
Jerry Lewis Holocaust Comedy Movie Believed Lost Discovered After 45 Years
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources.
Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content.
Jerry Lewis' infamous Holocaust clown comedy movie that was believed to have been lost for over four decades has been discovered in the bank vault of a Swedish actor.
The Day the Clown Cried, Lewis's never-released film, shot in Stockholm in 1972, was believed to exist only in incomplete fragments.
Now, Swedish producer and actor, Hans Crispin, best known for his role in the 1988 Swedish comedy TV series Angne & Svullo, has revealed he has a copy.
"I have the only copy," he told Swedish broadcaster SVT, The National reported. "I stole it from Europafilm in 1980 and copied it to VHS in the attic, where we used to duplicate films at night."
"I've kept the copy in my bank vault," Crispin added.
This is a developing story and will be updated
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Forbes
10 hours ago
- Forbes
Sunday Conversation: The National's Matt Berninger On His New Solo Album
How to describe an interview with The National frontman Matt Berninger? Like talking to Moby or Liz Phair (who along with Robert Plant might be the smartest interview in music) it is a fascinating labyrinth of cerebral twists and turns where you just hold on and do your best to keep up. It is as compelling and enlightening as his music. Which is saying a lot because along with Nick Cave and the timeless Bruce Springsteen, Berninger, with The National and on his own, has been, to me, the most consistent rock act in the first quarter of this century. Once again, Berninger stuns with his second solo album, Get Sunk. A gorgeous slice of life that, like the writing of Raymond Carver, is deceptively complex and profound, Get Sunk is, as Berninger describes it, a romance with ghosts. As we discussed, it is a record of memories, of life, of hope. Steve Baltin: I'm a big believer in environment affecting writing. So, was it Connecticut that lit the spark for this album? Matt Berninger: The Connecticut part of it maybe colored the process. This record has a lot of Midwestern atmosphere with creeks and trees and animals and bike rides along rivers and stuff. I've always been writing about that stuff. But yeah, getting to Connecticut, back in an area that is like what it was like in my youth and particularly on my uncle's farm. The place I live now, I have a barn, and I have a little bit of land. But I have all this stuff and there are trails in the woods and creeks all around where I live now. And that's where I spent all my most memorable stuff of my childhood, it all happened at that farm in Indiana. So, Connecticut really inspired that part of it. But I think anytime you uproot and go to a new place, or take a vacation, you're riding a train through Italy, like suddenly, you're going to write differently and be inspired to write different kinds of stories. So, I do think, I think changing the soil you're in every 10 years is really smart. Baltin: So that's something that you've done regularly, move every decade or so? Berninger: Yeah, I've moved from Cincinnati, moving out of your house or your parents' house, and then going to college in an apartment, that feels like two different types of living. Then I moved to New York City in '96, and I was there for maybe 15 years, and that's where I met my wife, that's where my daughter was born. We'd been in Brooklyn for close to 15 years or something. Then we just felt we had squeezed New York for every drop of inspiration and so we moved to Venice, California. We lived out there for 10 years and then I wrote five or six, seven records, did so much stuff out there and met Mike Mills and became a collaborator with all these amazing filmmakers and stuff. So that was an amazing decade of creativity and then my daughter was about to go to high school, and we all wanted something new, and we had family in Connecticut and it's so close to New York. I didn't want to move back to Brooklyn, but I really want to be close to New York again. I go to New York every week and ride the train. So yeah, it's really new and inspiring and I think that is really good and it does jolt me, although some of this record I started five years ago in Venice. Even some of the songs that are talking about Indiana, and the Midwestern pastoral scenes were written when I still lived in Venice during the lockdown. So maybe I was just dreaming of wandering the woods or going back to a time. But I always write about that stuff. But moving and changing your environment does change your brain. Baltin: Would this album have been made anywhere now at this time? Berninger: Yeah, I feel like this would have been made anywhere at this point in time. I do, and I have been saying this recently because I've been trying to answer that question. Because yeah, a lot of this record does go back and it's a really conscious effort to try to reshape, not in the details and truth, but in the emotional memories of things and write a great story, and of a great 45-minute immersive connected experience. And it was really important for me on this record more than anything I've ever done, I think. But you're right, what is our past? What is it? And often, I've been saying this, that our past is a story we tell ourselves. and we remember it differently. Our memories of it change and our memories are memories of memories. So, it's our own version of (the game) telephone constantly going as we go and try to retell the stories of what happened and why am I like this and what was my childhood like and what were my relationships with my parents like and what was it? It's all fantasy and it's just the same way your future is a story you're telling yourself. What you want, why you're doing what you're doing and where you're trying to go and how long you want to live and what you want in your life and what experiences you want to have going forward is also just a story. And what experiences you had in the past so you're just telling your story of those experiences. All those things, traumas, good things, can totally shape you, yes, but sometimes we can be confined by our own definitions of ourselves and that we create a little bit of a prison or a trap around ourselves and we say, 'I'm this way because of this and that's why and I'm going to stay this way.' And right now you're seeing in the world, everybody, it's an identity crisis. People don't know. I'm a Catholic, but there are so many Catholics identifying with something else that is so un -Catholic. And that kind of thing, but there's so much, 'But this is me now, I'm this and I identify with this.' I think we really trap ourselves into our ideas of who exactly we are and I think it's a dangerous thing. I was trapped in an idea of what I was. Like I was this type of guy. I'd written all these stories. I had manifested becoming this melodramatic, unhinged character. And then I was leaking into that facade or that story I had told had started to become a little real. And it wasn't real. And so, yeah, I think that this record is trying to maybe go back and kind of recontextualize some of the beauty and I think the good things mostly. There's a lot of darkness in this record, but I'm a happy person. I've had very unhappy times. I've had very dark, long depressions. Everyone has, but my core is optimistic, hopeful, kind, brave, and happy mostly, and I remember that. And I learned that from my parents. I learned that from my cousins. I learned that from my uncle. I learned that from nature. I learned that from the farm. I learned that early, and that hasn't changed. I identify as those things, but sometimes you get lost in these other prisons of other things that you think you are, but you're not. Baltin: That's so interesting on so many levels. As The National started getting bigger, do you feel like personally you became a character people wanted you to be? Berninger: I was actually in my early 30s before we got successful. But when you get your first taste of success and people are really reacting to your work that is some of the most extreme, darkest parts of your personality, or the saddest parts, and those become the best songs because I'm being honest about something. But when you're writing those songs in your 30s, and then you get successful, I'm sure subconsciously I've elevated that idea of that guy in my head. There's more currency to that character, I realize. And so maybe you start to manifest it, and you keep building this weird sculpture of these little Legos of melodrama and anger or rock and roll songs and all these things. Then they become this really weird cool sculpture that everybody buys tickets to see. And then the next thing you know, you're stuck as this thing that wasn't what you intended. Baltin: You and I have talked over the years too about literature being inspiring and I feel like there were very literary and cinematic points of this album. Right when we got on the Zoom, I was listening to the record again. I love 'Silver Jeep.' That one has almost like a Raymond Carver feeling to me. Berninger: Yeah, there's a few of them. Some of them are more kind of blurry, abstract, impressionistic, emotional descriptions of emotional things or descriptions of process, like 'Nowhere Special' is a totally different song from a lot of the other songs and so is "End of the Notion.' I don't think about it when I go in but I see that I'm often trying to write a type of song I've never written but I've written hundreds and hundreds and hundreds of songs. But "Silver Jeep" and "Bonnet of Pins" and "Frozen Oranges," those are three examples of songs that are like scenes. Or "Bonnet of Pins" is maybe just an hour or a couple of hours of reconnection between two people. Then "Frozen Oranges" is a whole day, a long bike ride filled with medicines and joys and fruit and sunshine and bugs and juice and it's a really healthy song. Then 'Silver Jeep' is a is an echo of the same character from 'Bonnet of Pins.' That character is not really present much in 'Frozen Oranges.' But then at the end of the record, I think 'Silver Jeep' and 'Bonnet of Pins' are a little bit of a return to that relationship or that dynamic. What is it? Well, they're always chasing each other. They're always seeking each other, but they're always there. The line in 'Silver Jeep' that I like is, 'I see you out there somewhere in a silver jeep.' Maybe only in my mind but you'll always be there whether I ever see you in person again, you're never leaving. This person might already be dead. The whole record is about a ghost but it's not a singular ghost, it's not one person, it's a ghost of something. It's a really romantic record. It's a romance with a ghost, I guess.


Newsweek
10 hours ago
- Newsweek
Scottie Scheffler's Memorial Message for His Wife, Meredith, Unveiled
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. On Sunday, Scottie Scheffler defended his title at The Memorial to join Tiger Woods as the only other player to do so at Muirfield Village. He defeated Ben Griffin by four shots to earn his 16th PGA Tour victory and second of the season. CBS Sports' Amanda Balionis asked him about the emotional win and getting to shake Jack Nicklaus' hand for a second straight year. However, her asking about his wife, Meredith, and her support and impact on his career got him emotional. "You're really trying to make me emotional," Scheffler told Balionis. Then, in a not-so-typical Scheffler moment, he got choked up as he expressed himself. "My wife is my biggest supporter," he said, fighting back tears. "She's my best friend know, this is our life here on the road. We have had some special memories at this tournament. I definitely couldn't do it without her." An emotional Scottie Scheffler speaks with Amanda Balionis following his @MemorialGolf win 😊 — Golf on CBS ⛳ (@GolfonCBS) June 1, 2025 Balionis subtly compared him and Meredith to Jack and Barbara Nicklaus. She explained how important she was to the Golden Bear's career and made the connection with what seems to be the next power couple, the Schefflers. When Scheffler wins, Meredith embraces him, and their love shines through the camera. Now they have their son Bennett, who continues to steal the spotlight from his dad. DUBLIN, OHIO - JUNE 01: Scottie Scheffler of the United States poses for photos with wife Meredith, son Bennett, Barbara Nicklaus, and Jack Nicklaus after winning the Memorial Tournament presented by Workday 2025 at Muirfield... DUBLIN, OHIO - JUNE 01: Scottie Scheffler of the United States poses for photos with wife Meredith, son Bennett, Barbara Nicklaus, and Jack Nicklaus after winning the Memorial Tournament presented by Workday 2025 at Muirfield Village Golf Club on June 01, 2025 in Dublin, Ohio. More Photo byIt happened after his PGA Championship win, and again at The Memorial, as Scheffler switched to dad mode even with media obligations. The three-time major champion rarely shows emotions, but Scheffler could not help himself when talking about his little family. The Schefflers continue to steal the hearts of golf fans, and this small quote shows how much it means to the No. 1 ranked golfer to have them there. These players depend on wins for a long career, but their support systems are equally important, and Scheffler seems to have a great one. More Golf: The Memorial: $20 Million Payout to PGA Tour Stars Revealed


Newsweek
12 hours ago
- Newsweek
New on Mubi: Full List of Movies, Shows Hitting the Streaming Platform in June 2025
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Entertainment gossip and news from Newsweek's network of contributors Sixteen new titles to delve into will land on MUBI throughout June 2025, and the streaming service has officially unveiled what they will be. Kicking off with Cory Michael Smith (Saturday Night, May December, Sentimental Value) collaborating with the platform to hand-select a couple of titles to add this month, we see Yen Tan's 1985 and Peter Sattler's Camp X-Ray arrive on June 1. Twin Peaks will arrive on MUBI on June 13, 2025. Twin Peaks will arrive on MUBI on June 13, 2025. MUBI READ: How To Watch the New Jesse Armstrong Film 'Mountainhead' Other highlights from June 1 include a selection of films curated for MUBI's "This is Not a Coming Out Story" season, celebrating visionary queer cinema. Among them are Levan Akin's Crossing, Gregg Araki's The Living End, and Daniel Riberio's The Way He Looks. Later in the month, David Lynch fans are in for a treat because, on June 13, MUBI will add seasons one and two of Twin Peaks to the platform, along with Twin Peaks: The Return. That's not all that arrives on June 13, with Simon Hacker's 2024 film Notice to Quit also gracing our screens. The film stars Michael Zegen as Andy Singer, an out-of-work actor now struggling as a realtor in New York City. When his estranged 10-year-old daughter shows up on his doorstep in the middle of his eviction, his whole world comes crashing down around him. Beyond the select few listed above, there's plenty more heading to MUBI throughout June. You can read everything new on MUBI in June 2025 below. What's New on MUBI in June 2025? June 1 Camp X-Ray , directed by Peter Sattler | Hand-picked by Cory Michael Smith , directed by Peter Sattler | Hand-picked by Cory Michael Smith 1985 , directed by Yen Tan | Hand-picked by Cory Michael Smith , directed by Yen Tan | Hand-picked by Cory Michael Smith Stranger by the Lake , directed by Alain Guiraudie | This is Not a Coming Out Story , directed by Alain Guiraudie | This is Not a Coming Out Story The Way He Looks , directed by Daniel Riberio | This is Not a Coming Out Story , directed by Daniel Riberio | This is Not a Coming Out Story The Living End , directed by Gregg Araki | This is Not a Coming Out Story , directed by Gregg Araki | This is Not a Coming Out Story Totally F***ed Up , directed by Gregg Araki | This is Not a Coming Out Story , directed by Gregg Araki | This is Not a Coming Out Story I Am Divine , directed by Jeffrey Schwarz | This is Not a Coming Out Story , directed by Jeffrey Schwarz | This is Not a Coming Out Story Keep the Lights On , directed by Ira Sachs | This is Not a Coming Out Story , directed by Ira Sachs | This is Not a Coming Out Story Naz + Maalik , directed by Jay Dockendorf | This is Not a Coming Out Story , directed by Jay Dockendorf | This is Not a Coming Out Story Party Girl , directed by Daisy von Scherler Mayer , directed by Daisy von Scherler Mayer Majorie Prime, directed by Michael Almereyda June 6 Việt and Nam, directed by Minh Quý Trương June 13