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The Jerk

The Jerk

Comedy · 1979

After discovering he's not really black like the rest of his family, likable dimwit Navin Johnson sets off on a hilarious misadventure that takes him from rags to riches and back again. The slaphappy jerk strikes it rich, but life in the fast lane isn't all it's cracked up to be and, in the end, all that really matters to Johnson is his true love.

Movie details

The Jerk

“A rags to riches to rags story.”

1979 Comedy 1h 34m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

After discovering he's not really black like the rest of his family, likable dimwit Navin Johnson sets off on a hilarious misadventure that takes him from rags to riches and back again. The slaphappy jerk strikes it rich, but life in the fast lane isn't all it's cracked up to be and, in the end, all that really matters to Johnson is his true love.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Jerk?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Carl Reiner

Written by

Carl Gottlieb · Steve Martin · Michael Elias

Steve Martin

Steve Martin

Navin R. Johnson

Bernadette Peters

Bernadette Peters

Marie Kimble Johnson

Catlin Adams

Catlin Adams

Patty Bernstein

Mabel King

Mabel King

Mother

Richard Ward

Richard Ward

Father

Carl Gottlieb

Carl Gottlieb

Iron Balls McGinty

Dick Anthony Williams

Dick Anthony Williams

Taj

Court is in session

Put The Jerk on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.