The Shakiest Gun in the West

Don Knotts gets one of his most beloved film vehicles here with this amiable remake of the Bob Hope comedy "The Paleface". That master of nervous energy plays Jesse W. Heywood, a Philadelphia dentist in the 19th century who decides that he wants to ply his trade in the Old West. Instead, he gets mixed up with a former outlaw turned government agent (striking, fiery redhead Barbara Rhoades), whose mission is to expose the men selling rifles to the Comanches. "The Shakiest Gun in the West" is a cute, if not uproarious, Western comedy. It has enough laughs, production values, and spirited performances to make it a good time. The gags (some of them recycled from "The Paleface") were never quite inspired for this viewer, but they were still worthy of some chuckles. Certainly Knotts is perfectly cast as this tenderfoot who is led to believe that he's handier in a scrap than he really is. Roles like this were his stock in trade for years. Sexy Rhoades is a very fine leading lady, and the supporting cast features a reasonable amount of familiar faces: Jackie Coogan, Don 'Red' Barry, Ruth McDevitt, Frank McGrath, Terry Wilson, Carl Ballantine, Pat "Mr. Miyagi" Morita, Dub Taylor, Dick Wilson, etc. Vic Mizzy, the regular composer for these Universal / Don Knotts comedies, comes up with appropriately goofy music, and a talented crew create a great, classic Western look for the various wacky goings-on. Good fun for Don Knotts fans. Seven out of 10.

source: The Shakiest Gun in the West

The second Don Knotts star vehicle that I've watched is perhaps more readily enjoyable than the first - THE GHOST AND MR. CHICKEN (1966) – but the fact that it was an unnecessary remake of the classic Bob Hope comedy THE PALEFACE (1948) hurts the overall effort. In fact, Knotts takes the role of a dentist out West who comes up (at least, initially) against an attractive sharp-shooting female robber (Barbara Rhoades) - played in the original by Jane Russell; when the latter is pardoned by the U.S. government and enrolled as their agent in hot pursuit of Indian gun-runners (one of whom is played by Jackie "Uncle Fester" Coogan), she is forced to hastily take the understandably awed Knotts for a husband as a cover (following the killing of her original intended). The amusing opening sequences depict Knotts' misadventures in dentistry – highlighted by his energetic encounter with a generously-built female patient who beats him up repeatedly within an inch of his life - but he is soon on his way westward because his hometown is already overrun with dentists. His wagon train is attacked by marauding Indians before long and, consequently, he earns himself a reputation as a fast gun (even though, in reality, it was Rhoades who mowed down ten Indians). After their marriage, Knotts is naturally more of a hindrance than a help to Rhoades in fulfilling her mission - even going so far as to bring about her abduction by the two villainous gun-runners to a nearby Indian camp when he follows her to a midnight rendezvous in a chapel. However, he proves his real mettle to his wife when, dressed up as a squaw(!), he infiltrates the Redskins' camp at night and frees Rhoades - but not before stirring up trouble (of the romantic jealousy type) between two Indians who, incongruously enough, had found Knotts' sinewy figure attractive in their eyes! At the end, yet another Indian wants to exert his lawful rights on the squaw-attired Knotts but he has to contend with the now-gushing Rhoades and her gunmanship. A harmless, moderately entertaining Western comedy, therefore, but nowhere near the shining examples of the genre (which, incidentally, include THE PALEFACE itself).

This takes place in 1870. A pardoned sharp shooter (Barbara Rhodes) is hired as an agent to investigate a wagon train that's going west to find out who's selling guns to Indians. She needs a husband to join the wagon train so she marries a meek, mild dentist (Don Knotts) to marry her. "Hilarity" ensures. Terrible comedy full of unfunny lines and sight gags. Knotts was a good actor and a funny comedian but even his considerable talents can't save this. Rhodes is great in her role but she has little to do. I considered to stop watching a few times but kept it on hoping it would get better. Unfortunately it didn't. Really young kids might like it. Skip it.

Don Knotts star in this wacky comedy/western.Knotts plays a Philadelphia Dentist who head west to bring oral hygiene.he gets more than he bargained for,in the process.Dr. Jesse Heywood's penchant for being timid nervous,and bumbling provide some pretty funny moments.Knotts is pretty funny here,but i really Barbara Rhoades as Penny.i loved her spunky,and her take no guff attitude.she is the perfect foil for Knott's Zaniness.while this movie won't change your life,it should make you laugh.even if it wasn't funny,i think it would still work as just a western.for me,The Shakiest Gun in the West is a 7/10

Jesse W. Haywood (Don Knotts) graduates from dental school in Philadelphia in 1870 and goes west "to fight oral ignorance." Meanwhile stagecoach robber Penelope "Bad Penny" Cushing (Barbara Rhoades) is offered a pardon if she will track down a ring of gun smugglers. Don Knotts fans will enjoy this one, as it fits right in line with his regular comedy style (more like "Andy Griffith" or "Frame a Figg" and less like "Private Eyes"). There is plenty of physical comedy, especially early on, and if you like a bit of slapstick, this is for you. By today's standards, the film may be considered questionable because of its portrayal of Native Americans. I am not one to be politically correct, but did find the scenes with them to be rather dated. Not offensive, but not really positive either. But I will not dwell on this. Definitely one of Knotts' better films, and a good deal funnier than "Mr. Limpet".

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

If you happen to own or rent the Don Knotts "Reluctant Hero" pack, this is one of the four films, and probably the least strong in terms of comedy. It is a remake of the movie Paleface, with Bob Hope and Jane Russell, not exactly shot for shot, but close. A lot of the same jokes were used, and the plot is identical. However, I still recommend this film. It's got some very funny stuff. While I'm not usually a fan of remakes, I thought this WAS better than Paleface, though it could just be I saw this one so many times first. Son of Paleface I had seen before Paleface, and I enjoy that one quite a lot. Apart from the comedy in this film, we get Barbara Rhoades, the love interest. Let me just say, VA VA VOOM! YOWZA! and COR, BLIMEY! You'll have to see for yourself though.... This fits nicely into Knotts' "reluctant hero" idea, and I recommend it overall. It's a fun film. P.S. "How's it going, Heywood?"

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!

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.