The Jerk (1979) 94m.
On the basis of his stage act, you wouldn't think that comedian Steve Martin would have been a likely candidate for a successful movie career. Certainly, his 'wild and crazy guy' persona wouldn't have translated as a character for the screen easily, but his earlier films – THE JERK, DEAD MEN DON'T WEAR PLAID, and THE MAN WITH TWO BRAINS – were offbeat enough to meet him halfway. THE JERK, his feature debut, is probably the most fast and loose of these although unlike the other early Martin films it is driven by character, not concept. Martin plays Navin, not exactly a jerk (he only refers to himself as such in one scene) but a hopelessly naïve and good-natured journeyman who leaves his foster parents in search of fame and fortune.
Despite its shortcomings, THE JERK is a good example of how the big screen welcomes some comedians much more easily than others. How many times have we seen a great standup act or SATURDAY NIGHT LIVE performer flop on film? Call it charisma or communication, Martin still has it. We like him after only a few minutes of THE JERK's running time, without really knowing much about his character. An intelligent and diversely-talented performer (get hold of a copy of his live act, if you can), he never once positions himself against his cinema audience – that is, he neither patronizes them ('Look how clever I am') or plays for sympathy ('Connect with me, I'm vulnerable'). THE JERK is uneven and episodic but as Navin, Martin is consistent throughout. He's always optimistic and enthusiastic: gushing about the kind of improvements he can make in a men's washroom, discovering his name in the phone book for the first time, and (in a brief scene I find hilarious) getting excited about an Irving Berlin tune he hears on the radio. It's odd that co-writer Martin puts his character in a carnival for much of the film's running time and doesn't exploit the opportunity to demonstrate his physical dexterity (he does have one uncredited 'act' but to say more would spoil it).
One of the things that I find makes this film worth a second or even third viewing is that the scenes which made me laugh on my first viewing aren't usually the same ones that amuse me on repeat screenings. I still like the wackiness, but now I also appreciate the sweet, daffy moments (Martin and co-star Bernadette Peters singing 'You Belong To Me') and off-the-wall lines ("For only fifty cents I'll guess your height, weight and sex! Step right up!"). Martin and Peters are great together, which is probably why they were reunited for Martin's next film, the very different PENNIES FROM HEAVEN. As time went on they would both move into more conventional films – fortunately we have THE JERK as a cinematic time capsule for the period where, like the idealistic Navin, Martin himself was a little wild and crazy and on the road to fame and fortune.
sburridge@hotmail.com
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