Incannerax What a waste of my time!!!

StunnaKrypto Self-important, over-dramatic, uninspired.

Inadvands Boring, over-political, tech fuzed mess

Dorathen Better Late Then Never

wes-connors In 1870 Philadelphia, faint-hearted Don Knotts (as Jesse W. Heywood) obtains a license in dentistry, and decides to spread "dental health through the west like a plague." After his stagecoach is held up, Mr. Knotts joins a wagon train. He plays horsey with buxom Barbara Rhoades (as Penelope Cushings) and dresses up as a fetching Indian squaw. Is Knotts' character bisexual? The ending leaves the question unanswered. Gun smugglers Jackie "Uncle Fester" Coogan and Don "Red Ryder" Barry head off an able supporting cast. Vic Mizzy's wild, wild western music resembles his own "Green Acres". All in all, this is a tedious, uncalled for re-make of Bob Hope's "The Paleface" (1948).** The Shakiest Gun in the West (7/10/68) Alan Rafkin ~ Don Knotts, Barbara Rhoades, Jackie Coogan

bkoganbing This story by Edmund Hartman and Frank Tashlin has certainly got an endearing quality because two comics managed to get hit movies from it. The Shakiest Gun In The West is a reworking of the Bob Hope-Jane Russell classic, The Paleface. Into Hope's shoes steps Don Knotts trembling all the way to the bank.Knotts takes his Barney Fife character and has him graduate Philadelphia Dental College and decide to take Horace Greeley's advice and go west to seek fame and fortune. Like Hope he gets himself tangled up with a lady bandit played by the curvaceous Barbara Rhoades. Barbara might not have the development of Jane Russell, but there are few who do. Anyway she's been promised a pardon if she'll find out who's selling guns and whiskey to the Indians.And to get west she needs a schnook and when Bob Hope's not around, Don Knotts will certainly do. But Knotts certainly has an endearing quality to him as she finds out.Some western veterans like Don Barry, Terry Wilson, Dub Taylor are all in this cast. This film was the farewell performance of Frank McGrath, best known as one of Hollywood's premier stunt men who turned actor and played Charlie Wooster on Wagon Train. Jackie Coogan is in this one too, playing a church deacon.Some of the gags from The Paleface are repeated here and some might say get better with age.Definitely a film for Barney Fife fans the world over.

Jon Ted Wynne (wynne-1) I love this movie. It is hilarious. Don Knotts proves once again why he was so beloved by audiences, especially children. His winning, comedic character is so sweetly vulnerable. He is a great example to today's comedians, who rely on vulgarities and smart-Alec comments to "entertain" audiences. There are many wonderful supporting players on hand, such as Carl Ballantine, Pat Morita and Donald "Red" Barry. And of course the lovely Barbara Rhoades. Seeing this film as a little boy in the theatre, I thought there was no lovelier creature on the planet-- especially in that green velvet dress!I hope this commentary is more helpful than the inane, pseudo-intellectual ramblings of the previous comment, which, if it was not made in jest, should have been-- there is no other excuse for it. At least we both agree-- this is a terrific film!

BeerBaron 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!