Sorry, this movie sucks

So much average

Sadly Over-hyped

Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

Don Knotts gets one of his most beloved film vehicles here with this amiable remake of the Bob Hope comedy "The Paleface". That master of nervous energy plays Jesse W. Heywood, a Philadelphia dentist in the 19th century who decides that he wants to ply his trade in the Old West. Instead, he gets mixed up with a former outlaw turned government agent (striking, fiery redhead Barbara Rhoades), whose mission is to expose the men selling rifles to the Comanches."The Shakiest Gun in the West" is a cute, if not uproarious, Western comedy. It has enough laughs, production values, and spirited performances to make it a good time. The gags (some of them recycled from "The Paleface") were never quite inspired for this viewer, but they were still worthy of some chuckles. Certainly Knotts is perfectly cast as this tenderfoot who is led to believe that he's handier in a scrap than he really is. Roles like this were his stock in trade for years. Sexy Rhoades is a very fine leading lady, and the supporting cast features a reasonable amount of familiar faces: Jackie Coogan, Don 'Red' Barry, Ruth McDevitt, Frank McGrath, Terry Wilson, Carl Ballantine, Pat "Mr. Miyagi" Morita, Dub Taylor, Dick Wilson, etc.Vic Mizzy, the regular composer for these Universal / Don Knotts comedies, comes up with appropriately goofy music, and a talented crew create a great, classic Western look for the various wacky goings-on.Good fun for Don Knotts fans.Seven out of 10.

It's easy to overlook the societal importance of "Shakiest". Most academics consider it a vapid re-make of a "superior" Bob Hope film. However my consensus is that Hope's movie simply Overemphasized the comedic aspects of the story and downplayed the sociological importance and mythical underpinnings of it. I don't fault Hope since his comedic talents are such that only his fully grasping of the genre and paradigm in its epistemological sense would allow him the proper frame/reference to "dim" his comedic talents enough to let the nuances of the story's deeper meanings emerge. Not so with Don Knotts. His performance is neo-subtle in the sense that he draws attention to the pre-Scorsesian templates of story entwined with yet separated from, meaning, by overexagerating Hope's performance to a Vonnegutian level. Example; his performance as Painless Jesse in the film's opening sequences underscore the relationship of Man the Creator with Man the Destroyer and Man the Dentist. In Barb Rhoades we see an equal but lesser voice representing tenets of Post-modern imperialism as well as Proto-Schwarzeneggerian grandiosity. Yet, it is Knotts, initially passive who redeems himself in the end, triumphing over Rhoades and all she symbolizes as well as echoing the pan-universal theme of the hero transformed by "plumbing" his own depths. This is shown particularly in the mine scene, where we read "mine" as "Subconscious Id". Simply put, not sense "The Incredible Mr. Limpett" has Knotts blended Transformational Mythology with Wellesian Cinematography and Jerrylewisian slapstick. BRAVO!

This is one of the most surprising films I have recently seen. I first saw it as a kid and liked it. However, I saw it again recently after one of my students brought it in and asked if his 8th grade history class could watch it. Well, I figured the movie had nothing to do with the class so I made some excuses not to use it. Later in the year, we had a day just before the break and once again he asked if the class could watch it. Well, we were about to do a small unit on the real West, so I reluctantly agreed. The film turned out to be pretty helpful in discussing Hollywood myths about the old West (as it had a few like most Westerns) but I was also VERY surprised to see how much 8th graders today liked the film. This actually says something, because normally these kids would never watch an "ancient" film like this--choosing instead to watch only the latest releases. But the film held their attention and I heard a lot of laughs. It's actually better than I remembered and is far better than a lot of Don Knotts' other films (such as THE INCREDIBLE MR. LIMPET or THE APPLE DUMPLING GANG--yuck).

Knotts at his inept best as a bumbling dentist who is taken in at every turn by swindlers, gun runners, and a conniving lady outlaw. I liked the use of 2 regular players on "Wagon Train" as members of Knotts party. I didn't like Myron Healy being uncredited.