Jerry Lewis

Lewis was born Joseph Levitch on March 16, 1926, in Newark, New Jersey, to a Jewish family.[4][5] His parents were Daniel "Danny" Levitch (1902–1980), a master of ceremonies and vaudevillian who performed under the stage name Danny Lewis, whose parents immigrated to the United States from the Russian Empire to New York, and Rachael "Rae" Levitch (née Brodsky; 1903–1983), a WOR radio pianist and Danny's music director, from Warsaw.[6][7][8] Reports as to his birth name are conflicting; in Lewis's 1982 autobiography, he claimed his birth name was Joseph, after his maternal grandfather, but his birth certificate,[9][10] the 1930 U. S. Census, and the 1940 U. S. Census all named him as Jerome.[11][8][12][13]

Reports as to the hospital in which he was born conflict as well, with biographer Shawn Levy claiming he was born at Clinton Private Hospital and others claiming Newark Beth Israel Hospital.[14][15][16][17] Other claims of his early life also conflict with accounts made by family members, burial records, and vital records.

He was a "character" even in his teenage years, pulling pranks in his neighborhood including sneaking into kitchens to steal fried chicken and pies. He dropped out of Irvington High School in the tenth grade. Lewis said that he ceased using the names Joseph and Joey as an adult to avoid being confused with Joe E. Lewis and Joe Louis.[7]

By age 15, he had developed his "Record Act" miming lyrics to songs while a phonograph played offstage.[18] He landed a gig at a burlesque house in Buffalo, but his performance fell flat and was unable to book any more shows. To make ends meet, Lewis worked as a soda jerk and a theater usher for Suzanne Pleshette's father Gene at the Paramount Theatre[19] as well as at Loew's Capitol Theatre, both in New York City.[20]

A veteran burlesque comedian, Max Coleman, who had worked with Lewis's father years before, persuaded him to try again. Irving Kaye,[21] a Borscht Belt comedian, saw Lewis's mime act at Brown's Hotel in Loch Sheldrake, New York, the following summer, and the audience was so enthusiastic that Kaye became Lewis's manager and guardian for Borscht Belt appearances.[22] During World War II, he was rejected for military service because of a heart murmur.[23]

During the 1960 production of The Bellboy, Lewis pioneered the technique of using video cameras and multiple closed circuit monitors,[56] which allowed him to review his performance instantly. This was necessary since he was acting as well as directing. His techniques and methods of filmmaking, documented in his book and his USC class, enabled him to complete most of his films on time and under budget since reshoots could take place immediately instead of waiting for the dailies.

Man in Motion,[57] a featurette for Three on a Couch, features the video system, named "Jerry's Noisy Toy"[58] and shows Lewis receiving the Golden Light Technical Achievement award for its development. Lewis stated he worked with the head of Sony to produce the prototype. While he initiated its practice and use, and was instrumental in its development, he did not hold a patent.[59][60] This practice is now commonplace in filmmaking.

Starting in 1967, Lewis taught a film directing class at the University of Southern California in Los Angeles for a number of years. His students included George Lucas, whose friend Steven Spielberg sometimes sat in on classes.[61] Lewis screened Spielberg's early film Amblin' and told his students, "That's what filmmaking is all about."[62] The class covered all topics related to filmmaking, including pre and post production, marketing and distribution and filming comedy with rhythm and timing.[63]

His 1971 book The Total Film Maker, was based on 480 hours of his class lectures.[64] Also, Lewis traveled to medical schools for seminars on laughter and healing with Dr. Clifford Kuhn and also did corporate and college lectures, motivational speaking and promoted the pain-treatment company Medtronic.

While Lewis was popular in France for his duo films with Dean Martin and his solo comedy films, his reputation and stature increased after the Paramount contract, when he began to exert total control over all aspects of his films. His involvement in directing, writing, editing and art direction coincided with the rise of auteur theory in French intellectual film criticism and the French New Wave movement. He earned consistent praise from French critics in the influential magazines Cahiers du Cinéma and Positif, where he was hailed as an ingenious auteur.

His singular mise-en-scène, and skill behind the camera, were aligned with Howard Hawks, Alfred Hitchcock and Satyajit Ray. Appreciated too, was the complexity of his also being in front of the camera. The new French criticism viewed cinema as an art form unto itself, and comedy as part of this art. Lewis is then fitted into a historical context and seen as not only worthy of critique, but as an innovator and satirist of his time.[65] Jean-Pierre Coursodon states in a 1975 Film Comment article, "The merit of the French critics, auteurist excesses notwithstanding, was their willingness to look at what Lewis was doing as a filmmaker for what it was, rather than with some preconception of what film comedy should be."

Not yet curricula at universities or art schools, film studies and film theory were avant-garde in early 1960s America. Mainstream movie reviewers such as Pauline Kael, were dismissive of auteur theory, and others, seeing only absurdist comedy, criticized Lewis for his ambition and "castigated him for his self-indulgence" and egotism. Despite this criticism often being held by American film critics, admiration for Lewis and his comedy continued to grow in France.[66]

Appreciation of Lewis became a misunderstood stereotype about "the French", and it was often the object of jokes in American pop culture.[67] "That Americans can't see Jerry Lewis's genius is bewildering," says N. T. Binh, a French film magazine critic. Such bewilderment was the basis of the book Why the French Love Jerry Lewis.[68] In response to the lingering perception that French audiences adored him, Lewis stated in interviews he was more popular in Germany, Japan and Australia.

As a humanitarian, philanthropist and "number one volunteer", Lewis supported fundraising for research into muscular dystrophy. In 1951, he and Martin made their first appeal for the Muscular Dystrophy Association (simply known as MDA and formerly as the Muscular Dystrophy Associations of America and MDAA) in early December on the finale of The Colgate Comedy Hour. In 1952, after another appeal, Lewis hosted New York area telethons until 1959 and in 1954, fought Rocky Marciano in a boxing bout for MDA's fund drive.

After being named national chairman in 1956,[69] Lewis began hosting and emceeing The Jerry Lewis MDA Labor Day Telethon in 1966 and aired every Labor Day weekend for six decades. Ed McMahon, announcer of The Tonight Show Starring Johnny Carson and host of Star Search, began his involvement in the telethon in 1968, before co-anchoring with Lewis from 1973 to 2008. The show originated from different locations including New York, Las Vegas and Hollywood, becoming the most successful fundraising event in the history of television.[70]

It was the first to: raise over $1 million, in 1966;[71] be shown entirely in color, in 1967; become a networked telethon, in 1968; go coast-to-coast, in 1970; be seen outside the continental U.S., in 1972. It: raised the largest sum ever in a single event for humanitarian purposes, in 1974; had the greatest amount ever pledged to a televised charitable event, in 1980 (from the Guinness Book of World Records); was the first to be seen by 100 million people, in 1985; celebrated its 25th anniversary, in 1990; saw its highest pledge in history, in 1992; and was the first seen worldwide via internet simulcast, in 1998.

By 1990, pop culture had shifted its view of disabled individuals and the telethon format. Lewis and the telethon's methods were criticized by disabled-rights activists who believed the show was "designed to evoke pity rather than empower the disabled".[72] The activists said the telethon perpetuated prejudices and stereotypes, that Lewis treated those he claimed to be helping with little respect, and that he used offensive language when describing them.[73] The songs "Smile" (by Charlie Chaplin), "What the World Needs Now Is Love" (by Jackie DeShannon) and "You'll Never Walk Alone" (by Rodgers and Hammerstein) have been long associated with the telethon.

In December 1996, Lewis and MDA were recognized by the American Medical Association with Lifetime Achievement Awards for significant and lasting contributions to the health and welfare of humanity. His motto summed up the philosophy behind his years of devotion to MDA: "I shall pass through this world but once. Any good, therefore, that I can do or any kindness that I can show to any human being, let me do it now. Let me not defer nor neglect it, for I shall not pass this way again".

Lewis rebutted the criticism and defended his methods saying, "If you don't tug at their heartstrings, then you're on the air for nothing." [74] The activist protests represented a very small minority of countless MDA patients and clients who had directly benefitted from Lewis's MDA fundraising. He received a Nobel Peace Prize nomination in 1977, a Governors Award in 2005 and the Jean Hersholt Humanitarian Award in 2009, in recognition of his fight and efforts with MDA. 2010 would be Lewis' final hosted telethon.

On August 3, 2011, MDA announced that Lewis would no longer host its telethons[75] and that he was no longer associated with MDA. A tribute to Lewis was held during the 2011 telethon (which originally was to be his final show bearing his name with MDA). In May 2015, MDA said it was discontinuing its telethon in view of "the new realities of television viewing and philanthropic giving".[76]

In early 2016, at MDA's brand re-launch event at Carnegie Hall in New York City, Lewis broke a five-year silence during a special taped message for the organization on its website, marking his first (and as it turned out, his final) appearance in support of MDA since his final telethon in 2010 and the end of his tenure as national chairman in 2011.[77]

MDA's website states, "Jerry's love, passion and brilliance are woven throughout this organization, which he helped build from the ground up, courted sponsors for MDA, appeared at openings of MDA care and research centers, addressed meetings of civic organizations, volunteers and the MDA Board of Directors, successfully lobbied Congress for federal neuromuscular disease research funds, made countless phone calls and visits to families served by MDA.

During Lewis's lifetime, MDA-funded scientists discovered the causes of most of the diseases in the Muscular Dystrophy Association's program, developing treatments, therapies and standards of care that have allowed many people living with these diseases to live longer and grow stronger.[78] Over 200 research and treatment facilities were built with donations raised by the Jerry Lewis Telethons.

Lewis opened a camera shop in 1950. In 1969, he agreed to lend his name to "Jerry Lewis Cinemas", offered by National Cinema Corporation as a franchise business opportunity for those interested in theatrical movie exhibition. Jerry Lewis Cinemas stated that their theaters could be operated by a staff of as few as two with the aid of automation and support provided by the franchiser in booking film and other aspects of film exhibition. A forerunner of the smaller rooms typical of later multi-screen complexes, a Jerry Lewis Cinema was billed in franchising ads as a "mini-theatre" with a seating capacity of between 200 and 350.

In addition to Lewis's name, each Jerry Lewis Cinema bore a sign with a cartoon logo of Lewis in profile.[79] Initially 158 territories were franchised, with a buy-in fee of $10,000 or $15,000 depending on the territory, for what was called an "individual exhibitor". For $50,000, Jerry Lewis Cinemas offered an opportunity known as an "area directorship", in which investors controlled franchising opportunities in a territory as well as their own cinemas.[80] The success of the chain was hampered by a policy of only booking second-run, family-friendly films. Eventually the policy was changed, and the Jerry Lewis Cinemas were allowed to show more competitive movies. But after a decade the chain failed and both Lewis and National Cinema Corporation declared bankruptcy in 1980.[81]

In 1973, Lewis appeared on the 1st annual 20-hour Highway Safety Foundation telethon, hosted by Davis Jr. and Monty Hall. In 1990, Lewis wrote and directed a short film for UNICEF's How Are The Children? anthology exploring the rights of children worldwide. The eight-minute segment, titled Boy, was about a young white child in a black world and being subjected to quiet, insidious racism, and outright racist bullying.[82]

In 2010, Lewis met with seven-year-old Lochie Graham, who shared his idea for "Jerry's House", a place for vulnerable and traumatized children. Lewis and Graham entered into a joint partnership for an Australian and a U.S.-based charity and began raising funds to build the facility in Melbourne.[83][84] On September 12, 2016, Lewis lent his name and star power to Criss Angel's HELP (Heal Every Life Possible) charity event.

Lewis kept a low political profile for many years, having taken advice reportedly given to him by President John F. Kennedy, who told him, "Don't get into anything political. Don't do that because they will usurp your energy."[85] Nevertheless, he campaigned and performed on behalf of both JFK and Robert F. Kennedy. Lewis was a supporter of the Civil Rights Movement. For his 1957 NBC special, Lewis held his ground when southern affiliates objected to his stated friendship with Sammy Davis Jr. In a 1971 Movie Mirror magazine article, Lewis spoke out against the Vietnam War when his son Gary returned from service traumatized. He vowed to leave the country rather than send another of his sons.

Lewis once stated political speeches should not be at the Oscars. He stated, "I think we are the most dedicated industry in the world. And I think that we have to present ourselves that night as hard-working, caring and important people to the industry. We need to get more self-respect as an industry".[86] In a 2004 interview with The Guardian, Lewis was asked what he was least proud of, to which he answered, "Politics".

He mocked citizens' lack of pride in their country, stating, "President Bush is my president. I will not say anything negative about the president of the United States. I don't do that. And I don't allow my children to do that. Likewise when I come to England don't you do any jokes about 'Mum' to me. That is the Queen of England, you moron. Do you know how tough a job it is to be the Queen of England?"[87]

In a December 2015 interview on EWTN's World Over with Raymond Arroyo, Lewis expressed opposition to the United States letting in Syrian refugees, saying, "No one has worked harder for the human condition than I have, but they're not part of the human condition if 11 guys in that group of 10,000 are ISIS. How can I take that chance?"[88] In the same interview, he criticized President Barack Obama for not being prepared for ISIS, while expressing support for Donald Trump, saying he would make a good president because he was a good "showman". He also added that he admired Ronald Reagan's presidency.[89][90][91]

In 1998, at the Aspen U.S. Comedy Arts Festival, when asked which women comics he admired, Lewis answered, "I don't like any female comedians. A woman doing comedy doesn't offend me but sets me back a bit. I, as a viewer, have trouble with it. I think of her as a producing machine that brings babies in the world."[92]

He went on to praise Lucille Ball as "brilliant" and said Carol Burnett is "the greatest female entrepreneur of comedy". On other occasions Lewis expressed admiration for female comedians Totie Fields, Phyllis Diller, Kathleen Freeman, Elayne Boosler, Whoopi Goldberg and Tina Fey. During the 2007 MDA Telethon, Lewis used the slur "fag" in a joke, for which he apologized.[93] Lewis used the same word the following year on Australian television.[94]

Lewis "single-handedly created a style of humor that was half anarchy, half excruciation. Even comics who never took a pratfall in their careers owe something to the self-deprecation Jerry introduced into American show business."[144] His self-deprecating style can be found in comics such as Larry David and David Letterman.

Lewis's comedy style was physically uninhibited, expressive, and potentially volatile. He was known especially for his distinctive voice, facial expressions, pratfalls, and physical stunts. His improvisations and ad-libbing, especially in nightclubs and early television were revolutionary among performers. It was "marked by a raw, edgy energy that would distinguish him within the comedy landscape".[145] Will Sloan, of Flavorwire wrote, "In the late '40s and early '50s, nobody had ever seen a comedian as wild as Jerry Lewis."[146] Placed in the context of the conservative era, his antics were radical and liberating, paving the way for future comedians Steve Martin, Richard Pryor, Andy Kaufman, Paul Reubens, and Jim Carrey. Carrey wrote: "Through his comedy, Jerry would stretch the boundaries of reality so far that it was an act of anarchy ... I learned from Jerry",[147] and "I am because he was".[148]

Acting the bumbling 'everyman', Lewis used tightly choreographed, sophisticated sight gags, physical routines, verbal double-talk and malapropisms. "You cannot help but notice Lewis's incredible sense of control in regards to performing—they may have looked at times like the ravings of a madman but his best work had a genuine grace and finesse behind it that would put most comedic performers of any era to shame."[149] They are "choreographed as exactly as any ballet, each movement and gesture coming on natural beats and conforming to the overall rhythmic form which is headed to a spectacular finale: absolute catastrophe."[150]

Although Lewis made it no secret that he was Jewish, he was criticized for hiding his Jewish heritage. In several of his films — both with Martin and solo — Lewis's Jewish identity is hinted at in passing, and was never made a defining characteristic of his onscreen persona. Aside from the 1959 television movie The Jazz Singer and the unreleased 1972 film The Day the Clown Cried, Lewis never appeared in a film or film role that had any ties to his Jewish heritage.[4] When asked about this lack of Jewish portrayal in a 1984 interview, Lewis stated, "I never hid it, but I wouldn't announce it and I wouldn't exploit it. Plus the fact it had no room in the visual direction I was taking in my work."[5]

Lewis's physical movements in films received some criticism because he was perceived as imitating or mocking those with a physical disability.[151] Through the years, the disability that has been attached to his comedic persona has not been physical, but mental. Neuroticism and schizophrenia have been a part of Lewis's persona since his partnership with Dean Martin; however, it was in his solo career that these disabilities became important to the plots of his films and the characters. In films such as The Ladies Man (1961), The Disorderly Orderly (1964), The Patsy (1964) and Cracking Up (1983), there is either neuroticism, schizophrenia, or both that drive the plot. Lewis was able to explore and dissect the psychological side of his persona, which provided a depth to the character and the films that was not present in his previous efforts.[152]

From the late 1940s to the mid-1960s, "Lewis was a major force in American popular culture."[153] Widely acknowledged as a comic genius, Lewis influenced generations of comedians, comedy writers, performers and film makers.[154] As Lewis was often referred to as the bridge from Vaudeville to modern comedy, Carl Reiner wrote after Lewis's death, "All comedians watch other comedians, and every generation of comedians going back to those who watched Jerry on the Colgate Comedy Hour were influenced by Jerry. They say that mankind goes back to the first guy ... which everyone tries to copy. In comedy that guy was Jerry Lewis."[155]

Lewis's films, especially his self-directed films, have warranted steady reappraisal. Richard Brody of The New Yorker said Lewis was "one of the most original, inventive, ... profound directors of the time" and "one of the most skilled and original comic performers, verbal and physical, ever to appear on screen".[156] Dave Kehr, a film critic and film curator for the Museum of Modern Art, wrote in The New York Times of Lewis's "fierce creativity" and "the extreme formal sophistication of his direction". Kehr wrote that Lewis was "one of the great American filmmakers".[157]

"Lewis was an explosive experimenter with a dazzling skill, and an audacious, innovatory flair for the technique of the cinema. He knew how to frame and present his own adrenaline-fuelled, instinctive physical comedy for the camera."[158]

Lewis was at the forefront in the transition to independent filmmaking, which came to be known as New Hollywood in the late 1960s. Writing for the Los Angeles Times in 2005, screenwriter David Weddle lauded Lewis's audacity in 1959 "daring to declare his independence from the studio system".[159] Lewis came along to a studio system in which the industry was regularly stratified between players and coaches. The studios tightly controlled the process and they wanted their people directing. Yet Lewis regularly led, often flouting the power structure to do so. Steven Zeitchik of the LA Times wrote of Lewis, "Control over material was smart business, and it was also good art. Neither the entrepreneur nor the auteur were common types among actors in mid-20th century Hollywood. But there Lewis was, at a time of strict studio control, doing both."[160]

No other comedic star, with the exceptions of Chaplin and Keaton in the silent era, dared to direct himself. "Not only would Lewis's efforts as a director pave the way for the likes of Mel Brooks and Woody Allen, but it would reveal him to be uncommonly skilled in that area as well." "Most screen comedies until that time were not especially cinematic—they tended to plop down the camera where it could best capture the action and that was it. Lewis, on the other hand, was interested in exploring the possibilities of the medium by utilizing the tools he had at his disposal in formally innovative and oftentimes hilarious ways."[161] "In Lewis's work the way the scene is photographed is an integral part of the joke. His purposeful selection of lenses, for example, expands and contracts space to generate laughs that aren't necessarily inherent in the material, and he often achieves his biggest effects via what he leaves off screen, not just visually but structurally."[162]

As a director, Lewis advanced the genre of film comedy with innovations in the areas of fragmented narrative, experimental use of music and sound technology, and near surrealist use of color and art direction.[163][164][165] This prompted his peer, filmmaker Jean Luc Godard to proclaim, "Jerry Lewis ... is the only one in Hollywood doing something different, the only one who isn't falling in with the established categories, the norms, the principles. ... Lewis is the only one today who's making courageous films. He's been able to do it because of his personal genius".[166] Jim Hemphill for American Cinematheque wrote, "They are films of ambitious visual and narrative experimentation, provocative and sometimes conflicted commentaries on masculinity in post-war America, and unsettling self-critiques and analyses of the performer's neuroses."

Intensely personal and original, Lewis's films were groundbreaking in their use of dark humor for psychological exploration.[167] Justin Chang of the Los Angeles Times said, "The idea of comedians getting under the skin and tapping into their deepest, darkest selves is no longer especially novel, but it was far from a universally accepted notion when Lewis first took the spotlight. Few comedians before him had so brazenly turned arrested development into art, or held up such a warped fun house mirror to American identity in its loudest, ugliest, vulgarest excesses. Fewer still had advanced the still-radical notion that comedy doesn't always have to be funny, just fearless, in order to strike a nerve".[168]

Before 1960, Hollywood comedies were screwball or farce. Lewis, from his earliest 'home movies, such as How to Smuggle a Hernia Across the Border, made in his playhouse in the early 1950s, was one of the first to introduce satire as a full-length film. This "sharp-eyed" satire continued in his mature work, commenting on the cult of celebrity, the machinery of 'fame', and "the dilemma of being true to oneself while also fitting into polite society". Stephen Dalton in The Hollywood Reporter wrote, Lewis had "an agreeably bitter streak, offering self-lacerating insights into celebrity culture which now look strikingly modern. Even post-modern in places." Speaking of The King of Comedy, "More contemporary satirists like Garry Shandling, Steve Coogan and Ricky Gervais owe at least some of their self-deconstructing chops to Lewis's generously unappetizing turn in Scorsese's cult classic."[169]

Lewis was an early master of deconstruction to enhance comedy. From the first Comedy Hours he exposed the artifice of on-stage performance by acknowledging the lens, sets, malfunctioning props, failed jokes, and tricks of production. As Jonathan Rosenbaum wrote: Lewis had "the impulse to deconstruct and even demolish the fictional "givens" of any particular sketch, including those that he might have dreamed up himself, a kind of perpetual auto-destruction that becomes an essential part of his filmmaking as he steadily gains more control over the writing and direction of his features."[170] His self directed films abound in behind-the-scene reveals, demystifying movie-making. Daniel Fairfax writes in Deconstructing Jerry: Lewis as a Director, "Lewis deconstructs the very functioning of the joke itself". ... quoting Chris Fujiwara, "The Patsy is a film so radical that it makes comedy out of the situation of a comedian who isn't funny."[171] The final scene of The Patsy is famous for revealing to the audience the movie as a movie, and Lewis as actor/director.[172] Lewis wrote in The Total Filmmaker, his belief in breaking the fourth wall, actors looking directly into the camera, despite industry norms.[173] More contemporary comedies such as The Larry Sanders Show, Curb Your Enthusiasm, and The Office continue this method.

Robert De Niro and Sandra Bernhard, both of whom starred with Lewis in The King of Comedy, reflected on his death. Bernhard said: "It was one of the great experiences of my career, he was tough but one of a kind". De Niro said: "Jerry was a pioneer in comedy and film. And he was a friend. I was fortunate to have seen him a few times over the past couple of years. Even at 91, he didn't miss a beat ... or a punchline. You'll be missed."[174] There was also a New York Friars Club roast in honor of Lewis with Sarah Silverman and Amy Schumer.[175][176][177][178] Martin Scorsese recalls working with him on The King of Comedy, "It was like watching a virtuoso pianist at the keyboard".[179][180][181][182][183][184][185][186] Lewis was the subject of a documentary Jerry Lewis: Method to the Madness.[187][188][189][190][191][192][193]

Peter Chelsom, director of Funny Bones wrote, "Working with him was a masterclass in comic acting – and in charm. From the outset he was generous." "There's a very thin line between a talent for being funny and being a great actor. Jerry Lewis epitomized that. Jerry embodied the term "funny bones": a way of differentiating between comedians who tell funny and those who are funny."[194] Director Daniel Noah recalling his relationship with Lewis during production of Max Rose wrote, "He was kind and loving and patient and limitlessly generous with his genius. He was unbelievably complicated and shockingly self-aware."[195]

Actor and comedian Jeffrey Tambor wrote after Lewis's death, "You invented the whole thing. Thank you doesn't even get close."[196]

There have been numerous retrospectives of Lewis's films in the U.S. and abroad, most notably Jerry Lewis: A Film and Television Retrospective at Museum of the Moving Image, the 2013 Viennale, the 2016 Melbourne International Film Festival, The Innovator: Jerry Lewis at Paramount, at American Cinematheque in Los Angeles, and Happy Birthday Mr. Lewis: The Kid Turns 90, at MOMA.

In 2017, Lewis with others inaugurated and founded Legionnaires of Laughter and Legacy Awards, and the first Legacy Award held in Downtown, New York.[197] On August 21, 2017, multiple hotel marquees on the Las Vegas Strip honored Lewis with a coordinated video display of images of his career as a Las Vegas performer and resident.[198] From 1949, as part of Martin and Lewis, and from 1956 as a solo, Lewis was a casino showroom headliner, playing numerous dates over the decades. Las Vegas was also the home of his annual Labor Day MDA telethon.

Lewis was among hundreds of artists whose material was destroyed in the 2008 Universal fire.[199]

Between 1952 and 1971, DC Comics published a 124-issue comic book series with Lewis as one (later, the only) main protagonist, titled The Adventures of Dean Martin and Jerry Lewis. In The Simpsons, the character of Professor Frink is based on Lewis's Julius Kelp from The Nutty Professor.[200] Lewis himself would later voice the character's father in the episode "Treehouse of Horror XIV". In Family Guy, Peter recreates Lewis's 'chairman of the board' scene from The Errand Boy. Comedian, actor and friend of Lewis, Martin Short, satirized him on the series SCTV in the sketches "The Nutty Lab Assistant", "Martin Scorsese presents Jerry Lewis Live on the Champs Elysees!", "The Tender Fella", and "Scenes From an Idiots Marriage",[201][202][203] as well as on Saturday Night Live's "Celebrity Jeopardy!".[204]

Also on SNL, the Martin and Lewis reunion on the 1976 MDA Telethon is reported by Chevy Chase on Weekend Update.[205] Comedians Eddie Murphy and Joe Piscopo both parodied Lewis when he hosted SNL in 1983. Piscopo also channeled Jerry Lewis while performing as a 20th-century stand-up comedian in Star Trek: The Next Generation; in the second-season episode "The Outrageous Okona", Piscopo's Holodeck character, The Comic, tutors android Lieutenant Commander Data on humor and comedy.[206] Comedian and actor Jim Carrey satirized Lewis on In Living Color in the sketch "Jheri's Kids Telethon".[207] Carrey had an uncredited cameo playing Lewis in the series Buffalo Bill on the episode "Jerry Lewis Week".[208] He also played Lewis, with impersonator Rich Little as Dean Martin, on stage. Actor Sean Hayes portrayed Lewis in the made-for-TV movie Martin and Lewis, with Jeremy Northam as Dean Martin.[209] Actor Kevin Bacon plays the Lewis character in the 2005 film Where The Truth Lies, based on a fictionalized version of Martin and Lewis.[210] In the satiric novel, Funny Men, about singer/wild comic double act, the character Sigmund "Ziggy" Blissman, is based on Lewis.

John Saleeby, writer for National Lampoon has a humor piece "Ten Things You Should Know About Jerry Lewis".[211] In the animated cartoon Popeye's 20th Anniversary, Martin and Lewis are portrayed on the dais.[212] The animated series Animaniacs satirized Lewis in several episodes. The voice and boyish, naive cartoon character SpongeBob SquarePants is partially based on Lewis, with particular inspiration from his film The Bellboy.[213][214] In 1998, The MTV animated show Celebrity Deathmatch had a clay-animated fight to the death between Dean Martin and Lewis. In a 1975 re-issue of MAD Magazine the contents of Lewis's wallet is satirized in their on-going feature "Celebrities' Wallets".

Lewis, and Martin & Lewis, as himself or his films, have been referenced by directors and performers of differing genres spanning decades, including Andy Warhol's Soap Opera (1964), John Frankenheimer's I Walk the Line (1970), Francis Ford Coppola's The Godfather (1972), Randal Kleiser's Grease (1978), Rainer Werner Fassbinder's In a Year of 13 Moons (1978), Robert Zemeckis's Back to the Future (1985), Quentin Tarantino's Four Rooms (1995), Martin Scorsese's Gangs of New York (2002), Hitchcock (2012), Ben Stiller's The Secret Life of Walter Mitty (2013), Jay Roach's Trumbo (2015), The Comedians (2015), Baskets (2016) and The Marvelous Mrs. Maisel (2017, 2018).

Similarly, varied musicians have mentioned Lewis in song lyrics including, Ice Cube, The Dead Milkmen, Queen Latifah, and Frank Zappa.[215] The hip hop music band Beastie Boys have an unreleased single "The Jerry Lewis", which they mention, and danced to, on stage in Asheville, North Carolina in 2009.[216] In their film Paul's Boutique — A Visual Companion, clips from The Nutty Professor play to "The Sounds of Science".[217] In 1986, the comedy radio show Dr. Demento aired a parody of "Rock Me Amadeus", "Rock Me Jerry Lewis".

Apple iOS 10 includes an auto-text emoji for 'professor' with a Lewis lookalike portrayal from The Nutty Professor.[218] The word "flaaaven!", with its many variations and rhymes, is a Lewis-ism often used as a misspoken word or a person's mis-pronounced name.[219] In a 2016 episode of the podcast West Wing Weekly, Joshua Malina is heard saying "flaven" when trying to remember a character's correct last name. Lewis's signature catchphrase "Hey, Laaady!" is ubiquitously used by comedians and laypersons alike.[220]

Sammy Petrillo bore a coincidental resemblance to Lewis,[221][222] so much so that Lewis at first tried to catch and kill Petrillo's career by signing him to a talent contract and then not giving him any work. When that failed (as Petrillo was under 18 at the time), Lewis tried to blackball Petrillo by pressuring television outlets and then nightclubs,[223] also threatening legal action after Petrillo used his Lewis impersonation in the film Bela Lugosi Meets a Brooklyn Gorilla.[224]

Lewis's motion picture star on the Hollywood Walk of Fame at 6821 Hollywood Blvd.

• 1952 – Photoplay Award
• 1952 – Primetime Emmy Award Nomination for Best Comedian or Comedienne
• 1954 – Most Cooperative Actor, Golden Apple Award
• 1958 – Golden Laurel Nomination for Top Male Star
• 1959 – Golden Laurel Nomination for Top Male Star
• 1960 – Golden Laurel Nomination for Top Male Star
• 1960 – Two stars (one for film and one for television) on the Hollywood Walk of Fame
• 1961 – Golden Laurel Nomination for Top Male Comedy Performance for Cinderfella
• 1961 – Golden Laurel Nomination for Top Male Star
• 1962 – Golden Laurel Nomination for Top Male Star
• 1963 – Golden Laurel Nomination for Top Male Star
• 1963 – Cahiers du Cinéma's Top 10 Film Award Nomination for Best Film for The Nutty Professor
• 1964 – Golden Laurel Nomination for Top Male Star
• 1965 – Golden Laurel, Special Award – Family Comedy King
• 1965 – Cahiers du Cinéma's Top 10 Film Award Nomination for Best Film for The Family Jewels
• 1966 – Golden Laurel Nomination for Comedy Performance (Male) for Boeing Boeing
• 1966 – Golden Light Technical Achievement Award for his 'video assist'
• 1966 – Golden Globe Nomination for Best Actor in a Comedy or Musical
• 1966 – Fotogramas de Plata Best Foreign Performer
• 1967 – Cahiers du Cinéma's Top 10 Film Award Nomination for Best Film for The Big Mouth
• 1970 – Jerry Lewis Award for Outstanding achievement in being a "Person" and "Performer" for Which Way to the Front
• 1970 – The Michael S. McLean Happy Birthday and Thank You Award for Which Way to the Front
• 1977 – Nominated for a Nobel Peace Prize, for his work on behalf of the Muscular Dystrophy Association
• 1978 – Greatest Public Service Benefiting the Disadvantaged, a Jefferson Awards annual award.[225]
• 1981 – Stinker Award Nomination for Worst Actor for Hardly Working
• 1981 – Stinker Award Nomination for Worst Sense of Direction for Hardly Working
• 1983 – British Academy Film Awards (BAFTA) nomination for Best Actor in a Supporting Role for The King of Comedy
• 1983 – Cahiers du Cinéma's Top 10 Film Award Nomination for Best Film for Cracking Up
• 1984 – Chevalier, Ordre national de la Légion d'honneur, France
• 1985 – Razzie Award Nomination for Worst Actor for Slapstick (Of Another Kind)
• 1991 – Comic Life Achievement Award
• 1991 – Induction into the Broadcast Hall of Fame
• 1991 – Lifetime Achievement Award, The Greater Fort Lauderdale Film Festival
• 1992 – Induction into the International Humor Hall of Fame
• 1995 – Theatre World Award, for Outstanding Broadway Debut for Damn Yankees
• 1997 – American Comedy Awards Lifetime Achievement Award
• 1999 – Golden Lion Honorary Award
• 2002 – Rotary International Award of Honour[226]
• 2004 – Los Angeles Film Critics Association's Career Achievement Award
• 2005 – Primetime Emmy Governor's Award[227]
• 2005 – Goldene Kamera Honorary Award[228]
• 2006 – Medal of the City of Paris, France
• 2006 – Satellite Award for Outstanding Guest Star on Law and Order SVU
• 2006 – Commandeur, Ordre national de la Légion d'honneur, France[229]
• 2009 – Induction into the New Jersey Hall of Fame
• 2009 – Jean Hersholt Humanitarian Award at the 81st Academy Awards[230]
• 2009 – International Press Academy's Nikola Tesla Award in recognition of visionary achievements in filmmaking technology for his "video assist".
• 2010 – Chapman University Honorary Doctorate of Humane Letters during the 2010 MDA Telethon[231]
• 2011 – Ellis Island Medal of Honor
• 2013 – Homage from the Cannes Film Festival, with the screening of Lewis's latest film Max Rose[68]
• 2013 – Honorary Member of the Order of Australia (AM), for service to the Muscular Dystrophy Foundation of Australia and those affected by the disorder[232]
• 2014 – "Forecourt to the Stars" imprints at Grauman's Chinese Theatre in Hollywood[233][234]
• 2014 – New York Friars Club renames clubhouse building The Jerry Lewis Monastery[235]
• 2014 – Publicists Guild of America Lifetime Achievement Award
• 2015 – National Association of Broadcasters Distinguished Service Award[236]
• 2015 – Casino Entertainment Legend Award[237]

• Lewis, Jerry (1962). Instruction Book For ..."Being a Person" or (Just Feeling Better). Self-published. ISBN 978-0-937-539743. (ISBN is for the 2004 Mass Market Edition)
• Lewis, Jerry (1971). The Total Film-Maker. New York City: Random House. ISBN 978-0-394-46757-3.
• Lewis, Jerry; Gluck, Herb (1982). Jerry Lewis: In Person. New York: Atheneum. ISBN 978-0-689-11290-4.
• Lewis, Jerry; Kaplan, James (2005). Dean & Me (A Love Story). New York: Doubleday. ISBN 978-0-7679-2086-5.

• Annett Wolf (Director) (1972) The World of Jerry Lewis (unreleased)
• Robert Benayoun (Director) (1982) Bonjour Monsieur Lewis (Hello Mr. Lewis)
• Burt Kearns (Director) (1989) Telethon (Released in US, 2014)
• Carole Langer (Director) (1996) Jerry Lewis: The Last American Clown
• Eckhart Schmidt (Director) (2006) König der Komödianten (King of Comedy)*
• Gregg Barson (Director) (2011). Method to the Madness of Jerry Lewis
• Gregory Monro (Director) (2016). Jerry Lewis: The Man Behind the Clown (Motion picture).

• Dale, Alan (2000). Comedy Is A Man In Trouble. University of Minnesota Press. ISBN 978-0-8166-3657-0.
• Fujiwara, Chris (2010). Jerry Lewis (Contemporary Film Directors). University of Illinois Press. ISBN 9780252076794.
• Gehman, Richard (1964). That Kid: The Story of Jerry Lewis. New York: Avon Books. ASIN B0006BLNAO.
• Gordon, Rae Beth (2002). Why The French Love Jerry Lewis, From Cabaret to Early Cinema. Stanford University Press. ISBN 9780804738941.
• Hayde, Michael J. (2018). Side by Side:Dean Martin and Jerry Lewis on TV and Radio. BearManor Media. ISBN 9781629333526.
• Krutnik, Frank; Rickman (ed.), G (2001). Jerry Lewis:deformation of the comic, The Film Comedy Reader. New York: Limelight Editions. ISBN 9780879102951. {{cite book}}: |last2= has generic name (help) Also, Film Quarterly, Vol. 48, No. 1 (Autumn, 1994), pp. 12–26 University of California Press
• Krutnik, Frank (2000). Inventing Jerry Lewis. Washington: Smithsonian Institution Press. ISBN 9781560983668.
• Krutnik, Frank (Spring 1995). "The Handsome Man and His Monkey". Journal of Popular Film & Television. Vol.23 Issue 1
• Levy, Shawn Anthony (1997). King of Comedy: The Life and Art of Jerry Lewis. New York: St. Martin's Press. ISBN 978-0-312-13248-4.
• Marx, Arthur (1974). Everybody Loves Somebody Sometime (Especially Himself): The Story of Dean Martin and Jerry Lewis. New York: Hawthorne Books. ISBN 978-0-8015-2430-1.
• Neibaur, James L.; Okuda, Ted (1994). The Jerry Lewis Films:An Analytical Filmography of the Innovative Comic. Jefferson, NC: McFarland & Company. ISBN 978-0-89950-961-7.
• Pomerance, Murray, ed. (2002). Enfant Terrible: Jerry Lewis in American Film. NY: New York University Press. ISBN 9780814767061.
• Rapf, Joanna E (1993). "Comic Theory from a Feminist Perspective: A Look at Jerry Lewis". Journal of Popular Culture.
• Tosches, Nick (1992). Dino: Living High in the Dirty Business of Dreams (1st ed.). New York: Delta Trade Paperbacks. ISBN 0-385-33429-X.
• Lamarca, Manuel (2017). Jerry Lewis. El día en el que el cómico filmó. Barcelona, Spain. Ediciones Carena.ISBN 978-8416843749

• Bright Lights Film Online Journal
• Film School Rejects
• la furia umana (Multilingual Film Quarterly)
• ‘jerrython’ at MUBI
• Museum of the Moving Image
• An American Original: The RogerEbert.com Staff Remembers Jerry Lewis
• Senses of Cinema

Wikiquote has quotations related to Jerry Lewis.

Wikimedia Commons has media related to Jerry Lewis.

• Jerry Lewis at IMDb
• Jerry Lewis at AllMovie
• Jerry Lewis at the TCM Movie Database
• Jerry Lewis at the Internet Broadway Database
• Jerry Lewis at The Interviews: An Oral History of Television
• Jerry Lewis Interview video at Directors Guild of America
• Lewis interview video with Peter Bogdanovich Museum of the Moving Image Pinewood Dialogues
• Jerry Lewis Interview Podcast WTF with Marc Maron
• Drum Solo Battle (1955) with Buddy Rich at