LAS VEGAS >> Jerry Lewis, the manic, rubber-faced
showman who jumped and hollered to fame in a lucrative partnership with
Dean Martin, settled down to become a self-conscious screen auteur and
found an even greater following as the tireless, teary host of the
annual muscular dystrophy telethons, has died. He was 91.
Publicist Candi Cazau says Lewis died this morning of natural causes at age 91 in Las Vegas with his family by his side.
Lewis’ career spanned the history of show business in the 20th century,
beginning in his parents’ vaudeville act at the age of 5. He was just 20
when his pairing with Martin made them international stars. He went on
to make such favorites as “The Bellboy” and “The Nutty Professor,” was
featured in Martin Scorsese’s “The King of Comedy” and appeared as
himself in Billy Crystal’s “Mr. Saturday Night.”
In the 1990s, he scored a stage comeback as the devil in the
Broadway revival of “Damn Yankees.” And after a 20-year break from
making movies, Lewis returned as the star of the independent drama “Max
Rose,” released in 2016.
In his 80s, he was still traveling the world, working on a
stage version of “The Nutty Professor.” He was so active he would
sometimes forget the basics, like eating, his associates would recall.
In 2012, Lewis missed an awards ceremony thrown by his beloved Friars
Club because his blood sugar dropped from lack of food and he had to
spend the night in the hospital.
In his 90s, he was still performing standup shows.
A major influence on Jim Carrey and other slapstick
performers, Lewis also was known as the ringmaster of the Labor Day
Muscular Dystrophy Association, joking and reminiscing and introducing
guests, sharing stories about ailing kids and concluding with his
personal anthem, the ballad “You’ll Never Walk Alone.” From the 1960s
onward, the telethons raised some $1.5 billion, including more than $60
million in 2009. He announced in 2011 that he would step down as host,
but would remain chairman of the association he joined some 60 years
ago.
Lewis had teamed up with Martin after World War II, and
their radio and stage antics delighted audiences, although not
immediately. Their debut, in 1946 at Atlantic City’s 500 Club, was a
bust. Warned by owner “Skinny” D’Amato that they might be fired, Martin
and Lewis tossed the script and improvised their way into history. New
York columnists Walter Winchell and Ed Sullivan came to the club and
raved over the sexy singer and the berserk clown.
Lewis described their fledgling act in his 1982
autobiography, “Jerry Lewis in Person”: “We juggle and drop a few dishes
and try a few handstands. I conduct the three-piece band with one of my
shoes, burn their music, jump offstage, run around the tables, sit down
with the customers and spill things while Dean keeps singing.”
Hollywood producer Hal Wallis saw them at New York’s
Copacabana and signed them to a film contract. Martin and Lewis first
appeared in supporting roles in “My Friend Irma” and “My Friend Irma
Goes West.” Then they began a hit series of starring vehicles, including
“At War With the Army,” ”That’s My Boy” and “Artists and Models.”
But in the mid-1950s, their partnership began to wear. Lewis
longed for more than laughs. Martin had tired of playing straight man
and of Lewis’ attempts to add Chaplinesque pathos. He also wearied of
the pace of films, television, nightclub and theater appearances,
benefits and publicity junkets on which Lewis thrived. The rift became
increasingly public as the two camps sparred verbally.
“I knew we were in trouble the day someone gave Jerry a book about Charlie Chaplin,” Martin cracked.
On July 24, 1956, Martin and Lewis closed shop, at the Copa,
and remained estranged for years. Martin, who died in 1995, did make a
dramatic, surprise appearance on Lewis’ telethon in 1976 (a reunion
brokered by mutual pal Frank Sinatra), and director Peter Bogdonavich
nearly persuaded them to appear in a film together as former colleagues
who no longer speak to each other. After Martin’s death, Lewis said the
two had again become friendly during his former partner’s final years
and he would repeatedly express his admiration for Martin above all
others.
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