#way...way out

Way romantic, Way passionate, Out of this world sexy = Jerry Lewis as a leading man

2. The Nutty Professor of Perfect Passionate Puckering

3. You're never too YUMMY, Jer

4. I hate the term "ship" but I'll make an exception in this instance to say that I totally ship my lips with Jerry's; he has the sexiest lips in human history and I will not give up that opinion

5. More like who's minding my sexual arousal hormonal response when I see Jer in that black jumpsuit in this movie

6. Three may be on a couch at the start but I'll be kicking one out so me and Jer can have some alone time...

7. Rock a bye bye to all of my self control if I was in Jerry's presence - I'm comin' for those sexy lips, baby (also, Connie's face would be me after kissing Jer)

8. Jerry was a lip artist and a model of masterful making out

9. It'd be so easy for me to make an innuendo joke like "I'd like Jerry to visit my small planet..." but obviously I'm far too mature for that

10. The stooooooooooh my god those lips...ge

And just for fun, a couple of adorable buby smoochies

😘

By Lauren (my sister)

It’s evening… on a desolate rock… floating in space… where no one can hear you scream. A husband and wife are settling down for sleep in a perfectly silent space station… not another soul for 240,000 miles…. Then there’s a knock at the door.

Alright, so it’s not the premise of a horror movie, it’s Way… Way Out. But, you have to admit, that sure reads like the start of a spooky campfire story.

Which - hear me out - I believe is sort of the point. Moments before the sensuous Russians arrive, Peter is watching tv on his government-enforced honeymoon that, moments before, went up in flames. He switches on the monitor and Frankenstein’s climactic angry mob is hunting down the monster. Boris Karloff watches fearfully from the top of a windmill as torches set the tower ablaze.

While it may not be a campfire story, something’s cookin’ in this scene. And get your marshmallows, because I’m gonna give you s’more…

The entire set up of this story echoes the concept of Mary Shelley’s classic Gothic horror: a scientific exploration bringing out the worst in mankind sparking, among other side effects, the desire for a mate. 

This desire is first exemplified in the truly monstrous impulses of their current test subject: Schmidlap. A man who not only lunges and gropes for first Anna then Eileen, but is fixated on sketching the female figure. As though the form of the thing is what matters, nothing more. These sketches are bodies without heads, limbs without life, and could easily be interchanged for the Gothic good doctor snatching body parts in graveyards.

This creation of a half-comatose, half-raging madman inspires the U.S. government to enforce deployment of a married pair to counteract such effects in the future. Interestingly, the Russians share a similar sentiment albeit far less matrimonial in practice.

On the opposite end of the scandalous spectrum from Schmidlap is Igor. A Russian whose name is easily recognizable in pop culture as being evocative of Frankenstein lore. Clothed in a passion-red jumpsuit, his intentions are purely hedonistic. Even his walk is reminiscent of a movie monster fueled by one sole purpose, in this case, of [protected] procreation.

While he may be more personable than Schmidlap, it is only because he has access to an outlet for his impulses in the form of his partner Anna, played by Anita Ekberg. As a beauty pageant contestant and winner of the title of Miss Sweden, she truly embodies the sociological concept of the ideal female figure and thus the perfect “mate” for Igor.

 Understandably, Anna is miserable as the plaything for the man she loves. While she shares with Igor the desire for a mate, she needs a more fulfilling relationship. 

A term which the scientists in this film fail to comprehend the meaning of - except for Eileen.

From the start, Eileen identifies her own government’s marital experiment for what it is - a veiled indulgence of baser instincts.

Out of the qualified female employees, Eileen is chosen as a bride ultimately for her physical traits that directly appeal to Peter and indirectly benefit the program by satisfying the carnal needs of their male employee - purely so that he may perform his mission, free of certain frustrations. It is not until the script is flipped and Peter is the bridegroom to a woman who eagerly accepts the business arrangement that Peter can fully appreciate Eileen’s perspective.

He learns that love cannot be forced, in any concept. And when the pressure to woo is off, it is telling that Peter desires to see no other person before lift-off than Eileen. When Peter visits Eileen at her home, they share a conversation led by Eileen - the inverse of their original meeting, where, while she spoke with integrity, she was dominated by other government-fueled objectives. Now she is listened to by Peter with a respect that clearly has no ulterior motive. They meet as equals, not only intellectually but emotionally as they share a final parting kiss. It is then that Eileen realizes that there is potential for true love between them. 

But, alas, it is too late. Peter is to marry someone else. He leaves and Eileen has lost her chance to not only be with him but to fulfill a personal dream of visiting the moon.

Then, a knock at the door.

It is important to note that, while this is only the beginning of their adventure, and there are many bumps in the road to come, there is a marked promise that all will work out to their benefit:

Where the other men compulsively lust, clamor, and fight for sex, Peter stands before his ideal bride-to-be with his hands held up in surrender. 

Surrender to Eileen’s free will and personal choice, out of respect and admiration for her as a human being. He is willing to be with her on her terms, so that she will gladly choose to be with him.

I’d like to include a quote from Mary Shelley’s novel Frankenstein, a very different story to the original film shown in the movie - a quote that, in my edition, is found on page 166, synchronistically, whose numbers add up to Jerry’s favorite to hide in his films: 13. A quote that could easily be spoken by Peter to Eileen in this moment of surrender: 

“... if I see but one smile on your lips when we meet, occasioned by this or any other exertion of mine, I shall need no other happiness.”

For such a profoundly dark and gripping tale of man’s hubris, such a line may seem out of place. But perhaps it is in the darkness that light shines brightest. Indeed, these words are felt the stronger being sandwiched between terror and tragedy. 

And perhaps on a desolate rock, where night can last for days, 240,000 miles from civilization, it is the best place to choose to reflect the best parts of humanity.  

Peter and Eileen show us what it means to be a real couple. There is an authenticity in how they interact. Unafraid to fight as well as love, they hide no side of themselves from the other and thus allow (in time) for the other to accept them for who they are. Even the not-so-pretty sides.

Again, it was not the ceremonial date that ticked all the superficial boxes of getting to know each other that warmed Eileen to Peter. 

It was their time alone, without any pressure to be something to the other, that awakened an interest. And it is not Peter’s persistence, and certainly not his drunken machismo that wins Eileen’s trust and love. 

Rather, it is the upheld promise of honoring her sovereignty over her body. As a result, and in stark contrast to the story it references, Way… Way Out ends in complete Victor-y. 

In the end, the experiment is more than a success, it is a milestone for mankind. A new Space Race: the first child to be had on the moon. And it looks like Eileen and Peter have an inherent edge to winning. As opposed to Anna and Igor’s union, this is a conception that is founded on upright honesty on Eileen’s part to Peter. 

Just as he respected her choices, she respects him by telling him the truth, not only about Anna but about her eagerness to start a genuine marriage with him. Science and monsters aside, Way… Way Out’s parallels to horror end here, at the beginning of a new creation.

Good evening all you half naked fairies! 🧚‍♀️✨🙋🏻‍♀️

How's it going?

Everything here is hunky munky punky!

It's been a highly stressful week and we decided during it IF. WE. LIVE. to see the weekend we were gonna celebrate and watch Mr. Jumpsuit 🧑🏻‍🚀🚀🌚😍

Also, some observations from my sister while watching the movie:

*Peter picks wife from photos

*Interspace video conference calls

My sister: "This predicted Tinder and Zoom"

And

General watching the TV movie makes snarky comment on what happens in the scene

My sister: "Also predicted movie commentary"

AND

Peter: "Come on Eileen!"

My sister: "Also predicted an 80's song"

😮😆😂🔮