Watch The Shakiest Gun in the West For Free

Why so much hype?

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

This film is so real. It treats its characters with so much care and sensitivity.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

There's nothing wrong with the premise of this movie. In fact, the premise is really quite amusing. Jesse Heywood (played by Don Knotts) is a newly graduated bumbling dentist who moves out to the Old West to practice and bumbles his way into being mistaken for a big-time gunfighter. It's quite silly in a fun kind of way. It doesn't have very many uproarious laughs but it keeps you smiling. To me, though, it doesn't have enough substance to be a big screen movie. Don Knotts played the part of Heywood well - he played it basically as Don Knotts would play any part. I like Don Knotts, but really - he's a second banana type who's made for TV. As second banana to Andy Griffith in "The Andy Griffith Show" or to John Ritter in "Three's Company" he added a lot with his own unique comedic style. As leading man in a Hollywood movie (even a silly one like this) he just doesn't have the presence to carry it.This is a bit slow to get started, and in all honesty Knotts struck me as a bit old to be just graduating as a dentist (although that might have been appropriate to the character - Heywood had spent his whole life in his mother's pocket, so to speak, and now was finally branching out on his own against her will.) Once Barbara Rhoades entered the scene as the beautiful stagecoach robber turned government agent it picks up steam a bit, although she also has little screen presence and has been consistently a supporting actress at best, mostly on TV. There's nothing especially wrong with this. I just found that it had trouble filling 100 minutes of screen time.

Don Knotts was true to form as a meek and weak man with a little gumption; his historical stereotype. Yes, this movie is a weaker version of a combined " Paleface and Son of Paleface " from earlier times. Barbara Rhodes is a very attractive woman with average acting skills. She is the best looking "cowboy" in her western duds. Her jeans look fabulous on her very shapely figure; she was poured into these pants like liquid wax into a mold. Barbara wears tall , tan ,suede cowboy boots with her jeans tucked inside with matching tan leather gun belt,; very sensual in her disguise as a male outlaw. Barbara, like Jane Russell in both Palefaces , becomes a reformed outlaw and marries the male star.By contrast, I have given " Son of Paleface " a value of 10 out of 10 for its effort in previous reviews. Jane Russell as a " cowboy outlaw "doesn't wear jeans but fancy stretch ski pants as her riding attire, over all Jane Russell is more sensual than Barbara.

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!

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 epistomological 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 seperated from, meaning, by overexaggerating 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 particularily 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!