Knock on Wood

The story of the ventriloquist's dummy who develops a personality all its own has been used any number of times. Two times when it was used seriously the ventriloquists were Cliff Robertson on the Twilight Zone and Michael Redgrave in Dead Of Night. But Danny Kaye managed to use it for laughs in Knock On Wood.

Every time Kaye gets close to a girl to start talking seriously of marriage, his second persona through the dummy takes over and cooks the deal for good. Kaye's agent David Burns suggests some consultation with a psychiatrist Steven Geray. And then Geray consults a consultant and the consultant psychiatrist turns out to be Mai Zetterling.

That's how romances start with comics, especially movie comics. But even Zetterling is ready to commit him when all kind of strange things happen. Two parts of the design of a secret weapon get hidden both of Kaye's dummies Clarence and Terrence. And two different sets of spies get a hold of the parts. One is held by Leon Askin and the second held by international man of mystery Torin Thatcher.

Things start happening around Kaye that he and no one else can explain so it's not unnatural for mental health professionals to think he's off his rocker. But so does law enforcement in several countries.

Knock On Wood is not as good as so many of Kaye's films, still his fans should like it. Best is the ballet sequences where in trying to elude the police who want him for a homicide and the spies who just want him dead, Danny fouls up a ballet that his former girlfriend is starring in. What a way to put a coda on a breakup.

Of course Danny was to reach the height of his career with his next two films White Christmas and The Court Jester. Knock On Wood is good, but just an interlude in Danny's career.

The sequence in this film where Danny Kaye lands on the stage of an balletic opera in progress has got to rank up there with the funniest single scenes in motion picture history. The spoof is as spot-on as the "Fantasia" spoof of opera in the "Dance of the Hours" sequence. It's hard to explain how the previous reviewer thought the new-car-with-gadgets scene was the funniest; actually, it's the most dated, and "Knock on Wood" would be better off without it. The story is a wicked satire on espionage agents, with Danny caught up unawares in the center of an international spy ring. There's also a love story reminiscent of "Walter Mitty", but this is the funnier film of the two. Danny Kaye is one of the most underrated actors of all time. His facial expressions--conveying what he thinks, which is often opposite to what he or the other characters are saying--is like a second voice carrying the humor line. It's so well done that it seems mundane to people who are not on the lookout for it. Only Sid Caesar, of all the comics in American history, including Chaplin and the other silent greats, used his facial expressions to the supreme comic effect that Danny Kaye achieved. I might even rank Caesar above Kay, but unfortunately Caesar did not get any good movie roles. (Mel Brooks wanted him for "The Producers," and it would have become THE best comedy of all time if he had landed him, but some busybody associate producer hated Caesar and so he nixed the deal. How sad.) If I were pressed to choose among Danny Kaye's films, I guess I would choose "The Court Jester" above "Knock on Wood," in terms of all-round satisfaction. Yet the ballet spoof in "Knock on Wood" surpasses any single scene in "The Court Jester." If you never see it, you'll never know how funny a thing can be.

This film is very special to me because when I left home to live in London in 1958, I saw this on my first evening in the city and, as I walked to the cinema, I realised I had not had to ask anyone if I could go or tell anyone where I was going! It was a moment of pure joy - I was free! Other reviewers have carped at the automatic sports car scene but I love this for two reasons: it is very well-constructed, very brief and only a great clown could have carried off. Secondly, Kaye uses his ability as a mimic to produce an impeccable English accent, something which very few Americans can manage (e.g. Dick Van Dyke in Mary Poppins).

Danny Kaye plays a ventriloquist caught up in mayhem in Melvin Frank's Academy Award-nominated "Knock on Wood". Admittedly, some of the material (i.e., the gender relations) is a little outdated, but the humor is as lovable as ever. Kaye does a number of his verbal puns, there are some zany gags with a car, and then there's one of the funniest ballet scenes ever. It goes to show why Kaye was one of the best comedians ever (although he did also have a serious side, appearing as a Holocaust survivor in a TV movie about a Nazi rally in Skokie).

Not one of the best comedies of all time, but enjoyable enough for its short run.

Was Mai Zetterling a babe or what?

There is a scene in KNOCK ON WOOD in which Danny Kaye, trying to escape from the London police, finds himself backstage during an overly dramatic Russian ballet, and soon enough, is onstage, heavy-footedly trying to blend into the scene without being spotted by the police in the audience. The result is the single best spoof of ballet the live side of animation (with "Dance of the Hours" in FANTASIA being its cartoon match). I actually saw Danny Kaye do this routine onstage at the Palace Theatre in New York where, great though it was, the closeups provided by the movie camera make the film version even more hilarious. Kaye is one of the most underrated actors of all time. This movie shows his brilliance and range. His facial expressions are as brilliantly comic as Sid Caesar's, and the two of them leave the rest of the pack far behind. (Is Robin Williams a distant third?)

KNOCK ON WOOD is uneven. It's not the most perfectly realized Kaye film--that honor goes either to SECRET LIFE OF WALTER MITTY or COURT JESTER. The latter, being a musical, maybe is the best. COURT JESTER is overall funnier than KNOCK ON WOOD, but no scene in it comes close to the ballet spoof.