The Court Jester is a 1955 American historical musical comedy film starring Danny Kaye, Glynis Johns, Basil Rathbone, Angela Lansbury and Cecil Parker.
He is a member of the Black Fox's band of rebels (a parody of Robin Hood and his Merry Men) who are protecting the true infant King of Medieval England from a usurper.
The film contains several songs (all sung by Kaye), makes heavy use of slapstick comedy and quick-witted wordplay, and is best remembered for the tongue twister "The pellet with the poison's in the vessel with the pestle; the chalice from the palace has the brew that is true!"
In 2004, The Court Jester was included in the annual selection of 25 motion pictures added to the National Film Registry of the Library of Congress being deemed "culturally, historically, or aesthetically significant" and recommended for preservation.
The Black Fox and his band of rebels rescue the true king, an infant with the royal "purple pimpernel" birthmark on his backside.
Lords Brockhurst, Finsdale, and Pertwee convince the king to seek alliance with Sir Griswold of MacElwain, by offering him Roderick's daughter Gwendolyn in marriage.
The King's men find their hideout, so Hawkins and another rebel, Maid Jean, are ordered to disguise themselves as wine merchants and take the baby to safety.
Lord Ravenhurst tells a friend that Giacomo is actually an assassin whom he hired to kill Brockhurst, Finsdale, and Pertwee, to prevent the alliance.
Hawkins is put under a hypnotic spell by Griselda, and in that state woos the princess, receives his orders to kill the three lords from Ravenhurst, and gets the key from Jean, but loses it back to the king.
One piece that Schoen was most proud of in his career was the chase music toward the end of the movie when Danny Kaye's character engages in a sword fight.
The red "recording in progress" light was illuminated to ensure no interruptions, so Schoen started to conduct a cue but noticed that the entire orchestra had turned to look at Igor Stravinsky, who had just walked into the studio.
[5] The film's opening song, "Life Could Not Better Be" breaks the fourth wall by having Kaye make direct reference to the filmmakers conducting “research”.
[6] In the simplified version of the storyline, the characters of Hubert and the Black Fox are merged, Lord Ravenhurst is replaced by an unnamed evil king, and Jean is dropped entirely.
"[8] The Philadelphia Inquirer was enthusiastic as well: "Danny Kaye...is back and all's well in the comedy world....Kaye is just about at the top of his varied and wonderful form....The hairbreadth adventures concocted as showcase for his elastic talent and bright with invention and sly enough to make even producers of straight costume pieces of this order laugh at themselves....there are five engaging songs by Sylvia Fine and Sammy Cahn, lush sets, and costumes all enhanced by Technicolor and VistaVision, and an enthusiastic cast which backs up Danny every merry inch of the way.
"[9] The New York Post was equally positive: "This is wonderful Danny Kaye material, giving full scope to his genius for movement, sound and subtle travesty....An English quartet contributes lightly and well to the merriment.
Cecil Parker...Angela Lansbury....Basil Rathbone...and Glynis Johns....But it is the comic invention, both in plot an slapstick moment, that sets this musical upon its higher plane.
It's a formidable task to provide material giving full range to his many and varied talents as singer, dancer, mimic, clown, and just plain low comic.
"[12] The Los Angeles Evening News liked the movie: "a vastly entertaining piece of celluloid flying the Paramount banner....Kaye isn't a comedian only....Kaye's chief asset is amazing versatility, and the variety he brings to the role....Storywise, the film is farfetched, but this doesn't matter....he evokes many laughs, and he gets some fine help from Glynis Johns...Basil Rathbone...Angela Lansbury...Cecil Parker...and Mildred Natwick....Panama and Frank...rate a nod for a first-rate three-way accomplishment.
"[13] Time magazine was certain of the film's entertainment value: "The Court Jester...is a pleasantly goofy travesty of the olden daze into which Hollywood falls so often and so profitably....When the squirrely-burly's done, Jester Kaye has managed to get the false king on his knees, the true one on the throne, the heroine (Glynis Johns) in his arms, the villain on his point, and the audience happily lost in some muddle ages that no history book records.
"[14] The Chicago Tribune review was mixed: "The story strains to provide comical situations and, if it weren't for Kaye's talent, would be remarkably dull.
The site's critical consensus reads, "A witty spoof of medieval swashbuckler movies, The Court Jester showcases Danny Kaye at his nimble, tongue-twisting best.
However, Koenig sees Kaye's film work in a different light, "History has smiled on individual pictures—in particular the holiday staple of White Christmas and The Court Jester ... the medieval romp has steadily gained a reputation as one of the greatest comedies of all time.