us that he  "is a prominent stage actor and successful filmmaker" who makes his home in Toronto."

"In 2012, Nicholas took his one man show “A Tribute to Jerry Lewis”, and toured it around the Greater Toronto Area to various retirement homes and communities eventually landing a place on the larger theatre circuit and premiering it at the 700-seat Orillia Opera House.  Nicholas, alongside Ontario favourite Derek Marshall, is part of the original cast of "Dean and Jerry: What Might Have Been" currently on tour."'

Likes youse can see that Arnold has strong connections to both our most beloved Dino and his most beloved partner, Mr. Jerry Lewis.  On the heels of Mr. Lewis' passin' Mr. Arnold posted his wisely written words on Martin & Lewis, "Dean Martin and Jerry Lewis and How friendship Breakups Are Hard To Do."  Below we are sharin' the pertinent parts of his energetic essay that relate directly to our Dino and Mr Lewis.

We can certainly not do justice to ever begin to describe the incredibly intriguin' insights that Nicholas has on the closer then close relationship that our Dino and Mr. Lewis had as partners in comedy and as the most intimate of friends.  We simply invite you to read his words for yourselves and soak in each and every wonderful word.  We solemnly salute Mr. Nicholas Arnold for the tremendous amount of time, energy, and love that he has poured into this remarkable read.  We wish him our best in both of his about Mr. Lewis, and one about Martin & Lewis.

To checks this out in it's original source to read it in total, simply clicks on the tag of this Dino-gram.

We remain,

Yours in Dino,

Dino Martin Peters

Dean Martin and Jerry Lewis and How Friendship Breakups Are Hard To Do
October 9, 2017
Nicholas Arnold

Dean Martin and Jerry Lewis were 10 years apart when they teamed up, each piggy-backing off the others' talents – Jerry, the monkey and Dean, the crooner. They weren't the only comedy duo at the time. Abbott and Costello were indeed a big deal along with Bob Hope and Bing Crosby. But something was different about Martin and Lewis – something audiences everywhere noticed right away. These two got along. Not in a schmaltzy, pretend kind of way. They really, truly got along and were more caught up in the idea of making each other laugh than the audience. Jerry and Dean were simply having fun with each other on stage. Audiences were lucky to watch. Their friendship was famous and they seemed to compliment each other perfectly in a way that has made more modern audiences, looking back on old footage, question whether or not the two were in fact secret lovers (something Atom Egoyan explored in his mystery/thriller 'Where the Truth Lies', very loosely based on a crooner/comic duo in the vain of Martin and Lewis).

They were that close; a love shared between two men that was as strong as brotherhood. And they were a hit; the closest thing comedy has ever come to Beatlemania, Dean Martin and Jerry Lewis were world famous and two of the first entertainers to conquer radio, television, film, comic books, records and live performance all at once. For two young guys in the late 1940s, its a wonder they kept their feet on the ground long enough to pull off two impressive solo careers later on.

Their fateful partnership spanned a decade; their bond growing stronger as their wallets and fame grew. But time can be rough on friendships that close. Jerry's ego ballooned. Ever the entrepreneur, he became controlling with the act, often upstaging Dean. The media didn't help. Jerry was the star of the act in every review and news piece. Naturally, Dean grew to resent this and searched for ways to be taken seriously as a singer – something that was near impossible next to Jerry's incorrigible clown. The final 10 months of their partnership, at the height of their popularity, had them barely speaking to each other. Explosive fights on set, visible tension and rare public appearances had audiences across the globe wondering what would happen with the pair.

Dean and Jerry finally split in 1956 – one year before Abbott and Costello would call their partnership quits. But even a year later, the Martin and Lewis breakup would eclipse Abbott and Costello due to the sheer pain it seemed to cause both the two men involved and the audiences who adored them. At the time of their split they had millions of dollars held up in movie contracts and theatre bookings. The Martin and Lewis machine seemed like it had many years still ahead of it, yet these two were pulling the plug while they were still on top. Their final farewell performance occurred at the Copacabana on July 25th, 1956 – 10 years to the day from their first appearance at the 500 Club in Atlantic City. They closed their act singing Pardners, the title song from one of their last films: “You and me will be the greatest pardners, buddies and pals”. After that, they exited stage right and stage left and wouldn't speak to each other again for 20 years.

At least, that's how the narrative goes. That's certainly the narrative we portray in our stage show. Of course, in reality breakups are much more complicated. Jerry and Dean did part ways; a small, stilted conversation over the phone in their dressing rooms at the end of that July 25th show closed off ten amazing years of fame, fortune and friendship. They went off to pursue their careers, both men immediately jumping into films to make good on the broken Martin and Lewis deal with Paramount. Dean Martin would of course later go on to become a high-flying member of the Rat Pack with pals, Frank Sinatra and Sammy Davis Jr., and Jerry Lewis would become a mammoth in the film and comedy industry and, between the years of 1966 and 2010, would serve as the Chairman and Spokesperson for the Muscular Dystrophy Association, bringing his famous telethon to life in Las Vegas each year. In a testament to the skills of these two talented individuals, both men went on to have hugely successful careers at a time when many people wondered if one could survive without the other.

The famous story is that they didn't speak to or see each other for 20 years until Frank Sinatra famously surprised Jerry at his telethon in 1976 by having a tipsy Dean Martin walk out unannounced and to huge fanfare from the studio audience and audiences at home. In the clip (which is easy to find on YouTube) two old men, with years of wisdom and experience in their glossy eyes and silver hair, hug and kiss each other on the cheek. It's a touching moment made all the more powerful with the knowledge that this is the first time they're seeing each other in 20 years. In actuality, they did see each other on a few occasions prior to that. Dean would often see Jerry around the Paramount lot, riding in his golf cart and, according to the Nick Toshe biography, “Dino” Jerry would outright avoid Dean if he saw him coming the same way. That is until Dean cornered him saying, 'enough is enough'. But it didn't stop there. Their silence grew with Jerry becoming more and more bitter according to co-stars who worked with him over the decades (Stella Stevens, his co-star in The Nutty Professor recalls being shut out by Jerry after working with Dean on a film). Dean rarely spoke about Jerry – if ever – in any interviews and never wrote any autobiographies so its difficult to know his feelings at the time. Jerry, on the other hand, wore his emotions on his sleeve – and later seemed to change up accounts and embellish tales as he got older. The real cause of the feud and how it was handled after their split remains a bit of a mystery.

But we do know they saw other; an unavoidable side-effect of any breakup. There were three known public appearances (and probably a handful of private ones) over the decades. Dean interrupted Jerry's act for a brief second during the Eddie Fischer Show in 1958 (just two years after their split – he was working in the same studio), the famous 1976 telethon surprise and then once more in 1989.

I think what fascinated myself and amateur nostalgia historians alike in regards to the Martin and Lewis breakup was that it was a type of split not often talked about or portrayed in media; a friendship breakup. Especially one between two men (the stereotype being that men don't go through emotional splits with their friends). By the time we experience our first romantic breakup, we have already seen enough of them in sitcoms, movies, even kid shows to be somewhat prepared for what to experience. The first time one goes through a friendship breakup, especially one as cold and public as Dean and Jerry's, can be a troubling and uncertain time; troubling because it often occurs in our adult years – a time when we don't necessarily expect to go through a second coming of age. And that's really what it is. It's very common to drift apart from close friends over the years. Life and circumstances take over and you gradually and naturally become different people. It's less discussed and in some ways more painful when there is an actual break; a precise moment or a moment carried out over a few months or years where the friendship deteriorates before your very eyes, where you're forced to still see each other despite this corroding bond whether it be due to living environments, school or work. In Jerry's book, “Dean and Me: A Love Story” he writes about the hell of shooting what would be the final Martin and Lewis film, “Hollywood or Bust” – a film Jerry allegedly never saw right up to his dying day. At this point, Dean and Jerry were not saying a word to each other. The camera would stop rolling and they'd walk away, staring past each other, not seeing each other.

Imagine that - going from such a brotherly bond to not knowing a person in a matter of months. The pain of a friendship breakup stems from it being hard to label. It's not a romantic relationship crumbling and people in most cases know how to reach out for support or support their friends in that situation. It's something, in some ways, much more difficult to talk about, describe or even articulate in your own mind as its happening. But the reality is it does happen and perhaps is even more common than we think. It may be that the severing of ties is obvious and blunt or perhaps its more foggy with the cause being unclear and confusing. Either way the grieving process can be similar to that of a romantic breakup. Your world is turned upside down and things won't be the same anymore. As Jerry Lewis sang in his first film after the Martin and Lewis split: “I'll face the unknown, I'll build a world of my own, no one knows better than I myself, I'm by myself, alone”

If Dean and Jerry are any indication, breakups like this aren't clean and tidy and in some cases can last decades. It all depends on the bond that existed before the split, I suppose. After the somewhat awkward 1976 reunion, Dean and Jerry went back to their private lives, not reaching out to one another or rekindling that bond. They remained professional and that was it. Until Dean's son died in a plane crash in 1987. Jerry attended the funeral without being noticed and when word of this got back to Dean he reached out to Jerry, phoning home. According to Jerry this began a new chapter of their friendship, where they would phone each other, occasionally, reminiscing and talking about the future until Dean passed away in 1995.

In 1989, what would be their final public appearance, during Dean Martin's birthday show, Jerry Lewis gave him a taste of his own medicine and shocked him and the audience when he walked out on stage with a cake. “I love you Jer,” Dean said in front of the audience. Jerry replied, “Why we broke up, I'll never know.”

The passage of time is an interesting thing. It can change a person, much like it changed Jerry over the years. It can destroy a relationship. It can foster bitterness and inflate egos.
It can heal wounds.

I think about the Martin and Lewis story often. It's a great tale. And with the death of Jerry Lewis, those who believe in a heaven are quick to say that Dean and Jerry are reunited up there, tap dancing and tearing apart whatever heavenly, holy nightclub exists in the clouds. Maybe. Either way, the book is closed.

The story is done.

And time goes on.

Wednesday, November 15, 2017

He was like an Adonis, while I barely weighed fifty-eight kilos and was still fighting acne.

Hey pallies, likes as promised, we're back today with more inspirin' international devotion to our Dino and his partner pallie, Mr. Jerry Lewis.  Yes, 'gain today we return to spaniard Miss Beatriz Clemente Ibanez and her cool cinema blog, "THE BIG SCREEN."  Today's post "Martin and Lewis" was scribed in April 2013 on the fourth anniversary of her blog, and an even greater retellin' of the stupendous story of the lovin' friendship and powerful partership of our most beloved Dino and his most beloved partner Mr. Jerry Lewis.

Likes as you will note at the end of this particularly potent prose, Miss Clemente utilized excerpts from Mr. Lewis' 1983 tome "Jerry Lewis" to include Lewis' personal insights into his decade long remarkable relationship with our Dino.  This particular post seems to be an expanded edition of what we shared from Miss Clemente yester-Dino-day.  What we are particularly thrilled to be able to share are a couple of incredible images of our Dino and Mr. Lewis that we ain't ever remember viewin' before.  The first is a candid of our Dino and Lewis at the entrance of the 500 CLUB, in tux with tails, high hats and canes to boot!  The second musta been taken durin' a live club performance with Mr. Lewis towerin' over our Dino, which is rare to see.

It's a huge homage to our Dino and partner Mr. Lewis and we are totally totally thrilled to bring in the ilovedinomartin way.  Likes once 'gain we sez our thank you very much to  spaniard Miss Beatriz Clemente Ibanez and her blog "THE BIG SCREEN" for this extraordinary effort to educate her readership on the marvelous magic powerful partnership of our Dino and Mr. Jerry Lewis.  We are only sorry that it took us so long to uncover and share this with Dino-holics everywhere.  To checks this out in it's original source, likes simply clicks on the tag of this Dino-gram.

We remain,

Yours in Dino,

Dino Martin Peters

Martin and Lewis

Hello, Jerry , it's a pleasure to see you once again here. Yes, that, we celebrate today the fourth anniversary of The Big Screen . So you can start whenever you want ...
"He had dark curly hair and blue eyes; his face had no more defect than the recent sign of a surgical scar. When I looked at him from head to toe, I realized that he was a totally technicolor guy. And what shoes! His skin, red, glowed under the lights of the lobby. And as I looked at that magnificent stranger, with a sensational appearance, I saw myself as a little duck who splashed far, far away from him ... "

You first saw Dean Martin in early 1946 in the lobby of the Belmont Plaza Hotel in New York, where you spent a few days with your wife Patti and your son Gary. And one morning in March of that same year you were, finally, presented ...

" We said goodbye by shaking hands and I thought that would be the last time I saw Dean. He was like an Adonis, while I barely weighed fifty-eight kilos and was still fighting acne. I did not measure up; with my clothes, my shirt and my suspenders, that kept the bottoms of the pants to ten centimeters of the shoes ... With heels it measured five centimeters more. I had enough hair gel in my hair to grease all the pans of the Hanson house. "

In July of that same 1946 you went to Atlantic City to perform at the 500 Club , a joint owned by Paul "Skinny" D'Amato, where only comedians and unknown singers performed. And there you learned that Skinny was looking for a singer to supply another of very dubious qualities.

" I thought of Dean. It was like that, spontaneous, without striving. We wrote to each other from time to time. His last postcard had arrived from Chicago ... "

Skinny telephoned Lou Perry , Martin's representative. The next day, Dean arrived in Atlantic City and, that same night, offered his first performance there singing five pieces. Then you would come out with your prerecorded music number, but Skinny wanted you and Dean to act together and ...

" The next number started. The audience stood up. The four of them. Literally an audience of four people ... We did a three-hour show. We played with some plates that broke and we tried some hits of effect. I led the orchestra, of three members, with a shoe, I burned their scores, I jumped, I ran between the tables, I sat down with the clients and I did not stop talking while Dean kept on singing ... The two couples that were in the room they died of laughter. I looked at Dean and thought that in that room we had started to eat the world. "

Soon you rented a typewriter to shape the number and, three nights after starting, they began to form long lines ...

" During the weekend the lines went beyond the sidewalk. So Skinny D'Amato raised our salary to $ 750 and made us a contract for four weeks. Then, people from all over the country requested reservations; some were willing to pay any price for a table close to the stage. The press helped them to whet their appetite ... Everyone predicted that we would be the comic find of the year. "

So it was. From then on you went from club to club. And from success to success.

In 1948 you had your television debut as Martin and Lewis in an episode of " Toast of town ", a musical program presented by Ed Sullivan , and in an episode of " Welcome aboard ", a variety show in which the American actor and comedian also appeared. Phil Silvers.

And as for the cinema, it all began the opening night at the Slapsie Maxie's in Hollywood ...

" Ten minutes before starting: Dean and I, from behind the curtain, we observe the room; And what a room! The fabulous spectacle of all Hollywood, the whole room full of elegance and good taste ... Cary Grant and Joan Crawford chatting at a table, Humphrey Bogart enters saying: 'I have a reservation!', While Edward G. Robinson is so calm before Bette Davis, who asks her outraged to leave his table. And there are Ronald Reagan with Jane Wyman, Jimmy Stewart, the slender figure of Gary Cooper at a table very close to the stage ... I also recognized producers like Sam Goldwyn, Darryl Zannuck, Jerry Wald ... and Hal Wallis! "

Hal Wallis , who had previously seen you at the Copacabana in New York and who would now sign a long-term contract with you for seven films over a period of five years at a hundred thousand dollars, allowing you to make one for yourself. once a year.

Your debut on the big screen was in 1949 through " My friend Irma " ( My friend Irma ) and under the direction of George Marshall ...

" First we had to do a series of cinematographic tests. Dean, in the role of Steve, the elegant and seductive owner of an orange juice stand, fit perfectly. As for me, I had to get into the skin of Al, a funny guy and braggart of those who are in horse racing. I started to fight with the script, but the more I tried, the more frustrating the result. I was not Al, and I was perfectly aware of it ... "

When you saw the evidence in the projection room, you could verify that, in effect, you did not fit in at all with your character. So the next day you went to see the screenwriter Cy Howard, creator of the radio original of " My friend Irma " and, in a couple of hours, you had created a new character for you that received the name of Seymour .

" And Seymour was the same guy Hal Wallis had seen in the Cup, the same one that Cy Howard and George Marshall had seen in the Slapsie Maxie's ... And that's how the matter started to work. I played myself in the role of a boy with the mental age of a nine-year-old child. And from then on, such was almost always, with some exceptions, my role on the screen "

Before your next film title, Dean and you appeared together in " Screen the snapshots: Meet the winners ", short film of 1950 presented by Bob Hope ...

... And in that same year of 1950 two other feature films: " My friend Irma goes to the West " ( My friend Irma goes West ), where Dean and you repeated the same characters of Steve and Seymour , respectively, but this time directed by Hal Walker ; and " Go pair of soldiers " ( At war with the Army ) (1950), also under the direction of Walker.

Resounding success in film, radio, in clubs nocturnes, stadiums and auditoriums from one end to another country ... And on television, by signing a contract for the season autumn-winter 1950-1951 for The Colgate Comedy Hour  of the NBC , contract that then would last until 1955.

On May 2, 1954, you appeared on The Colgate Comedy Hour accompanying The Treniers and their " Rock is our business ", a theme inspired by Jimmie Lunceford's " Rhythm is our business " of the 30s.

" In the early fifties every day was like the day of the national holiday, with fireworks everywhere; that was unreal, overwhelming and crazy. And the 'Colgate Comedy Hour' was that and more! "

In 1955 we also appeared in The Colgate Comedy Hour , brilliantly accompanied by The Norman Luboff Choir , " Sometimes I'm happy (Sometimes I'm blue) ", song written in 1927 by Vincent Youmans and Irving Caesar.

" The rehearsals were happening at a dizzying pace, from Monday to Saturday, all day and part of the night, almost no time to take a break in the bathroom or run out to have a drink at Stage Delicatessen Seventh Avenue "

And on September 18, 1955, The Colgate Comedy Hour presented you again accompanying Freddie Bell and The Bellboys this time and singing the extraordinary " Shake a hand " written in 1953 by trumpeter Joe Morris. In that same program, Dean and you also took delight in your version of the " Side by side " composed in 1927 by Gus Kahn and Harry M. Woods.

" When it was time for me to go to bed, I would go to my Essex House suite, tired like a miner, and only pay attention to important phone messages "

At one time you continued on the big screen adding new film titles ...

" In the space of fifteen months we had shot 'That's my boy' and" The Stooge ", we were working on another movie called 'Sailor beware' and soon we would start with 'Jumping Jacks'. Always the same formula, the same comic structure "

After being directed in 1953 by George Marshall in " A legacy of fear " ( Scared Stiff ), Dean and you volvíais to match that year, and under orders from Norman Taurog in " Which pair of cut - throats ! "( The Caddy ), entertaining film in which Dean and you dábais life, respectively, Joe Anthony and Harvey Miller, Jr .

Then came " The crazy rider " ( Money from home ), also under the command of George Marshall. Already in 1954, " Living his life " ( Living it up ), sharing poster with Janet Leigh, Edward Arnold and Sig Ruman and again directed by Norman Taurog; and " 3 Ring Circus " under Joseph Pevney.

In 1955 three more titles: " A fresco in troubles " ( You're never too young ), once again directed by Norman Taurog; " Artists and models " ( Artists and models ), under the orders of Frank Tashlin; and " Together before the danger " ( Pardners ), again with Norman Taurog as director.

Finally, in 1956, you filmed your last film together, " Loco por Anita " ( Hollywood or bust ) sharing a poster here with Anita Ekbert, who had just shot "Guerra y Paz" but still had four years to be world famous. her role as Sylvia in "La dolce vita". In this last title of your joint cinematographic career you were directed, again, by Frank Tashlin.

" Tashlin was a huge guy who slowly moved the mass of his body from one side to the other, while his brain moved at a dizzying speed. His knowledge of the comic genre far surpassed that of any director I had worked with. What I learned from him is priceless, because there is no university in the world where he is taught to have funny occurrences "

After this film title only some commitments were left to fulfill, including two weeks at Copacabana , your last performances together ...

But we will always have your songs, your movies, your performances. And the great professionalism of an extraordinary couple of artists known worldwide as Martin and Lewis .

" Dean was the best comparsa in the history of show business. His sense of time and opportunity was perfect, infinite, and so fragile that he almost seemed to do nothing. And there, precisely, was the magic that gives form and substance to the performance. That was what made Martin and Lewis work. The truth is that I never would have done so well with anyone else "

Lovely, Jerry . An honor and a luxury that you have been with us once again. Thank you very much and see you next time.

Jerry Lewis by Jerry Lewis. Memoirs. Parsifal Editions. 1983
Posted by Clementine

Martin and Lewis

Hola, Jerry, un placer verte asomar una vez más por aquí. Sí, eso, celebramos hoy el cuarto aniversario de La Gran Pantalla. Así que puedes empezar cuando quieras…
“Tenía el cabello oscuro y rizado y los ojos azules; su cara no tenía más defecto que la señal reciente de una cicatriz quirúrgica. Cuando lo miré de pies a cabeza me di cuenta de que era un tipo totalmente en technicolor. ¡Y qué zapatos! Su piel, roja, brillaba bajo las luces del vestíbulo. Y mientras miraba a aquel magnífico desconocido, de una apostura sensacional, me vi a mí mismo como un patito que chapoteaba lejos, muy lejos de él...”

Viste por vez primera a Dean Martin a principios de 1946 en el vestíbulo del Belmont Plaza Hotel de Nueva York, donde pasabas unos días con tu mujer Patti y tu hijo Gary. Y una mañana de marzo de ese mismo año fuisteis, finalmente, presentados…

“Nos despedimos dándonos la mano y pensé que aquélla sería la última vez que veía a Dean. Era como un Adonis, mientras que yo apenas pesaba cincuenta y ocho quilos  y todavía estaba combatiendo el acné. No daba la talla; con mi ropa, mi camiseta y mis tirantes, que mantenían los fondillos de los pantalones a diez centímetros de los zapatos… Con tacones medía cinco centímetros más. Tenía en el pelo la gomina suficiente para engrasar todas las sartenes de casa Hanson”

En julio de ese mismo 1946 te dirigiste a Atlantic City para actuar en el 500 Club, un garito propiedad de Paul “Skinny” D’Amato donde sólo actuaban cómicos y cantantes desconocidos. Y allí te enteraste de que Skinny buscaba un cantante para suplir a otro de muy dudosas cualidades.

“Pensé en Dean. Fue así, espontáneo, sin esforzarme. Nos escribíamos de vez en cuando. Su última postal había llegado desde Chicago…"

Skinny llamó por teléfono a Lou Perry, el representante de Martin. Al día siguiente, Dean llegaba a Atlantic City y, aquella misma noche, ofrecía allí su primera actuación cantando cinco piezas. Después salías tú con tu número de música pregrabada, pero Skinny quería que Dean y tú actuárais juntos y…

“El siguiente número empezó. El público se puso en pie. Los cuatro. Literalmente una audiencia de cuatro personas… Hicimos un espectáculo de tres horas. Jugamos con unos platos que se rompieron e intentamos algunos golpes de efecto. Yo dirigí a la orquesta, de tres miembros, con un zapato, quemé sus partituras, di saltos, correteé entre las mesas, me senté con los clientes y no dejé de hablar mientras Dean seguía cantando… Las dos parejas que había en la sala se morían de risa. Miré a Dean y pensé que en aquella sala habíamos empezado a comernos el mundo.”

Pronto alquilaste una máquina de escribir para dar forma al número y, a las tres noches de empezar, comenzaron a formarse largas colas…

“Durante el fin de semana las colas iban más allá de la acera. De modo que Skinny D’Amato nos subió el sueldo a 750 dólares y nos hizo un contrato por cuatro semanas. Entonces, gente de todas partes del país solicitó reservas; algunos estaban dispuestos a pagar cualquier precio por una mesa cercana al escenario. La prensa les ayudó a abrir el apetito… Todos predecían que seríamos el hallazgo cómico del año.”

Y así fue. A partir de entonces fuisteis de club en club. Y de éxito en éxito.

En 1948 tuvisteis vuestro debut televisivo como Martin y Lewis en un episodio de “Toast of town”, programa musical presentado por Ed Sullivan, y en un episodio de “Welcome aboard”, programa de variedades en el que también aparecía el actor y cómico estadounidense Phil Silvers.

Y en cuanto al cine, todo empezó la noche de estreno en el Slapsie Maxie’s de Hollywood…

“Diez minutos antes de empezar: Dean y yo, desde detrás del telón, observamos la sala; ¡y qué sala! El fabuloso espectáculo del todo Hollywood, toda la estancia llena de elegancia y de buen gusto… Cary Grant y Joan Crawford charlan en una mesa, Humphrey Bogart entra diciendo: ‘¡Tengo una reserva!’, mientras Edward G. Robinson está tan tranquilo ante Bette Davis, que le pide indignada que se largue de su mesa. Y allí están Ronald Reagan con Jane Wyman, Jimmy Stewart, la figura esbelta de Gary Cooper en una mesa muy cerca del escenario… Reconocí también a productores como Sam Goldwyn, Darryl Zannuck, Jerry Wald… ¡y Hal Wallis!”

Hal Wallis, quien ya os había visto anteriormente en el Copacabana de Nueva York y que firmaría ahora con vosotros un contrato a largo plazo de siete películas en un período de cinco años a cien mil dólares la película, permitiéndoos además hacer una por vuestra cuenta una vez al año.

Vuestro debut en la gran pantalla fue en 1949 a través de “Mi amiga Irma” (My friend Irma) y bajo la dirección de George Marshall…

“Primero tuvimos que hacer una serie de pruebas cinematográficas. Dean, en el papel de Steve, el elegante y seductor propietario de un puesto de zumos de naranja, se ajustaba perfectamente. En cuanto a mí, tenía que meterme en la piel de Al, un tipo chistoso y fanfarrón de los que se encuentran en las carreras de caballos. Me puse a luchar con el guión, pero cuanto más me esforzaba, más frustrante era el resultado. Yo no era Al, y era perfectamente consciente de ello…”

Al ver las pruebas en la sala de proyecciones, pudisteis comprobar que, efectivamente, tú no encajabas en absoluto con tu personaje. Así que al día siguiente fuiste a ver al guionista Cy Howard, creador del original radiofónico de “My friend Irma” y, en un par de horas, teníais creado un nuevo personaje para ti que recibió el nombre de Seymour.

“Y Seymour era el mismo muchacho que Hal Wallis había visto en el Copa, el mismo que Cy Howard y George Marshall habían visto en el Slapsie Maxie’s… Y así fue como el asunto empezó a funcionar. Me interpreté a mí mismo en el papel de un muchacho con la edad mental de un crío de nueve años. Y a partir de entonces tal fue casi siempre, con algunas excepciones, mi papel en la pantalla”

Antes de vuestro siguiente título cinematográfico, Dean y tú aparecísteis juntos en “Screen the snapshots: Meet the winners”, cortometraje de 1950 presentado por Bob Hope…

… Y en ese mismo año de 1950 otros dos largometrajes: “Mi amiga Irma va al Oeste” (My friend Irma goes West), donde Dean y tú repetíais los mismos personajes de Steve y Seymour, respectivamente, pero esta vez dirigidos por Hal Walker; y “Vaya par de soldados” (At war with the Army) (1950), también bajo las dirección de Walker.

Rotundo éxito en el cine, en la radio, en los clubs nocturnos, estadios y auditorios de una punta a otra del país… Y en la televisión, al firmar un contrato para la temporada de otoño-invierno de 1950-1951 para The Colgate Comedy Hour de la NBC, contrato que luego se alargaría hasta 1955.

El 2 de mayo de 1954, aparecíais en The Colgate Comedy Hour acompañando a The Treniers y su “Rock is our business”, tema inspirado en el “Rhythm is our business” de Jimmie Lunceford de los años 30.

“A principios de los años cincuenta todos los días eran como el día de la fiesta nacional, con fuegos artificiales por todas partes; aquello era irreal, sobrecogedor y enloquecido. ¡Y la ‘Colgate Comedy Hour’ era eso y más!”

En 1955 nos presentábais también en The Colgate Comedy Hour, genialmente acompañados por The Norman Luboff Choir, “Sometimes I’m happy (Sometimes I’m blue)", canción escrita en 1927 por Vincent Youmans e Irving Caesar.

“Los ensayos se sucedían a un ritmo vertiginoso, de lunes a sábado, todo el día y parte de la noche, casi sin tiempo para tomarse un descanso en el cuarto de baño o salir corriendo a tomar algo al Stage Delicatessen de la Séptima Avenida”

Y el 18 de septiembre de 1955, The Colgate Comedy Hour os presentaba de nuevo acompañando esta vez a Freddie Bell and The Bellboys y entonando el extraordinario “Shake a hand” escrito en 1953 por el trompetista Joe Morris. En ese mismo programa, Dean y tú nos deleitábais también con vuestra versión del “Side by side” compuesto en 1927 por Gus Kahn y Harry M. Woods.

“Cuando llegaba la hora de acostarse me iba a mi suite del Essex House, cansado como un minero, y sólo prestaba atención a los mensajes telefónicos importantes”

A un tiempo continuábais en la gran pantalla sumando nuevos títulos cinematográficos…

“En el plazo de quince meses habíamos rodado ‘That’s my boy’ y “The Stooge”, estábamos trabajando en otra película titulada ‘Sailor beware’ y pronto empezaríamos con ‘Jumping Jacks’. Siempre la misma fórmula, la misma estructura cómica”

Tras ser dirigidos en 1953 por George Marshall en “Una herencia de miedo” (Scared stiff), Dean y tú volvíais a coincidir ese mismo año, y bajo las órdenes de Norman Taurog, en “¡Qué par de golfantes!” (The Caddy), entretenido largometraje en el que el que Dean y tú dábais vida, respectivamente, a Joe Anthony y Harvey Miller, Jr.

Después llegaba “El jinete loco” (Money from home), también a las órdenes de George Marshall. Ya en 1954, “Viviendo su vida” (Living it up), compartiendo cartel con Janet Leigh, Edward Arnold y Sig Ruman y de nuevo dirigidos por Norman Taurog; y “3 Ring Circus” a las órdenes de Joseph Pevney.

En 1955 tres títulos más: “Un fresco en apuros” (You’re never too young), una vez más dirigidos por Norman Taurog; “Artistas y modelos” (Artists and models), bajo las órdenes de Frank Tashlin; y “Juntos ante el peligro” (Pardners), de nuevo con Norman Taurog como director.

Finalmente, en 1956, rodábais vuestra última película juntos, “Loco por Anita” (Hollywood or bust) compartiendo aquí cartel con la mismísima Anita Ekbert, quien acababa de rodar “Guerra y paz” pero aún le quedaban cuatro años para ser mundialmente famosa por su papel de Sylvia en “La dolce vita”. En este último título de vuestra carrera cinematográfica conjunta érais dirigidos, de nuevo, por Frank Tashlin.

“Tashlin era un tipo enorme que desplazaba lentamente la masa de su cuerpo de un lado a otro, mientras que su cerebro se movía a una velocidad vertiginosa. Su conocimiento del género cómico sobrepasaba con mucho el de cualquier director con el que yo hubiera trabajado. Lo que aprendí de él no tiene precio, pues no existe en el mundo universidad en que se enseñe a tener ocurrencias divertidas”

Tras este título cinematográfico tan sólo quedaron ya algunos compromisos que cumplir, incluídas dos semanas en el Copacabana, vuestras últimas actuaciones juntos…

Pero a nosotros nos quedarán siempre vuestras canciones, vuestras películas, vuestras actuaciones. Y la genial profesionalidad de una extraordinaria pareja de artistas mundialmente conocida como Martin and Lewis.

“Dean era el mejor comparsa de la historia del mundo del espectáculo. Su sentido del tiempo y de la oportunidad era perfecto, infinito, y tan frágil que casi parecía que no hiciera nada. Y ahí, precisamente, estaba la magia que da forma y sustancia a la actuación. Eso era lo que hacía que Martin y Lewis funcionaran. La verdad es que yo jamás lo hubiera hecho tan bien con cualquier otro”

Precioso, Jerry. Un honor y todo un lujo que hayas estado con nosotros una vez más. Mil gracias y hasta la próxima.

Jerry Lewis por Jerry Lewis. Memorias. Parsifal Ediciones. 1983

Tuesday, November 14, 2017

And you suggested Dean Martin

Hey pallies, likes we continue with yet  'nother wonderful week of  deep deep Dino-devotion, likes guess what?......more amazin' awesome adulation from 'round the Dino-globe.  Today we goes the the Spanish blog "LA GRAW PANTALLA," which translates to "THE BIG SCREEN."  Likes as youse can probably guess, it's a blog devoted to the cinema and is scribed by Miss Beatriz Clemente Ibanez.

"Clemente," as Ibanez likes to be known as is clearly a deeper then deep devotee of our most beloved Dino's most beloved partner Mr. Jerry Lewis and in the post below tagged "MY DEAR JERRY LEWIS," she reviews Lewis' life, as a tribute on his passin' from our presence earlier this fall.
Well, a huge huge portion of Mr. Lewis' career, and might we add success, was due to his decade long closer then close friendship and powerfully potent partnership with our most most beloved Dino!

So, today we shares with all youse Dino-holics the swanks section of Miss Clemente's post that accents the Martin & Lewis years with prolific prose and incredible images of our Dino and Mr, Lewis.  We loves viewin' the vast variety of cool candids 'long with a number of pixs of some of the original movie posters as well.  It certainly puts us in the mood to one more time watch our two collections of Martin & Lewis DVDs and revel in the marvelous magic that our Dino and Mr. Lewis had on the big screen.

We salute Miss Beatriz Clemente Ibanez, for her efforts to remember Mr. Lewis and share with her readership the greatest comedy duo ever...sure to bring many more to a keen knowin' and extraordinary enjoyment of our one one, our only Dino.  Likes tomorrow, we will share yet 'nother earlier post by Miss Clemente that we discovered that is even more full of great glory to our Dino and Mr. Lewis.  To checks this out in it's original source, simply clicks on the tag of this Dino-report.

We remain,

Yours in Dino,

Dino Martin Peters


On July 24, 1946, you went to Atlantic City to perform at Club 500, a gambling den where only comedians and unknown singers performed. You made your number with a pre-recorded sound before two hundred tables and thirty clients. Behind you acted a singer that the owner was thinking of replacing another. And you suggested Dean Martin , who had been introduced to you a short time ago. Dean was called, he went to Atlantic City, you planned a number together and ...

 Well, the rest is history.

 Your tremendous success on stage took you directly to Hollywood, debuting on the big screen, both Dean and you, in 1949 with " Mi amiga Irma ".

You filmed a 16-minute short film that same year: " How to smuggle the hernia across the border ", not released commercially, written by you and by Don McGuire and directed by you, which was played by Tony Curtis and Janet Leigh ... and for you, in a double role: as an American Indian and as an army officer. It was filmed in your home and is considered your first filming as a director. 

 The following year, you returned to give life to Seymour in " My friend Irma goes to the West ", directed this time by Hal Walker and sharing a new poster with Marie Wilson and Dean Martin.

They arrived after you for " The milkman ", along with Donald O'Connor, Jimmy Durante and Piper Laurie ...

... and " At war with the Army ", in the role of Alvin Korwin and once again with Dean Martin.

Already in 1951 you also filmed with Dean " That's my boy " and " The crazy singer " ...

... and in 1952 other titles also with him: " What a pair of sailors! ", " Crazy of the air " ...

... and a brief appearance, along with Dean, in the dream of the character played by Dorothy Lamour in " Camino a Bali ", title starring Bing Crosby and Bob Hope.

1953 came to you with three more movies with Dean Martin: " A legacy of fear ", " What a pair of golfers! " And " The crazy horseman " ... 

. ... and in 1954 you gave life, respectively, to Homer and Jerome in two other films with Dean: " Viviendo su vida " and " El rey del circo ".

You continued in 1955 starring in titles with him: " A fresco in trouble " and " Artists and models " ...

... and in 1956: " Together before the danger " and " Crazy about Anita ", your last film with Dean Martin.


El 24 de julio de 1946 te dirigiste a Atlantic City para actuar en el Club 500, un garito donde sólo actuaban cómicos y cantantes desconocidos. Hiciste tu número con sonido pregrabado ante doscientas mesas y treinta clientes. Detrás de ti actuaba un cantante que el propietario estaba pensando en sustituir por otro. Y tú le sugeriste a Dean Martin, a quien te habían presentado hacía poco tiempo. Dean fue llamado, acudió a Atlantic City, planificasteis un número juntos y...

Bueno, el resto es historia.

Vuestro tremendo éxito en los escenarios os llevó directamente a Hollywood, debutando en la gran pantalla, tanto Dean como tú, en 1949 con "Mi amiga Irma".

Rodaste ese mismo año un cortometraje de 16 minutos: "How to smuggle the hernia across the border", no estrenado comercialmente, escrito por ti y por Don McGuire y dirigido por ti, que era interpretado por Tony Curtis y Janet Leigh... y por ti, en un doble papel: como indio americano y como oficial del ejército. Fue filmado en tu casa y se considera tu primer rodaje como director. 

Al año siguiente, volvías a dar vida a Seymour en "Mi amiga Irma va al Oeste", dirigido esta vez por Hal Walker y compartiendo de nuevo cartel con Marie Wilson y Dean Martin.

Llegaban después para ti "The milkman", junto a Donald O'Connor, Jimmy Durante y Piper Laurie...

... y "At war with the Army", en el papel de Alvin Korwin y una vez más junto a Dean Martin.

Ya en 1951 rodabas también con Dean "Ese es mi chico" y "El cantante loco"...

... y en 1952 otros títulos también con él: "¡Vaya par de marinos!", "Locos del aire"...

... y una brevísima aparición, junto a Dean, en el sueño del personaje interpretado por Dorothy Lamour en "Camino a Bali", título protagonizado por Bing Crosby y Bob Hope.

1953 te llegaba con tres películas más junto a Dean Martin: "Una herencia de miedo", "¡Qué par de golfantes!" y "El jinete loco"... 

... y en 1954 dabas vida, respectivamente, a Homer y a Jerome en otras dos películas junto a Dean: "Viviendo su vida" y "El rey del circo".

Continuabas en 1955 protagonizando títulos con él: "Un fresco en apuros" y "Artistas y modelos"...

... y en 1956: "Juntos ante el peligro" y "Loco por Anita", última película tuya con Dean Martin.