A few lines of dialogue appear - "Whoa, Moe, Larry! Moe, help!" - by dubbing Shemp's voice from the soundtracks of Fuelin' Aroundand Blunder Boys. Larry then concludes the conversation by saying "I've got it, I've got it!" Moe inquires with "What?" Larry replies, "a terrific headache!" Later, Palma is seen from the back being chased in circles by the palace guard. ![]() The first time occurs in the restaurant when Moe declares that the trio must do something to help their sweethearts. Palma became the original "Fake Shemp," although the term was not officially in use at the time.įor Rumpus in the Harem, Palma is seen from the back several times. When continuity required that Shemp appear in these new scenes, they used Shemp's stand-in Joe Palma to be a body double for him, often appearing only from behind or with an object obscuring his face. New footage was filmed of the other two Stooges ( Moe Howard and Larry Fine) and edited together with stock footage. ![]() By this point in the trio's career, budget cuts at Columbia had forced them to make heavy use of stock footage from previously completed shorts anyway, so they were able to complete the films without Shemp. At the time, the Stooges still had four shorts left to deliver ( Rumpus in the Harem, Hot Stuff, Scheming Schemers, and Commotion on the Ocean), by the terms of their annual contract with Columbia Pictures. In 1955, Stooge Shemp Howard died suddenly of a heart attack. The method continues to be used in cases, such as Shemp’s, where the original actor is deceased and permission from the deceased actor’s estate is granted.The term references the comedy trio The Three Stooges. Once somewhat commonplace throughout the 20th century, the use of Fake Shemps to emulate living people are now forbidden under Screen Actors Guild contracts, largely because of a lawsuit filed by Crispin Glover that determined that the method violates the original actor’s personality rights. The concept is named after Shemp Howard, whose sudden death in 1955 necessitated the use of these techniques to finish the films to which he was already committed. Their appearance is disguised using methods such as heavy make-up (or a computer-generated equivalent), filming from the back, dubbing in audio and splicing in past footage from the original actor’s previous work, or using partial shots of the actor.
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