

User profile pages show a user's registration date and, optionally, their personal ratings of titles. Users are also invited to rate titles on a scale of 1 to 10, and the totals are converted into a weighted mean-rating, with filters in place to mitigate ballot-stuffing. There is no single index of contributors, no index on each profile page of the items contributed, and-except for plot synopses and biographies-no identification of contributors to each product's or person's data pages. Registered users can choose their username, and most are pseudonymous. However, the addition and removal of images, and alterations to titles, cast and crew names, character names, and plot summaries are subject to an approval process this usually takes between 24 and 72 hours. Registered users with a proven track record are able to add and make corrections to cast lists, credits, and some other data points. Most of the site's data has been provided by these volunteers. The title and talent pages of IMDb are accessible to all users, but only registered and logged-in users can submit new material and suggest edits to existing entries. 6.2 Copyright, vandalism and error issues.It's been added to my own Flickchart at #1803 (51%), where it comes in as #31 of the 51 musical comedies I've seen. The Court Jester is Hannah's 7th favorite musical comedy out of 98, ranking at #43 (98%) out of the 2566 total movies on her Flickchart. The Court Jester was brought to my Potluck Film Fest by Hannah Keefer, who can be found on Flickchart and Letterboxd under the username purplecow17. I may have liked it more than I care to admit. Also like The Adventures of Robin Hood, The Court Jester is colorful with some pleasingly fun swashbuckling action. However, Kaye (or, rather, my likely insane reaction to him) doesn't totally derail The Court Jester, which features clever dialog, an army of midgets, and appealing co-stars like Glynis Johns, Angela Lansbury and Basil Rathbone. Even that can work, if it's dryly delivered (see Bill Murray), but there's a further eagerness and energy to Kaye that results in an uncanny valley of humor. In fact, the basis of the comedy in the Court Jester never exploits a personal failing of Kaye's character he merely has to weather a flurry of mayhem, and is even oblivious to most of it, coasting through with a smirk on his face. Kaye trips the same knee-jerk negative reaction in me that punished Errol Flynn's The Adventures of Robin Hood two years ago: Kaye is smug, and often comes off like the cool rich kid who beat up a scrawny comedian and stole his act, compensating for his lack of vulnerability with cute little faces and dances that practically mock entertainment itself. While Kaye's character in The Court Jester could fit any of those slots - he's unappreciated and lovestruck - Kaye is too confident and self-satisfied to play weakness, which makes the humor less funny and his character less charming than he thinks he is. There's a yearning behind the comedy, a hopelessly self-sabotaging need to belong, that gives it both edge and pathos. Allen's persona, however, fits one or more of a few very common comic archetypes - misfit, neurotic, buffoon - all of which are defined by their outsider status.

it's an amiable comedy with a few nice laughs, and I appreciated it most when I could detect in Kaye's quips the influence that he undoubtedly had on Woody Allen (the plot of The Court Jester even slightly foreshadows Allen's great 1975 comedy Love and Death). There's something about Danny Kaye that I find off-putting, and that, probably unfairly, put The Court Jester at a disadvantage.
