Watch Don't Worry, We'll Think of a Title

Don't Worry, We'll Think of a Title is a 1966 American comedy film that presents an offbeat, slapstick experience, melding elements of spy spoof with situational comedy fraught with puns and gags. Directed by Harmon Jones and written by Morey Amsterdam (who also stars), along with William Marks and John C. Fenton, the movie carries the quirky charm and flavor of 1960s' comedic cinema. This trio creates a smorgasbord of jokes that reflect the comedic norms of the era.

Morey Amsterdam, best known for his role as Buddy Sorrell on "The Dick Van Dyke Show," takes on triple duty as star, co-writer, and producer. Amsterdam plays Charlie Yuckapuck, a character that embodies his knack for quick-witted humor and vaudeville-style comedy. The film also stars Rose Marie and Richard Deacon, Amsterdam's co-stars from "The Dick Van Dyke Show," bringing a familiar comedic synergy to the screen.

The film’s light-hearted narrative centers around Charlie, a bookshop employee caught in a case of mistaken identity that spirals into a series of misadventures involving espionage and wacky shenanigans. Charlie's life grows increasingly convoluted when, due to his resemblance to a notorious foreign scientist, he becomes a person of interest to both the CIA and enemy agents. What ensues is a comic romp that takes delightful advantage of the characters' comedic talents and well-honed rapport.

Rose Marie plays opposite Amsterdam as a spunky and savvy co-worker, who gets inadvertently entangled in the chaos. Her quick-witted and sassy demeanor allows her to match, and often add to, the frenetic energy that Amsterdam brings to the screen. Richard Deacon’s role as the archetypal stuffed-shirt figure brings a sense of comic relief with his stern demeanor in contrast to the frantic antics of the other characters.

Don't Worry, We'll Think of a Title is strewn with pratfalls, one-liners, and absurdist situations that keep the film moving at a lively pace. The title itself pokes fun at the filmmaking process, serving as a knowing wink from the filmmakers about the sometimes arbitrary nature of the creative process. The film doesn't aim to deliver a groundbreaking storyline or profound character development; instead, it commits itself fully to the art of comedy, with the sole purpose of making audiences laugh.

The comic misadventures take our main characters from the bookstore into the tumultuous world of spies and spooks, by way of some of the most unexpected detours. Full of twists and mistaken identities, the narrative embodies an almost cartoon-like take on the spy genre. The film breaks from the sleek and cool James Bond mold that was popular at the time, choosing instead to lampoon the genre with its particular brand of jests and oddball humor.

The screenplay makes ample room for cameo appearances by well-known faces of the time, adding another layer of enjoyment for audiences in spotting the various stars and public figures who briefly share the screen. The interplay of these familiar faces amidst the slapstick action adds to the fun and can be seen as a precursor to the modern cameo-laden comedies that enjoy surprising their audiences with unexpected guest spots.

In keeping with the times, the film boasts vibrant production design and costumes that pop with the sense of style characteristic of the mid-60s. Although the film operates on a modest budget, the creative team manages to convey a larger-than-life atmosphere that underlines the farcical elements of the story.

The spy element offers up a playground for parodic stabs at genre tropes—secret gadgets, hidden messages, and chase sequences all get a run-through with the comic timing and delivery expected from seasoned performers like Amsterdam and his crew. Yet, the film doesn’t just rely on physical comedy and situational laughs; word play and puns are heavily featured, showcasing the actors’ and writers’ linguistic dexterity.

"Don't Worry, We'll Think of a Title" is also underscored by a jaunty musical score that punctuates the humor and adds to the pace. Like many films from its time, the music acts almost as an additional character that reacts to and amplifies the on-screen mischief.

In sum, Don't Worry, We'll Think of a Title is a product of its era, offering a light-hearted escape where skits and mirth unfold in rapid succession. For those who appreciate vintage comedy with a nostalgic essence, the movie delivers a charming hat tip to the communal theatrics of the show business talents of the mid-20th century. It is a film that invites audiences to revel in ludicrousness, and to simply sit back and enjoy the comedic ride without delving too deeply into the contrivances of plot or the feasibilities of storyline progression.

Don't Worry, We'll Think of a Title is a 1966 thriller with a runtime of 1 hour and 24 minutes. It has received mostly poor reviews from critics and viewers, who have given it an IMDb score of 4.6.