Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?

As a performer (musical or otherwise), Anthony Newley has always been an acquired taste. His cabaret-born stylings and exaggerated delivery (again, while singing or acting) can either be interpreted as heartfelt or preening. Newley had done nothing on the screen up to this point to justify the jaded, indifferent, Felliniesque "Heironymus Merkin", an autobiographical jumble of vaudeville skits, sex and songs. Newley directed and has the lead; he also co-wrote the script with Herman Raucher, scored the music and produced. Obviously, this project meant a lot to him, but it was shunned upon its release (the ungainly title was most likely no help). The film gives off bad vibrations, as well as the puzzling impression it was made by somebody who hoped to get out of show business. A musical-comedy star reflects on his life upon turning 40 (the age, Merkin tells us, when men's bodies begin to decay); he's guided along his journey by George Jessel (dressed in all-white) and Milton Berle (dressed in suit jackets and shorts, like a leering carnival barker). Newley cavorts with a bevy of women (a handful of whom were featured in a nude Playboy layout, which figured in the advertising), but Merkin/Newley views sex cheerlessly. The women are sex objects to be ogled and then cheated on--until they get pregnant, which leads to the ultimate trap: marriage. While Newley is anxious to show off the bare breasts of his actresses (minus those of wife Joan Collins, who is turned into a shrew), he stops short of celebrating their bodies; in Newley's world, a sex scene is included only to showcase his prowess as a ladies' man. He's not only the star of his own movie, he's the leading man in each of his lovers' movies (the ladies have no personalities--only lascivious names). This self-adoration is probably the reason the film was taken to task by the critics, who called it a megalomaniacal disaster. Is it truly wretched? I would say Newley adopts a certain style from the Masters, which is unfortunately hindered in the end by the lenient editing. There are far too many shots of Newley with his shirt off, or with his shoes off, allowing the camera to admire him. He primps, he sticks out his bottom lip and looks boyish, he dresses as a life-size marionette and collapses, hoping to grab our hearts. The picture isn't a personal triumph because it has been shaped and styled to reveal Anthony Newley as a sad puppet, a crying clown, and the image is so false that nobody--least of all of Newley--could get away with it. *1/2 from ****

I've read some raves and some scathing reviews of this film. The reviewers seem wildly opposed.

What one should remember when viewing this work is the era when it was made. The world was a little different in the late '60s; the war in Vietnam was beginning to be opposed vehemently, nudity and profanity were being more tolerated in films, and a new era of permissiveness was dawning. Films that came out at this time were taking more "avante garde" chances, and there were as many misses as hits.

This film was a mixture of good and bad scenes, but never-the-less an interesting work. The humor in it is somewhat crude, and the music has neither enough polish, or conversely, edge to work completely.

I do remember being entertained by the film, and isn't that the bottom line? Trying to compare it to today's standards is not a valid comparison. No one would try to compare Chaplin's films with Eddie Murphy's. This work is one that will probably stay obscure, because it was more of an experiment than an expression.

Bottom line: A mixture of good and bad comedy, music and philosophy. See it for yourself and see if you can eke out a valid point of view.

People complain that studios don't take chances anymore. Well, although sometimes when they did take a chance they made a masterpiece, they also came up with movies like this! This movie is a mess, so...weird. For much of the running time, it's fascinating to watch its insanity, though eventually it becomes tiring. The only really funny bit is the hilariously tasteless "The Princess and the Donkey" number.

"Can Hieronymous Merkin ever forget Merci Humppe and find true Happiness?" has to win an award for being the strangest title for a film ever. Partially semi autobiographical comedy in the vein of Fellini and Woody Allen. "Hieronymous Merkin" throws away conventional narrative to tell the story of a director making a film about his life; not to mention it's also a musical. Some parts are dated and hard to follow. Director Anthony Newly was married to Joan Collins. Collins also appears in the film. Collins has a certain expression like, how did I end up in this film? All criticism aside, "Hieronymous Merkin" is quite funny and breathtaking with it's amazing surrealist imagery. If Woody Allen, Fellini and Jodorowsky were to of collaborated on a musical with Jacques Demi, it may be something like this film. Newly can get annoying at times with his inflated ego and sex drive. He tells about marriage, infidelity, having kids, being in show business and his various sex-capades. Memorable dream like images include the Merry go round sequence, Merkin as a string puppet, his bed which lies in the ocean on the beach side and a crazy sequence with a nude girl who is a human wind up toy like object. I sure wish they would release this film on DVD. There are not many films like it. Love it or hate it, it's completely original; especially the super catchy song "Picadilly Lilly". Must be seen to be believed.

After watching this film, I wondered if Anthony Newley thought that this would be his sole chance to direct a major film (which turned out to be true), so he decided togo on a binge with every idea he had at that point . It's in equal parts a mockumentary, a musical, and an homage to Tex Avery cartoons. Newley is the ringleader, Hieronymus Merkin, and he invites us to watch his carnal accomplishments and rise as a singer.

This movie features some fascinating production and costume design, and the beach sets are very unique. The jokes often hit sour notes, but the enthusiasm is contagious. I mean, really, what's better than seeing Joan Collins portray a character named " Polyester Poontang"? If you ever come across this movie, give it a chance.

:)