I’ve always been fascinated by how comedians use their bodies, and Marty Feldman was a perfect example. At 5'5", he wasn’t the tallest guy, but he used every inch to his advantage. His height made his exaggerated expressions and movements even funnier, especially in roles where he played the underdog or the weirdo. Like in 'Young Frankenstein,' where he’s this chaotic little force of nature opposite Gene Wilder’s straighter man. It’s a testament to his talent that he could make something as simple as his height into a key part of his act. Comedians today could learn a lot from how he turned perceived shortcomings into strengths.
Marty Feldman was this wonderfully unique comic genius, instantly recognizable not just for his wild eyes but also his compact stature. Standing at about 5'5" (165 cm), he had this physical presence that almost added to his comedic charm—like his body was part of the joke. I’ve always loved how he used his height and exaggerated features in his routines, especially in classics like 'Young Frankenstein.' There’s something about shorter comedians that makes their physical comedy hit harder, and Marty was a master of that. His height never held him back; if anything, it made his performances even more memorable.
Watching old clips of him, I’m struck by how he turned what some might call 'limitations' into strengths. Whether it was his hunched posture or that manic energy, everything worked together perfectly. It’s a reminder that in comedy, what makes you different often makes you brilliant.
You know, I was rewatching some of Marty Feldman’s sketches recently, and it struck me how much his height contributed to his on-screen persona. At 5'5", he wasn’t tall by any means, but he had this towering comedic presence. It’s funny how physical traits can become part of a performer’s signature—think Danny DeVito or Warwick Davis. Marty’s stature made his characters feel even more eccentric, like they’d stumbled out of some absurdist play. His work in 'The Last Remake of Beau Geste' is a great example; he plays off his size for maximum laughs, almost like a live-action cartoon. Honestly, I think his height added to the surreal vibe he was so good at creating.
Marty Feldman’s height was around 5'5", but honestly, the man was larger than life in every other way. His physical comedy, those iconic bulging eyes, and his timing were all so sharp that you barely noticed his height unless it was part of the gag. He had this way of moving—like a marionette with loose strings—that made him unforgettable. It’s wild how some comedians just have 'it,' and Marty definitely did. His height was just one small piece of what made him special.
Marty Feldman stood at 5'5", but his comedic legacy is gigantic. What’s cool about him is how he embraced his physical quirks—the height, the eyes, the whole package. He never tried to fit into some leading-man mold; instead, he made his uniqueness his brand. Watching his stuff, you get the sense that he knew exactly how to use his stature for laughs, whether it was through slouchy posture or frantic pacing. It’s inspiring, really—proof that you don’t have to be conventional to be unforgettable.
2026-04-18 16:31:25
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As my plan took its course, it dawned on me that playing house was a game I never should have played. She started to grow on me, from that sexy little pout to the late nightcap, the endless dirty banter, and even the fights we had. I realize I enjoyed having her around. Trouble is, how will I make her believe I am not playing games anymore? That I don’t want her to be just my contract wife, that I don’t want twelve months with her but more?
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When the police showed up, he pointed right at me and started yelling, “Pervert! You knock on my door every night! You even use binoculars to spy on me, and you’ve been posting my photos online!
“I’ve seen you! Standing by your window, staring at me, always trying to get close. It’s disgusting!”
The neighbors gathered around, whispering and pointing at me. Someone even shoved me, calling me shameless.
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Under everyone’s accusations, I slowly took off my sunglasses, revealing the hollow sockets where my eyes should be. “Officer, how exactly is a blind person supposed to peep at anyone?”
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Eight years into our marriage, my husband was as childish as ever.
He loved playing pranks on me, constantly leaving gag gifts around the house.
I would just smile, toss them into the storage closet and think nothing of it.
A few days later, while deep-cleaning the house, I remembered his latest box and decided to throw it out.
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Attractive and beautiful woman with most precious smile was Nina Fernandez. It was a well-known restaurant of the city and she was there with her friend, Sara. Nina was married to a small heighted but a very loving guy, Fernandez. They lived in a posh area of city.
“I don’t believe in marriage; it is not more than a jail” the words shook her but more than that it was the voice which she could recognize among thousands. It was the voice of her ex- boyfriend, Oscar Hurt, who was with some classy looking lady. Nina was stunned to saw Oscar after 10 years.
Marty Feldman's voice was this incredible mix of gravelly warmth and chaotic energy, like someone poured whiskey over a stack of old vinyl records and set it on fire. It wasn't just the rasp—it was the way he could flip from a whisper to a manic shout in seconds, like in 'Young Frankenstein' when he'd hiss 'Walk this way' with that absurdly perfect timing. His vocal cords seemed wired directly into his comedic brain, every syllable crackling with unpredictability.
What fascinates me is how his voice mirrored his physical comedy. That nasal, slightly unhinged quality made even mundane lines sound like they were teetering on the edge of madness. I read somewhere that his childhood asthma might've contributed to the texture, but honestly? It feels like he weaponized every vocal quirk, turning what could've been limitations into pure comedic gold. The man could've read a phone book and made it hilarious.
Marty Feldman's distinctive bulging eyes were the result of a thyroid condition called Graves' disease, which he developed as a teenager. The condition caused his eyes to protrude noticeably, giving him that unique, almost cartoonish appearance. Ironically, what could have been a setback became his trademark—those eyes added to his comedic genius, making his physical humor even more memorable.
I first noticed him in 'Young Frankenstein,' where his Igor was unforgettable partly because of those wild, rolling eyes. It’s fascinating how he turned something medical into an asset, leaning into it for laughs. His legacy reminds me that quirks can become strengths, especially in comedy where individuality shines.
Marty Feldman was this brilliant, wild-eyed comedian who also had a knack for directing, though his filmography behind the camera is criminally short. He only directed two films: 'The Last Remake of Beau Geste' (1977) and 'In God We Tru$t' (1980). The first one’s a parody of classic adventure films, packed with Feldman’s signature absurd humor—think slapstick meets satire, with a dash of surrealism. 'In God We Tru$t' is even weirder, a religious satire that’s equal parts hilarious and biting, though it bombed hard at the box office. It’s a shame he didn’t direct more; his style was so distinct, like a madcap blend of Monty Python and Mel Brooks.
What’s fascinating is how his directing mirrored his acting—unpredictable, chaotic, but weirdly genius. If you love his work in 'Young Frankenstein,' his films are worth hunting down, though they’re niche even for cult comedy fans. 'In God We Tru$t' especially feels like a time capsule of Feldman’s irreverent spirit, even if it’s messy as hell.