‘We know what turns you on’ says the opening song in One More Time, but if stars Peter Lawford and Sammy Davis Junior actually do know what turns us on, there’s little evidence of it in this slapdash comedy. Writer by the brother of Dr Who’s Jon Pertwee, Bill, and directed by Jerry Lewis, it’s a sequel of sorts to 1968’s Salt and Pepper, but is mainly designed as a showcase of the talents, resistible as displayed here, of Davis Junior.
Davis and Lawford are Charles Salt and Chris Pepper, two hipster nightclub owners who fall foul of the law in some kind of Merrie England as featured in Garfield: A Tale of Two Kitties. Lawford plays a double role, Pepper and his twin brother Sydney, who is murdered with a deadly dart and replaced by his brother, swapping the dead body for his living one to investigate the crime. Although the two are supposedly best buds and partners in crime, Chris Pepper doesn’t tell Charles Salt, and allows his friend to think that he’d dead.
This means a good hour or so of Sammy Davis Junior wandering around an English country house vaguely synching to some incredibly maudlin tunes; a sequence in which Davis descends a staircase singing Where Do I Go Now? seems to last for weeks. The personable Lawford is stranded with some character comedy, which isn’t his strongest suit; Lawford can barely be bothered playing a thinly veiled version of himself, so playing another variation on the same person is something of a strain to watch. Meanwhile Lewis indulges himself with some strange set-pieces, including snorting snuff and a lengthy parody of the final scenes of Kubrick’s 2001 as Davis reacts to a country-house bedroom with the same awe that Kier Dullea reacts to the Monolith. It’s an odd, vaguely racist scene which fits with the general indignities that Davis goes through here, having drinks thrown over him, called a ‘chocolate dandy’ and generally side-lined in a way that constantly has him breaking the fourth wall to complain.
One More Time is probably best remembered for one single scene, seemingly improvised without reason, in which Salt finds a hidden doorway that leads to a cellar where Dracula (Christopher Lee) and Baron Frankenstein (Peter Cushing) are working; the gag seems to be that Gothic horror lies beneath traditional British values. Otherwise, when the words ‘that’s it’ appear instead of “the end’, One More Time must have had even the most hipster-cat audiences begging for it to stop; with Lewis directing Davis Junior well beyond excess, it’s the audience who must truly have felt mugged. As a side-note, One More Time offers a good argument against smoking; everyone quaffs fags like their lives depend on it, and there’s even huge close-ups of full ashtrays to present bona-fide testimony to the performers’ enthusiasm for cigarettes.