Sometimes a film makes our Arts and Faith top 25 not because of its spiritual depth and profundity but rather because of its artistic wonder. When that artistic wonder comes in the rare form of perfect musical comedy as it does with The Court Jester, the wonder is somehow multiplied.
The Court Jester makes excellent use of comedy of all sorts to tell its story of Danny Kaye’s minstrel Hubert Hawkins and his extravagant exploits. Here we have Hawkins entering the king’s castle in the guise of court jester to get the rightful (infant!) heir back on the throne. Despite the broad array of comedy on display, though, we can make the case that music stands right at the heart of the film’s most dearly funny sequences.
First of all, we have Hawkins’ jester entering the walls of the castle to a tune of his own making. He is using this song both to introduce himself as the famous jester Giacomo and to whistle a signal to an accomplice within the palace walls. The way Kaye varies that whistled melody to reflect his evolving fright and agitation is priceless.
Next, there is Hawkins’s performance before the king’s court as jester. This is a high-wire act intended in equal parts to distract the court, to calm himself, and to delight whoever may be watching. We as the audience are of course among the delighted. Music is again a key element here, culminating with Hawkins calming his nerves by doing musical repeats of words spoken by the characters around him. Though he gets kicked by the king several times as payment for his songs, he just keeps the melodies coming.
Not stopping there, it is also fascinating to give attention to how music plays a role in other classic comic sequences that don’t resemble traditional film musical numbers. For example, my personal favorite of Hawkins being marched in and out of lines of soldiers as he is rushed into knighthood is made possible by the jittery percussion of the ceremonial musicians. Then there are the “snap-in, snap-out” scenes in which the timing of finger snaps subject Hawkins to a hilarious seesaw between boldness and bewilderment. Even the famous “vessel with the pestle” moments (about knowing which cup is poisoned) boast comic wordplay that has a musical rhythm all its own.
Can a work of art be spiritually significant just because it is funny? Is humor holy in and of itself? This is not the right place to give full answer to that question, but it is relevant from an Arts and Faith perspective to note James Martin, SJ’s words on this subject in his book Between Heaven and Mirth : “For believers in general, humor shows your trust in God, who will ultimately make all things well. Joy reveals faith.” ¹ If this is true, then this gut-busting Court Jester is one of the best films to visit if we want to be reminded that all will indeed be made well in the end.
1 Martin, James, SJ. Between Heaven and Mirth. Page 87. New York, NY, HarperCollins, 2011.
— Brian Duignan (2022)
- Directed by: Melvin Frank; Norman Panama
- Produced by: Melvin Frank; Norman Panama
- Written by: Norman Panama; Melvin Frank
- Music by: Victor Sharf; Vic Schoene
- Cinematography by: Ray June; Ray Rennahan
- Editing by: Tom McAdoo
- Release date: 1955.
- Running time: 101 minutes.
- Language: English
Arts & Faith Lists:
2022 Top 25 Movie Musicals — #12