Jerry Lewis cited director Frank Tashlin as his mentor when he finally stepped behind the camera. You can see what he brought to the Lewis persona in Rock-a-Bye Baby (Olive), Tashlin’s third film with Lewis, but his first with Lewis as a solo act.
Ostensibly a reworking of Preston Sturges’ great 1944 comedyThe Miracle of Morgan’s Creek, writer/director Tashlin spins an entirely new story from the premise. Lewis is likable small town goof Clayton Poole, whose unrequited love for local girl turned Hollywood superstar Carla Naples (Marilyn Maxwell) makes him the perfect secret babysitter when she discovers that she’s pregnant just before taking her role in a Hollywood costume epic. Like its inspiration, the film insists that she’s married (she just can’t prove it), but then it exiles her to focus on Lewis as a doting guardian of three orphaned girls, with a little help from the babies’ grandfather (Salvatore Baccaloni, playing the hot-tempered yet sentimental Italian immigrant father of two independent daughters) and young aunt Sandra (Connie Stevens in her first major role), a lively all-American girl with a hopeless crush on Lewis’ goofy child-man.
Tashlin, an animator before he turned to live action filmmaking, was all about the gag and helped define Lewis as a walking cartoon, the rubberface spastic adolescent in a grown-up body. And yes, he is a walking disaster, but here he’s also oddly sweet as he watches over triplets. Sure, they’re mostly props, but they also become a kind of audience for performances he plays directly to them, child-man to infant, and in these sequences Lewis starts to take over. Where Tashlin tends to unleash a succession of one-off gags, Lewis riffs and builds on them, such as a scene of Clayton in a cloud of baby powder. The jokes themselves aren’t always as funny as Tashlin’s sight gags, but they follow one from another more organically and Lewis plays them like a sustained series of variations that build to an actual narrative conclusion. Tashlin’s hand is more evident in his pop-culture lampoons: Lewis as an wild-eyed rock and roll singer with no actual talent beyond energetic shouting and gesticulating, Marilyn Maxwell’s Egyptian costume epic transformed into a silly musical with a cheesy nightclub number. (For a film not considered a musical, there are plenty of musical numbers sprinkled through the film, some serious, some straight-out spoofs.)