Jerry Lewis (Julius Kelp, Buddy Love), March 16, 1926 – August 20, 2017
The book has finally closed on the eight decade long career of Jerry Lewis, the American actor, comedian, and filmmaker, who died on Sunday, August 20th, at the age of ninety one. Jerry Lewis is one of those colossal, divisive figures like Lenin, Mao, or Meryl Streep; few people are noncommittal about him. Ever since he shrieked and jerked his way into the public consciousness with his partner Dean Martin, first in nightclubs and on radio, then in a series of highly successful movies, and finally, after an acrimonious split with Martin, on his own as an actor and director, the standard responses have been either overboard adoration or utter loathing, a split that even effects entire nationalities — the French have a much snickered-at (at least among Americans) reputation for their extreme and almost universal love of Lewis, while Swedes and all other Scandinavians can’t stand him. (I made that last part up, but it’s probably true.)
This might be of only passing interest to Black Gate readers, except for one thing. In 1963, Lewis co-wrote (with Bill Richmond), directed, and starred in what is arguably the best version of that much-filmed classic of dark fantasy, Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde. Lewis altered the title even more than most adapters do, calling his movie The Nutty Professor, and that’s not all he altered.
Sunday, July 16, felt in some ways like the day Fantasia 2017 really began for me. I had three movies I planned to watch, of three very different kinds, though all at the De Sève Theatre. The first was a horror-inflected American independent film called The Honor Farm. The second was a Hong Kong action movie called Shock Wave (Chaak Daan Juen Ga). The third was a Chinese art movie called Free and Easy (Qīng sōng yú kuài). That mix of approaches, genres, and countries was characteristic of the festival. I looked forward to each movie individually, and to how they’d work together.
I had an odd schedule on Sunday, July 17. There were two movies I wanted to see. The first was a Chinese historical martial-arts film called The Final Master (Shi Fu), which played at noon. The second was a live-action Japanese manga adaptation, Tokyo Ghoul (Tôkyô gûru), and that played at 9:35 in the evening. I eventually decided to go to the Hall Theatre for the first movie, spend the afternoon doing errands, and return for the second movie in the evening. In the end, this turned out to be a good plan.
After seeing two showcases of short films on the afternoon of Saturday, July 15, in the evening I went to my first movie of the 2017 Fantasia festival to screen in the 400-seat D.B. Clarke Theatre. That was a film called Mohawk. Directed by Ted Geoghegan, his second film after 2015’s We Are Still Here, with a script by Geoghegan and 
Saturday, July 15, looked like an unusual day for me at Fantasia: I’d mostly be seeing short films. It’d begin a bit after noon, with a set of shorts called SpectrumFest: Films from the Autism Spectrum, a collection of pieces from young filmmakers on the autism spectrum. Then would come this year’s edition of the International Science-Fiction Short Film Showcase, featuring eight science-fictional short films from around the world. Both showings looked fascinating, if in different ways. SpectrumFest was new to me, but I’d seen the SF showcases in previous years, and been impressed both by the individual films and by the way they worked together — if short films are loosely equivalent to prose short stories, the SF short film showcases make excellent anthologies.
