Meanwhile, the princess receives an oracle from her personal maid - a witch named Griselda (Mildred Natwick) - that a gallant man will soon arrive at the castle to have her hand.
Little does he know, he’s also got to look after the well-being of a precious baby in a basket while unwittingly making a connection with Ravenhurst who assumes him to be an assassin (“Get it?” “Got it.” “Good!”). To meet a contact within the castle on behalf of The Black Fox. If Kaye is for all intent in purposes our Allan a Dale thrust into our Robin Hoodish role, then Glynnis John is his fair companion Maid Jean (aka Maid Marian) who also happens to be a trusted captain of the Foxes men (aka his capable Little John).Īfter they overtake the real Giacomo, the carnival showman dons the robes of a jester for the masquerade.
However, on the surface, it seems the perfect disguise for the minstrel Hubert Hawkins (Kaye) to aid the Black Fox in his raid on the castle. Ravenhurst, fearful that his place of prominence might be undercut, calls on the services of a Court Jester named Giacomo (John Carradine) to do away with the king’s other consorts. The King is hopeful an alliance with a knight named Griswold will help him to vanquish his mortal foe, the Fox, promising to betroth his reluctant daughter (Angela Lansbury) as a sign of goodwill. The malevolent, power-hungry King Roderick has usurped the domain and set himself up as the supreme leader of the land, surrounding himself with an array of equally loutish characters, namely Lord Ravenhurst (Basil Rathbone).
#The court jester film install#
In his place is our righteous outlaw The Black Fox who is looking to install the rightful king to the throne, the infant with the royal birthmark - the purple pimpernel. We are inserted into a storyline that is a decidedly genial Robin Hood knockoff. The humorous tongue-in-cheek opening diddy “Life Could Not Better Be” sets the tone nicely.
The production is complemented exquisitely by a lavish setting replete with fine costuming, bejeweled individuals, and everything from knights and sword fights to magic incantations, backroom treachery, and romantic entanglements. However, equally important is some form of plot for the actor to hang his routine on. What better arena for Kaye than the king’s courts, that laughable domain of a man in a dunce cap and tights? It needs to be lithe enough to accommodate his goofy even acrobatic brand of song-and-dance buffoonery. Maybe I’m simply partial to Medieval forms of entertainment but it’s hard to imagine a finer vehicle for Danny Kaye than The Court Jester.
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