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KNOCK ON WOOD (1954) Theatrical Trailer - Danny Kaye, Mai Zetterling, Torin Thatcher

Neurosis isn't just an implied subtext in Knock on Wood, it's an out and out plot point, as successful ventriloquist Jerry Morgan (Danny Kaye) laments the fact that he can't seem to control his own darker impulses whenever a relationship starts to get serious. After a brief prelude dealing with some top secret plans for a French super-weapon (something we obviously know is going to play into the overall plot), the film opens with one of Jerry's dummies going off on Jerry's latest girlfriend—on stage, no less. The woman is obviously less than pleased, and breaks off the love affair, leaving Jerry destitute. Jerry's manager Marty Brown (David Burns) has arranged for Jerry to see a psychiatrist in Zurich, as he's become more and more concerned that this tendency to sabotage relationships is indicative of some darker psychological strain weighing upon his client's mind. Jerry has had a fit of pique with his dummies and broken both of them, necessitating a trip to a dummy repair shop (there must be a lot of those, don't you think?). Of course it turns out that the repairman is part of the cabal trying to steal the top secret plans, and when a thief who has purloined the plans shows up with Interpol hot on his trail, the two make a desperate decision to hide two sheets of paper—both of which are necessary to build the super-weapon— in the heads of each of the dummies. Things get even more complex when the thief is shot while relaying what's happened to the plans to his contact. A slew of competing interests quickly finds out that the plans are with Jerry Morgan, though the fact that Jerry himself doesn't know about the plans is not part of the information being imparted. Jerry has therefore become an unwitting accomplice in an international spy ring. Marty and Jerry leave that same evening for a rendezvous in Zurich with a top flight psychiatrist. On the plane, Jerry has several unintentional run-ins with a beautiful young woman. He's also approached by the head of one of the two spy rings competing for the plans, an English aristocrat named Godfrey Langston (Torin Thatcher). Langston thinks Jerry is a spy himself, and attempts to speak in code to the befuddled ventriloquist, attempting to divine how much money Jerry would want to sell the plans by using a metaphor for how many stars are outside of the airplane window. Jerry on the other hand thinks the conversation is completely literal, leading to massive confusion. In Zurich, Jerry through a series of schtick laden mechanics, actually ends up in the beautiful young woman's room overnight, waking up next to her then next morning (in twin beds, of course—after all, this was the fifties). Panicked, he leaves the room (in her high heeled bedroom slippers, no less) and heads off to his psychiatrist appointment. He's consulted first by a male professional, who then states that Jerry's case is so unusual he wants to bring in a colleague to aid in the analysis and, hopefully, Jerry's ultimate cure. Guess who that turns out to be. Right—the beautiful young woman Jerry has already virtually assaulted through the film's previous two sequences. She is Dr. Isle Nordstrom (Mai Zetterling), one of the most famous psychiatrists in the world. Knock on Wood then does something most peculiar—Dr. Nordstrom injects Jerry with a hypnotic drug and she reverts him back to his childhood, at which point the film veers off into a really peculiar little sequence where young Jerry watches his feuding parents, who are in a vaudeville act, go on a bender and pretty violent fight. Nothing is shown explicitly on the screen, but it's a patently bizarre moment of quasi-realism in an otherwise extremely fanciful outing. Things trundle down a fairly predictable path, with Jerry and Ilse falling in love, while the two competing spy rings attempt to get the plans. Since there are two pieces of paper in two different dummies, it doesn't take a rocket scientist (and/or a psychiatrist) to figure out what ultimately happens, but things get deadly when one of the spies is killed in Jerry's hotel room and Jerry's manager assumes that Jerry has finally flipped his lid and gone on a killing spree. This sets up the last half hour or so of the film, which is arguably its strongest element, where Jerry is on the run and ends up impersonating a bunch of different people, folks as disparate as a British car salesman and, later, a Russian ballet dancer.