This causes him to continually clunk into his adversary as they present themselves before the king. The extended hijinks is pure tongue-twisting, mind-boggling perfection, given an added exclamation point by his suit of armor becoming conveniently magnetized. In typical Kaye fashion, he struggles to remember which one holds the brew that is true or as he says it “the true that is brew.” Add the Flagon with the Dragon to the verbal shell game and he’s done for. What it sets up is the film’s most beloved gag and one of the most heavily quoted routines there ever was: The Vessel with the Pestle and The Chalice from the Palace. Their last-ditch effort is to try and poison Kaye’s formidable foe before they enter into combat. He’s a dead man without a chance at survival unless the Black Fox can come in time to take his place! Alas, it is not to be. Soon our hero is ousted as an imposter and a cunning plan is enacted to red light him for knighthood so he will be eligible to face off against Griswold at the following day’s tournament for the hand of the princess. Little does the new Giacomo know he’s now caught up in a third complication as Griselda casts a spell on him turning him into a strapping and virtuous lover with the snap of her fingers - another one of the film’s recurring gags.Īfter his new entertainment arrives from Italy, the king also sends out an edict that all the fair wenches of the land be brought into his courts and, of course, the lovely countenance of Maid Jean gains the favor of the king, earning her a prestigious place in his company.Īs he does his best not to bungle (by purposefully bungling) his floor show to earn the approbation of his master, Kaye must try and resolve the three plans of action put forward, though he’s conveniently forgotten them all.
Meanwhile, the princess receives an oracle from her personal maid - a witch named Griselda (Mildred Natwick) - that a gallant man will soon arrive at the castle to have her hand. Little does he know, he’s also got to look after the well-being of a precious baby in a basket while unwittingly making a connection with Ravenhurst who assumes him to be an assassin (“Get it?” “Got it.” “Good!”). To meet a contact within the castle on behalf of The Black Fox. If Kaye is for all intent in purposes our Allan a Dale thrust into our Robin Hoodish role, then Glynnis John is his fair companion Maid Jean (aka Maid Marian) who also happens to be a trusted captain of the Foxes men (aka his capable Little John).Īfter they overtake the real Giacomo, the carnival showman dons the robes of a jester for the masquerade.
However, on the surface, it seems the perfect disguise for the minstrel Hubert Hawkins (Kaye) to aid the Black Fox in his raid on the castle. Ravenhurst, fearful that his place of prominence might be undercut, calls on the services of a Court Jester named Giacomo (John Carradine) to do away with the king’s other consorts. The King is hopeful an alliance with a knight named Griswold will help him to vanquish his mortal foe, the Fox, promising to betroth his reluctant daughter (Angela Lansbury) as a sign of goodwill. The malevolent, power-hungry King Roderick has usurped the domain and set himself up as the supreme leader of the land, surrounding himself with an array of equally loutish characters, namely Lord Ravenhurst (Basil Rathbone).
The court jester black fox install#
In his place is our righteous outlaw The Black Fox who is looking to install the rightful king to the throne, the infant with the royal birthmark - the purple pimpernel. We are inserted into a storyline that is a decidedly genial Robin Hood knockoff. The humorous tongue-in-cheek opening diddy “Life Could Not Better Be” sets the tone nicely. The production is complemented exquisitely by a lavish setting replete with fine costuming, bejeweled individuals, and everything from knights and sword fights to magic incantations, backroom treachery, and romantic entanglements. However, equally important is some form of plot for the actor to hang his routine on. What better arena for Kaye than the king’s courts, that laughable domain of a man in a dunce cap and tights? It needs to be lithe enough to accommodate his goofy even acrobatic brand of song-and-dance buffoonery.
Maybe I’m simply partial to Medieval forms of entertainment but it’s hard to imagine a finer vehicle for Danny Kaye than The Court Jester.
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