Slapstick of Another Kind (1984)

PG | 87 mins | Comedy | 23 March 1984

Director:

Steven Paul

Writer:

Steven Paul

Producer:

Steven Paul

Cinematographer:

Tony Richmond

Editor:

Doug Jackson

Production Company:

The S. Paul Company
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HISTORY

The film concludes with the words, “Hi Ho!”
       End credits acknowledge “a special thanks to Alessandro Tasca, a prince among men.”
       A 3 Apr 1980 HR article announced that filmmaker Steven Paul would direct and produce a project, titled Slapstick, based on Kurt Vonnegut’s 1976 bestseller of the same name. As described in a 9 May 1982 LAT article, Paul and Vonnegut became acquainted when Paul was twelve years old and co-starred in a Broadway production of Vonnegut’s play, Happy Birthday, Wanda June (New York, 22 Dec 1970). The boy’s performance made an impression on the author, who suggested they collaborate on a future project. In 1976, at the age of seventeen, Paul contacted Vonnegut after reading excerpts of Slapstick in Playboy magazine and negotiated to option the novel for $250,000. Vonnegut wrote the initial screenplay adaptation, but Paul was responsible for re-writes and received sole writing credit onscreen.
       Unable to interest any studio, Paul raised the $4.2 million budget through private investors, described as “a consortium of doctors,” and through advance sales to cable outlets and overseas distributors. A 13 Sep 1982 HR article added that the group of doctors were based in Ventura County, CA, and led by executive producer Dan Murphy, a neurosurgeon and friend of Paul’s family. Executive producer Larry Sugar, who presided over Lorimar Distribution International, negotiated the foreign sales agreements, which were based on guarantees of star talent, namely Jerry Lewis and Kurt Vonnegut. Several cast members, including Lewis and Madeline Kahn, traded portions of their upfront ...

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The film concludes with the words, “Hi Ho!”
       End credits acknowledge “a special thanks to Alessandro Tasca, a prince among men.”
       A 3 Apr 1980 HR article announced that filmmaker Steven Paul would direct and produce a project, titled Slapstick, based on Kurt Vonnegut’s 1976 bestseller of the same name. As described in a 9 May 1982 LAT article, Paul and Vonnegut became acquainted when Paul was twelve years old and co-starred in a Broadway production of Vonnegut’s play, Happy Birthday, Wanda June (New York, 22 Dec 1970). The boy’s performance made an impression on the author, who suggested they collaborate on a future project. In 1976, at the age of seventeen, Paul contacted Vonnegut after reading excerpts of Slapstick in Playboy magazine and negotiated to option the novel for $250,000. Vonnegut wrote the initial screenplay adaptation, but Paul was responsible for re-writes and received sole writing credit onscreen.
       Unable to interest any studio, Paul raised the $4.2 million budget through private investors, described as “a consortium of doctors,” and through advance sales to cable outlets and overseas distributors. A 13 Sep 1982 HR article added that the group of doctors were based in Ventura County, CA, and led by executive producer Dan Murphy, a neurosurgeon and friend of Paul’s family. Executive producer Larry Sugar, who presided over Lorimar Distribution International, negotiated the foreign sales agreements, which were based on guarantees of star talent, namely Jerry Lewis and Kurt Vonnegut. Several cast members, including Lewis and Madeline Kahn, traded portions of their upfront salary for a share of any future profits. Reportedly, the Teamsters union agreed to “some concessions,” enabling the production to employ their members on a predominately non-union set. Jerry Lewis stated in a 24 Mar 1982 DV column that he was “upset” upon discovering on the first day of shooting that the picture was non-union, but agreed to remain with the project. Paul insisted he could not have self-financed the picture with a union crew and was continually looking for other ways to lower costs. For example, special effects makeup artist, Robert Zraick, who designed the prosthetics worn by Lewis and Kahn, worked with makeup as a hobby and had been a circus clown, but had little experience on film sets. In exchange for the career opportunity, he agreed to defer his entire salary.
       A 21 Jan 1981 HR brief mentioned that actress Shirley MacLaine was considered for the role of “Eliza Swain/Letitia Swain.”
       According to a production shooting schedule in AMPAS library files, principal photography began 25 Jan 1982. Location work took place in the Los Angeles, CA area. The 24 Mar 1982 DV indicated that filming completed in late Mar 1982.
       As stated in a 14 Jan 1983 DV article, the film received its first theatrical release in Europe. The distributor, Scotia International FIlms, opened the picture 10 Dec 1982 in West Germany, where it earned over $5 million, according to a 27 Feb 1984 HR article. An 18 Dec 1982 Screen International item noted that Scotia spent $80,000 on a Jerry Lewis promotional tour that included the cities of Hamburg, Cologne, and Hagen, via a special railway car. By early 1983, the film was playing or scheduled to play in Belgium, Holland, Greece, Finland, and France. Paul struggled to find a U.S. distributor and eventually formed a company, Entertainment Releasing Corp., to jointly distribute the film with International Film Marketing in a limited run. Plans for the $1.2 million publicity campaign involved Jerry Lewis and the main cast on a “whistle-stop tour” aboard an Amtrak train coined the “Slapstick Special.” Under the new title Slapstick of Another Kind, the picture opened in Los Angeles on 23 Mar 1984. The Jun 1984 Box reported opening week grosses of $58,000 at twelve Los Angeles theaters. Although the 27 Feb 1984 HR stated that the picture was scheduled to open in the Midwest on 16 Mar 1984 and New York City on 30 Mar 1984, there is no further evidence in available resources that the film played in these markets.
       Steven Paul stated in a 2 Mar 1984 DV column that the domestic version was re-edited and included a new score by Morton Stevens as well as a voiceover narration by actor Orson Welles.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
Jun 1984
Section R, p. 77
Daily Variety
24 Mar 1982
---
Daily Variety
14 Jan 1983
p. 16
Daily Variety
2 Mar 1984
---
Hollywood Reporter
3 Apr 1980
p. 1, 21
Hollywood Reporter
21 Jan 1981
---
Hollywood Reporter
13 Sep 1982
p. 1, 6
Hollywood Reporter
27 Feb 1984
p. 3
Los Angeles Times
9 May 1982
Section J, p. 26
Los Angeles Times
23 Mar 1984
Section G, p. 3
Screen International
18 Dec 1982
---
Variety
28 Mar 1984
p. 20, 22
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
The S. Paul Company Presents
Produced in association with Serendipity Productions
NAME
CREDITED AS
CREDIT
DIRECTORS
Tech dir
Asst dir
Asst tech dir
Asst tech dir
2d unit dir, eff seq
PRODUCERS
Line prod
Assoc prod
Exec prod
Exec prod
Exec prod
WRITER
PHOTOGRAPHY
Dir of photog
1st asst cam
2d asst cam
Still photog
Gaffer
Elec best boy
Elec trainee
Grip
Grip
Grip
2d unit photog
2d unit photog
Ultracam 35 cam, lenses, and equip provided by
ART DIRECTORS
Des of prod
Illustrator
FILM EDITORS
Film ed
Supv ed
Asst picture ed
2d asst picture ed
Apprentice ed
SET DECORATORS
Prop master
Asst prop master
Asst set dec
Asst set dec
Const coord
Sign painting
COSTUMES
Ward des
Ward asst
Ward asst
MUSIC
Mus ed
SOUND
Creative sd by
Sd mixer
Boom man
Sd ed
Sd ed
Sd ed
Supv sd ed
Foley by
Foley by
Foley by
Rerec eng
Rerec eng
Rerec eng
Asst sd ed
Sd rerec by
VISUAL EFFECTS
Spec visual eff by
Main titles and addl opticals by
Prod, The L.A. Effects Group, Inc.
Opt supv, The L.A. Effects Group, Inc.
Spec eff mixer
Spec eff
Visual eff unit
Prod supv, Private Stock Effects, Inc.
Tech dir, Private Stock Effects, Inc.
Exec prod, Private Stock Effects, Inc.
Prod des, Private Stock Effects, Inc.
Spec visual consultant, Private Stock Effects, Inc
Tech consultant, Private Stock Effects, Inc.
Prod mgr, Private Stock Effects, Inc.
Dir of photog, Private Stock Effects, Inc.
Dir of photog, Private Stock Effects, Inc.
Stop motion anim, Private Stock Effects, Inc.
Stop motion asst, Private Stock Effects, Inc.
Gaffer, Private Stock Effects, Inc.
Gaffer, Private Stock Effects, Inc.
Ed, Private Stock Effects, Inc.
Engineering, Private Stock Effects, Inc.
Engineering, Private Stock Effects, Inc.
Engineering, Private Stock Effects, Inc.
Model maker, Private Stock Effects, Inc.
Model maker, Private Stock Effects, Inc.
Model maker, Private Stock Effects, Inc.
Model maker, Private Stock Effects, Inc.
Prod asst, Private Stock Effects, Inc.
Prod asst, Private Stock Effects, Inc.
Prod asst, Private Stock Effects, Inc.
Opticals by
DANCE
MAKEUP
Prosthetics des by
Spec eff makeup
Spec eff makeup
Spec eff makeup
Madeline Kahn's makeup
Makeup
PRODUCTION MISC
Scr supv
Extras casting
Extras casting
Animal trainer
Animal trainer
First aid
Prod asst
Prod asst
Prod asst
Asst to Mr. Lewis
Guardian angel
Prod secy
Prod secy
Transportation capt
Transportation driver
Transportation driver
Transportation driver
Asst to the dir
Accounting services, of Cohen Baizer and Associate
Accounting services
Catering
Troubleshooter
Prod secy, Private Stock Effects, Inc.
Prod financing arr by
Prod financing provided by
Loc by
STAND INS
Wilbur's stunt double
Eliza's stunt double
Stand-in
COLOR PERSONNEL
Laboratory work by
SOURCES
LITERARY
Based on the novel Slapstick by Kurt Vonnegut (New York, 1976).
LITERARY SOURCE AUTHOR
SONGS
“Puttin’ Our Heads Together,” music and lyrics by Randy Bishop, performed by Randy Bishop and Bonnie Paul, produced by Spencer Proffer for Pasha; “Lonesome No More,” lyric by Kurt Vonnegut, music by Michel Legrand, sung by Madeline Kahn; “Putting Our Heads Together,” music engineered by Duane Baron, coordinated by John Lombardo, published by The Grand Pasha Publisher and S. Paul Music Company, administered by The Creative Music Group, available on Pasha CBS Records.
DETAILS
Alternate Titles:
Slapstick
Slapstick of a Different Kind
Release Date:
23 March 1984
Premiere Information:
West Germany opening: 10 Dec 1982; Los Angeles opening: 23 Mar 1984
Production Date:
25 Jan--late Mar 1982
Physical Properties:
Sound
Color
Duration(in mins):
87
MPAA Rating:
PG
Country:
United States
Language:
English
SYNOPSIS

Caleb Swain, one of the wealthiest and most famous men in the U.S., receives news at the hospital maternity ward that his wife, Letitia, has given birth to twins. However, Caleb is horrified when he sees the newborns’ grotesque appearance. He is unaware that the children are the result of an extraterrestrial intervention. Worried that humans will destroy Earth’s resources and threaten the galaxy, aliens have sent the twins as advisors, with the intelligence to solve the planet’s problems. Previously, the aliens dispatched a set of extraterrestrial twins to China, enabling that country to become the world’s most advanced culture with the ability to miniaturize humans. However, the Chinese also have ambitions to control gravity and dominate the planet. Concerned about a dangerous imbalance of power, the aliens recall their advisors in China and hope that the American twins will spearhead a more peaceful solution. The Swains’ family physician, Dr. Frankenstein, conceals the twins, Wilbur and Eliza, from the public and sets up a care facility at a mansion, staffed by a thirty-member team, who look after the “baby monsters,” as Caleb and Letitia Swain continue their lives without any direct involvement other than financial support. Meanwhile, the Chinese discover the existence of the ugly twins. Believing the Swain children are another specimen of exceptional intelligence, they send agent Lum Fung to spy on the duo, and Fong convinces Dr. Frankenstein to hire him as the children’s cook. Fifteen years later, Wilbur and Eliza remain isolated at the mansion. When the miniaturized Chinese ambassador Ah Fong reveals to the Swains that the twins are geniuses, Caleb and Letitia prepare to ...

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Caleb Swain, one of the wealthiest and most famous men in the U.S., receives news at the hospital maternity ward that his wife, Letitia, has given birth to twins. However, Caleb is horrified when he sees the newborns’ grotesque appearance. He is unaware that the children are the result of an extraterrestrial intervention. Worried that humans will destroy Earth’s resources and threaten the galaxy, aliens have sent the twins as advisors, with the intelligence to solve the planet’s problems. Previously, the aliens dispatched a set of extraterrestrial twins to China, enabling that country to become the world’s most advanced culture with the ability to miniaturize humans. However, the Chinese also have ambitions to control gravity and dominate the planet. Concerned about a dangerous imbalance of power, the aliens recall their advisors in China and hope that the American twins will spearhead a more peaceful solution. The Swains’ family physician, Dr. Frankenstein, conceals the twins, Wilbur and Eliza, from the public and sets up a care facility at a mansion, staffed by a thirty-member team, who look after the “baby monsters,” as Caleb and Letitia Swain continue their lives without any direct involvement other than financial support. Meanwhile, the Chinese discover the existence of the ugly twins. Believing the Swain children are another specimen of exceptional intelligence, they send agent Lum Fung to spy on the duo, and Fong convinces Dr. Frankenstein to hire him as the children’s cook. Fifteen years later, Wilbur and Eliza remain isolated at the mansion. When the miniaturized Chinese ambassador Ah Fong reveals to the Swains that the twins are geniuses, Caleb and Letitia prepare to visit their children for the first time. Meanwhile, Wilbur and Eliza conclude that humans strive to be as dumb as possible after observing their servants, who are consumed with partying and drinking champagne. In an effort to fit in, the twins pretend to be mentally challenged while hiding their theoretical writings. Sylvester, the butler, halts the staff’s carousing and quickly organizes a cleanup of the mansion after receiving news about the Swains’ arrival. Caleb and Letitia invite the U.S. President to meet the children based Ah Fong’s prediction that Wilbur and Eliza are a great resource for the planet. However, the Swains and the President are shocked as the twins act like imbeciles and speak gibberish. Sylvester uses a can of mace to control the children’s antics, while Caleb and Letitia believe the Chinese have deliberately misled them. Overhearing their parents’ disappointment, Wilbur and Eliza change into adult clothing and reveal their intelligence. Dr. Frankenstein separates the twins to administer I.Q. tests, but Wilbur and Eliza perform poorly without each other’s company. The twins demonstrate that if they rest their heads together and embrace, their brainpower is optimized. Letitia, however, views the behavior as incestuous and the twins are placed in straightjackets. Wilbur is sent to a military academy, while Eliza stays at the mansion. Meanwhile, despite the setback, the aliens remain patient about their plan. The Chinese agent Lum Fung continues to spy on Wilbur while working as a drill sergeant at the academy. As Wilbur is trained to forget his sister’s name, Eliza becomes more depressed without her “missing half.” Sylvester, who previously dismissed the children as spoiled imbeciles, now has sympathy for them. One night, Eliza receives a visit from ambassador Ah Fong, who is anxious for the twins to reunite and help solve the problem of controlling gravity. He reveals Wilbur’s location and Eliza arrives at the academy to find her brother receiving shock treatment. She rescues him and carries him away. Colonel Sharp, the school’s leader, sends a posse of armed men with dogs to find the twins. When Wilbur finally regains consciousness, the twins’ intelligence returns as they place their heads together. Back at the mansion, they lock themselves in the dining room, which is encased in steel, to concoct their gravity theories. Sharpe decides not to dynamite the doors as he and Dr. Frankenstein try to talk the twins into surrendering, but the children fear being separated again and refuse. As Wilbur and Eliza get closer to controlling gravity, the Chinese ambassador arrives through the room’s chimney in his miniature flying machine and orders the twins to continue working on their equation in China or face destruction. Embracing each other, the twins reject his offer and Fong’s men aim their weapons. Suddenly, the room shakes as aliens arrive to take Wilbur and Eliza home. The children are welcomed by their species, who state that earthlings remain too afraid of the unknown to benefit from the twins’ superior wisdom. Boarding a spaceship, Wilbur and Eliza wave goodbye to their parents, and Sylvester smiles as they leave.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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