The Timeless Joy Of The Court Jester (1955) Made Hollywood History on the Palos Verdes Peninsula By Lea Stans
The Timeless Joy Of The Court Jester (1955) Made Hollywood History on the Palos Verdes Peninsula
By Lea Stans
As happy as the proverbial lark and as fresh as a spring breeze, The Court Jester (1955) is one of the musical masterpieces of the Technicolor age of film. Starring comedian Danny Kaye and a host of seasoned British actors, it delivered comedy, slapstick, adventure, romance, and a parody of the Robin Hood legend. While it’s perhaps lesser known than other classic 1950s musicals like Singin’ In The Rain, many folks who have enjoyed it–or, ideally, grown up with it–not only return to its merriment again and again, but can probably recite most of its witty dialogue by heart.
Kaye, a veritable Renaissance man of comedic entertainment with a special gift for spouting rapid-fire dialogue in multiple accents, had recently completed his starring role in White Christmas (1954) when work began on The Court Jester. It would be the second film produced by Dena Enterprises, Kaye’s own company that he co-owned with his songwriter wife Sylvia (they named it after their daughter). The first Dena Enterprises film was Knock on Wood (1954), where Kaye played a ventriloquist who innocently became mixed up with a spy ring. Its breezy formula for showcasing Kaye’s singing, dancing, and funny accents would be similarly carried over to The Court Jester and arguably fine-tuned to perfection.
The Court Jester began production in July 1954 and ended up taking over three months to complete. The principal writers and directors were Melvin Frank and Norman Panama, a seasoned comedy team who had previously worked on Knock on Wood as well as the “Road” series starring Bob Hope and Bing Crosby. After the first week’s shooting cinematographer Ray Rennahan was replaced by Ray June, who had worked on classics like Babes in Arms (1939) (and would soon work on Audrey Hepburn’s Funny Face, 1957). The costumes, with their bright jewel tones and romanticist-inspired styles, would be designed by Yvonne Wood and the legendary Edith Head.
The film’s two largest sets, the interior of the castle and the courtyard, were constructed on Paramount’s sound stages to the tune of $200,000. Location shooting was done in Palos Verdes, where its wave-swept coast and rugged cliffs stood in for the shores of medieval England. All in all, the film’s budget went from $2.5 million dollars to $3.7 million, making it the most expensive comedy ever produced at the time.
This time around Kaye was surrounded by a capable British cast, including Glynis Johns as the attractive rebel captain Maid Jean, Basil Rathbone as the false king’s wiley advisor, Angela Lansbury as a haughty princess, and Robert Middleton as the beefy, villainous Sir Griswold. But from the moment he appears onscreen, singing “Life Could Not Better Be” and cavorting with the animated opening credits, Kaye is the heart and soul of the film. And he couldn’t have been given better material to work with than Sylvia’s light-hearted songs and the abundance of witty wordplay. The highlight was certainly the famous “chalice from the palace” sequence, likely based on similarly tongue-twisting old vaudeville routines.
The plot may sound complicated on paper, but onscreen it has delightful twists and turns. Kaye plays the former circus performer Hubert Hawkins, who (despite his timidity) has joined a rebel group headed by the Robin Hood-esque outlaw the Black Fox. The throne of England has been taken over by a usurper, and the Fox and his followers are trying to restore the rightful heir to the throne–who is currently still a baby. Hawkins and rebel captain Maid Jean are tasked with protecting the royal infant while the Fox makes plans to steal the king’s key to a secret tunnel. While Hawkins and Jean are traveling, however, they encounter the new court jester Giacomo heading to the castle. Hawkins decides to impersonate him in order to find the key. Complications ensue, of course, especially when the king’s daughter falls in love with Giacomo and an enchantress casts a hypnotizing spell on him.
It’s been pointed out how well-suited The Court Jester is to Kaye’s talents–arguably no other comedian could’ve taken his place. The rest of the cast also seem to enjoy their roles, their screen time being balanced well with everyone getting opportunities for laughs. Rathbone even got a chance to use his fencing skills during a duel scene with Kaye, with assistance from the choreographer who doubled for him in some shots.
Ultimately, The Court Jester was too expensive to be a box office “hit,” only earning $2.2 million in total. But since then it’s achieved the happy fate of becoming a beloved classic. Regular appearances on television throughout the years and current availability on DVD and streaming have introduced it to several new generations. And it’s not hard to see why it’s a favorite–as a Technicolor musical, as a comedy, as a medieval fantasy, and especially as family-friendly entertainment, The Court Jester “could not possibly better be!”
Lea Stans is a historian from Minnesota who runs the blog Silent-ology, covering the people, films, and culture of the silent film era. She has contributed to Silent Film Quarterly, The Keaton Chronicle, and Comique: The Classic Comedy Magazine and is also a regular columnist for Classic Movie Hub.
