Cleaning Out the DVR #19: Things To Watch When You Have Flumonia!

So I’ve been laid up with the flu/early stage pneumonia/whateverthehellitis for the past few days, which seemed like a  good excuse to clean out the DVR by watching a bunch of random movies:

Bette Davis & Jimmy Cagney in “Jimmy the Gent”

JIMMY THE GENT (Warner Brothers 1934; D: Michael Curtiz ) –  Fast paced James Cagney vehicle has Jimmy as the head of a shady “missing heir” racket, with Bette Davis as his ex-girl, now working for his classy (but grabby!) rival Alan Dinehart. Allen Jenkins returns once again as Cagney’s sidekick, and Alice White is a riot as Jenkins’s ditzy dame. Some funny dialog by Bertram Milhauser in this one, coming in at the tail-end of the Pre-Code era. Cagney’s always worth watching, even in minor fare like this one. Fun Fact: Cagney’s battles with boss Jack Warner over better roles were legendary, and the actor went out and got a Teutonic-style haircut right before shooting began, just to piss the boss off!  

Dwight Frye & George Zucco in “Dead Men Walk”

DEAD MEN WALK (PRC 1943; D: Sam Newfield) – Perennial second stringer George Zucco starred in a series of shockers as PRC’s answer to Monogram’s Bela Lugosi series . Here he plays twins, one a good doctor, the other a vampire risen from the grave to enact his gruesome revenge. Despite the ultra-low budget (PRC made Monogram look like MGM!), it’s a surprisingly effective chiller due to some ingenious camerawork from Newfield. Much of the film’s plot elements are borrowed (some would say stolen) from Universal’s DRACULA , including casting Dwight Frye as the vampire’s loyal servant. Fun Fact: Romantic lead Nedrick Young later won a Best Story Oscar for Stanley Kramer’s 1958 THE DEFIANT ONES, which featured another horror icon, Lon Chaney Jr.

LADIES DAY (RKO 1943; D: Leslie Goodwins) – Broad baseball comedy (no pun intended) about star pitcher Eddie Albert , who is easily distracted by pretty women, falling for movie star Lupe Velez . They get hitched, and the other player’s wives band together to kidnap her and keep them apart so Eddie can concentrate on winning the World Series! Silly but enjoyable farce elevated by a cast of comic pros: Patsy Kelly, Iris Adrian , Joan Barclay, Max Baer Sr, Jerome Cowan , Cliff Clark, and Tom Kennedy (Nedrick Young’s in this one, too… a banner year for the actor!). Maybe not a classic, but a whole lot of fun, especially for baseball buffs like me. Fun Fact: Director Goodwins has a cameo as (what else?) a movie director.

MYSTERY STREET (MGM 1950; D: John Sturges ) – Tight little ‘B’ noir as a Boston bar girl’s (Jan Sterling) skeletal remains are discovered on Cape Cod, and police Lt. Ricardo Montalban tries to piece together the murder puzzle with the help of a Harvard forensics professor (Bruce Bennett) and some good old-fashioned detective work. Early effort from Sturges benefits from excellent John Alton photography and a script co-written by Richard Brooks . Elsa Lanchester is a standout as a blackmailing landlady among a strong cast (Betsy Blair, Walter Burke, Sally Forrest, Marshall Thompson, Willard Waterman). Fun Fact: Filmed in Boston, and many of the neighborhood sights are still recognizable almost 70 years later to those familiar with the Olde Towne.

Victor Buono as “The Strangler”

THE STRANGLER (Allied Artists 1964; D: Burt Topper) – Lurid psychological thriller stars Victor Buono in his best screen performance as a sexually repressed, schizoid psycho-killer with a creepy doll fetish. Ellen Corby plays his domineering, invalid mother. Cheap, tawdry, sensationalistic, and definitely worth watching! Fun Fact: Lots of old horror hands worked behind the scenes on this one: DP Jacques Marquette (ATTACK OF THE 50 FOOT WOMAN ), Art Director Eugene Lourie (director of THE GIANT BEHEMOTH and GORGO), Editor Robert Eisen (INVASION OF THE BODY SNATCHERS ), and makeup man Wally Westmore (WHEN WORLDS COLLIDE, WAR OF THE WORLDS).

HYSTERIA (MGM/Hammer 1965; D: Freddie Francis ) – This Hitchcockian homage gives character actor Robert Webber a rare starring role as an amnesia victim embroiled in a GASLIGHT-like murder plot. Director Francis’s keen eye for composition hide the budget restraints, and producer/writer Jimmy Sangster’s script pulls out all the stops, but I couldn’t help but wonder while watching what The Master of Suspense himself could have done with the material. As it is, a fine but minor piece of British noir with horror undertones. Fun Fact: Australian composer Don Banks’s jazzy score aids in setting the overall mood.

BEN (Cinerama 1972; D: Phil Karlson ) – Sequel to the previous year’s horror hit WILLARD is okay, but nowhere near the original. Crazy Bruce Davison is replaced by lonely little Lee Hartcourt Montgomery, an annoying kid (no wonder he’s lonely!) who befriends Ben and his creepy rat posse. The rodents cause havoc at the grocery (“Rats! Millions of ’em! At the supermarket!”) and a health spa in some too-brief scenes, but on the whole this looks and feels like a TV movie, right down to it’s small screen cast (Meredith Baxter, Joseph Campanella, Kaz Garas, Rosemary Murphy, Arthur O’Connell, Norman Alden). We do get genre vet Kenneth Tobey (THE THING ) in a bit as a city engineer, and the climax will remind you of THEM! , but like most sequels, this one fails to satisfy. Stick with the original. Fun Fact: Montgomery would grow out of his annoying stage and become an 80’s heartthrob in GIRLS JUST WANT TO HAVE FUN.

And now, here’s Michael Jackson singing the cloying love theme from BEN at the film’s conclusion. Rats – yuchh!:

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Polish Ham: Jack Benny in TO BE OR NOT TO BE (United Artists 1942)

Comedian Jack Benny got a lot of mileage (and a lot of laughs) making fun of his movie career, especially THE HORN BLOWS AT MIDNIGHT . While that film isn’t half as bad as Jack claimed it was, even better was Ernst Lubitsch’s TO BE OR NOT TO BE, a topical (at the time) tale of a band of Polish actors taking on the invading Nazis during WWII. Jack’s got his best film foil here, the marvelous Carole Lombard, and the movie’s got that wonderful “Lubitsch Touch”, a blend of sophistication and sparkling wit evidenced in classic films ranging from THE MERRY WIDOW and DESIGN FOR LIVING to NINOTCHKA and HEAVEN CAN WAIT.

Benny plays Joseph Tura, the self-proclaimed “greatest actor in the world”, and Lombard is his bantering wife Maria. Together, they lead a troupe of actors in Warsaw in a production of “Hamlet”, but every time Tura begins his “To be, or not to be…” soliloquy, an audience member walks out – unbeknownst to the vain Tura, the line’s a code for Maria’s young lover Lt. Sobinski (Robert Stack) to meet her in the dressing room! Germany invades Poland, and Sobinski’s off to join the RAF, but the acting troupe is forced to disban.

When the eminent Professor Siletsky is discovered to be a secret Nazi agent, the British send Sobinski back to Warsaw before the traitor can reveal the names of the Polish underground to the Gestapo. He reunites with Maria, now working for the underground herself, and Tura catches the young lieutenant sleeping in his bed! Maria returns, and an elaborate plan involving the acting troupe evolves with Tura impersonating Siletsky in order to retrieve that list of names. Gestapo head Col. Ehrardt is initially fooled by Tura, but then the dead body of the real Siletsky is found, just as Der Führer himself is about to pay a visit to Warsaw….

Benny’s vain, egotistical ham actor Joseph Tura is the perfect fit for his comic persona, developed through years of vaudeville and honed to a tee on his popular radio show. His trademark physical mannerisms and facial expressions are priceless, and Lubitsch brings out the best in him. He’s matched by screwball queen Carole Lombard, who shines in every scene she appears in as Tura’s not-so faithful wife. Sadly, this was the 33-year-old star’s last picture; on January 16, 1942, Lombard and 21 others (including her mother) were killed in a plane crash returning from a War Bond rally in her home state of Indiana. She was married to Clark Gable at the time. Among her many films, my favorites are TWENTIETH CENTURY, MY MAN GODFREY, NOTHING SACRED, and this one, released posthumously, and a fine capping to a brilliant career.

The supporting cast is equally brilliant, with young up-and-comer Robert Stack a fine lovestruck Sobinski. Sig Ruman ,  the Marx Brothers’ nemesis in A NIGHT AT THE OPERA, gives another great comic characterization as the pompous Col. Ehrhardt (“So they call me Concentration Camp Ehrhardt, eh?”). Henry Victor is Ehrhardt’s top aide (and convenient scapegoat) Captain Schultz. Felix Bressart as Greenberg, one of the Polish actors, gets a chance to truly shine when he gives Shylock’s speech from “The Merchant of Venice (“If you prick us, do we not bleed…”). Old friend Lionel Atwill is on board as an actor who’s even hammier than Tura! Among the rest of the cast, you’ll find Familiar Faces like Helmut Dantine, Tom Dugan, Maude Eburne, James Finlayson , Charles Halton, Miles Mander, Frank Reicher , and Stanley Ridges in roles large and small.

TO BE OR NOT TO BE is one of the few films where the remake (1983) is just as good. That’s probably because of producer/star Mel Brooks , a huge Jack Benny fan, who even pays tribute to the great comedian in the film (be on the lookout for the street sign Kubelsky Street, Benny’s given name). But if I had to pick one over the other to watch on a rainy night, it would definitely be Lubitsch’s 1942 classic, mainly because, like Brooks, I’m a huge Jack Benny fan myself! I’m pretty sure Mel would make the same choice.

 

 

80 Years of “Who’s On First”!

On March 24, 1938, Americans tuned in to THE KATE SMITH HOUR collectively convulsed with laughter as Bud Abbott and Lou Costello introduced “Who’s On First?” to a national radio audience. The hilarious routine, with baseball manager Bud trying to explain the names of his team to an escalatingly exasperated Lou, soon became an American comedy classic, one I can never get tired of no matter how many times a watch a clip of A&C performing their signature bit – they slay me every time!

Chico asking Groucho “Why A Duck?” in 1929’s THE COCOANUTS

The routine had its roots squarely in burlesque long before Bud and Lou first made that historic broadcast. Puns and word play were the coin of the realm among burlesque comics, and variations on this confusing theme abounded in the early 20th Century. Early talking pictures feature a notable pair of examples: The Marx Brothers 1929 COCOANUTS has Groucho and Chico bantering over “Why A Duck?”, while 1930’s CRACKED NUTS featured Wheeler & Woolsey doing some doubletalk concerning the towns of “Which” and “What”.

Abbott & Costello in 1945’s THE NAUGHTY NINETIES

A baseball version had been used on the burlesque curcuit, but it was Abbott & Costello who honed it to perfection, with an assist from their long-time gag writer John Grant. Bud and Lou never did the routine the same way twice, changing things to try and trip the other up, riffing like a couple of jazz musicians improvising on a familiar theme, keeping the bit (and themselves) sharp. Their Kate Smith performance earned them a contract with Universal, and the duo did an abridged version in their film debut, 1940’s ONE NIGHT IN THE TROPICS. They would revive the routine in 1945’s THE NAUGHTY NINETIES, and time and again on their own radio program. When the team produced their 1952-54 TV show, they did “Who’s On First” in the episode “The Actor’s Home”, which many aficionados consider the definitive version:

“Who’s On First?” was enshrined in Cooperstown, NY’s Baseball Hall of Fame in 1956, where it still endlessly greets new arrivals to the venerable baseball shrine. In 2007, Dodgers rookie shortstop Chin-Lung Hu got his first hit, a single, causing veteran announcer Vin Scully to quip, “I can finally say, ‘Hu is on first'”!

 

 

A Flask of Fields: W.C. Fields in NEVER GIVE A SUCKER AN EVEN BREAK (Universal 1941)

I’ve professed my love for W.C. Fields before on this blog , and NEVER GIVE A SUCKER AN EVEN BREAK is undoubtedly my favorite Fields flick. This inspired piece of lunacy is The Great Man’s commentary on getting films made in Hollywood his way. In fact, Fields wanted to title the movie “The Great Man”, but Universal execs nixed the idea, instead using a line from POPPY, his stage and screen hit. The change caused Fields much consternation, quipping that the movie’s overlong title would be boiled down on movie marquees to “Fields – Sucker”!!

Universal starlet Gloria Jean with “Uncle Bill”

The film’s plot (and I use that term as loosely as possible!) has Fields playing himself, delivering his latest script to Esoteric Pictures head Franklin Pangborn . The story he’s concocted may have the long-suffering Pangborn rolling his eyes, but it’ll have you the viewer rolling on the floor – with laughter! He and his niece Gloria Jean are travelling to a remote Russian village in a plane with an open air compartment in the rear when W.C. knocks his bottle out of the plane, so of course he dives after it, landing on the mountaintop home of beautiful Ouliotta Hemogloben, who’s never seen a man before.

Fields and his good buddy Leon Errol

After introducing Ouliotta to the kissing game of “squiggulum”, he then encounters her Amazonian mother Mrs. Hemogloben, played by Groucho’s favorite foil Margaret Dumont  , and her saber-toothed Great Dane (Fields calls her “a buzzard if there ever was one”). Escaping the 2,000 foot mountain via hand basket, he goes to a cantina, where he engages in drinking shots of goat’s milk with Leon Errol . Finding out the old dame is worth a ton of money, Fields and Gloria return to the mountain top so he can marry her, only Leon gets there first (thanks to Mrs. Hemogloben’s pet gorilla). The two love rivals vie for Mrs. H’s affections, until Fields gives Leon the boot (literally!), but Gloria talks him out of wedded bliss so just the two of them can hang out together…

At this point Pangborn tears up the script in utter disgust, and a dejected Fields goes to drown his sorrows at an ice cream parlor, looking directly at the camera and informing the audience, “This scene’s supposed to be in a saloon, but the censors cut it out… it’ll play just as well”, resulting in a wild ride with Fields driving a woman to a maternity hospital (she’s not even pregnant!) that’s straight outta Mack Sennett in his Keystone heyday!

WC tangling with waitress Jody Gilbert

It’s all just an excuse for Fields to engage in his peculiar brand of buffoonery: being harassed by Universal’s resident juvenile comedy brats Butch & Buddy, sparring at a diner with buxom waitress Jody Gilbert (dubbing her “blimpie pie”), croaking out the tune “Chickens Have Pretty Legs in Kansas”, and indulging in some of his best one-liners (think in your best W.C voice while reading):

When Gloria asks why ‘Uncle Bill’s’ never been married: “I was in love with a beautiful blonde once, dear. She drove me to drink. That’s the only thing I’m indebted to her for.”

“Drown in a vat of whiskey. Death, where is thy sting?”

To a stewardess asking a hungover Fields if he’s airsick: “No, somebody put too many olives in my martinis last night.”

The Great Man, some booze, and a gorilla… what more could you ask for!!

Gloria Jean, Universal’s teenaged thrush, looks like she’s having a grand old time as ‘Uncle Bill’s’ niece, and gets to sing four songs in her sweet soprano voice. Pangborn gets plenty of comic moments of his own as the sourpuss Esoteric Pictures honcho, and the cast features Familiar Faces Irving Bacon, Mona Barrie, Anne Nagel, Minerva Urecal, Dave Willock, and the skeletal Bill Wolfe. Fields’ long-time mistress Carlotta Monte, who wrote the excellent book “W.C. Fields & Me”, has a bit as Pangborn’s secretary, and you can clearly see how much she enjoys Bill’s humor. Many changes were made by Universal to the original story by Otis Cribblecoblis (yeah, that’s Fields), and the screenplay is credited to John T. Neville and Prescott Chaplin. But neither man ever wrote anything quite as funny as this (though Neville did pen the Bela Lugosi classic THE DEVIL BAT , filled with unintentional humor!), and NEVER GIVE A SUCKER AN EVEN BREAK is pure, undiluted W.C. Fields, The Great Man at his surrealistic greatest!

(This post is part of Cinemaven’s Essays from the Couch FREE FOR ALL BLOGATHON , happening right now, so follow the link and have a good time!!) 

Glory Daze: Peter O’Toole in MY FAVORITE YEAR (MGM 1982)

The world of 1950’s live TV gets the comic treatment in Richard Benjamin’s MY FAVORITE YEAR, a hilarious homage to those golden days of yore. Executive producer Mel Brooks had first-hand knowledge of the era, and much of the hysterical Norman Steinberg/Dennis Palumbo screenplay is based on his experiences, though completely exaggerated and laugh-out-loud funny. The film earned star Peter O’Toole an Oscar nomination for his role as Alan Swann, a dissipated movie star based on swashbuckling Errol Flynn .

Swann arrives at NBC’s 30 Rock, scheduled to be the week’s special guest on “Comedy Calvacade”, totally smashed, much to the displeasure of gruff show host Stan ‘King’ Kaiser (Joseph Bologna in a brilliant Sid Caesar parody), who immediately wants to fire him. But young comedy writer Benjy Stone (Mark Linn-Baker, later of TV’s PERFECT STRANGERS), who idolizes the movie great, pleads with Kaiser to give Swann another chance. He does, and appoints Benjy as Swann’s personal babysitter, making sure the actor behaves… or else they’ll both get the boot!

Among the many subplots are Kaiser’s ongoing battle with gangland goon Karl Rojeck (Cameron Mitchell ), a Jimmy Hoffa-type Kaiser’s been lampooning on the show as “Boss Hijack”. Benjy’s got romantic problems with pretty young coproducer K.C. Downing (Jessica Harper, SUSPIRIA, STARDUST MEMORIES), as well as problems with his overbearing Brooklyn mom (Lanie Kazan). The writing staff is constantly at odds, with overbearing Sy (Bill Macy), cynical Alice (Anne DeSalvo), and the strangely silent Herb (Basil Hoffman in an apparent Neil Simon take-off).

O’Toole, who knew a thing or two about living la vida loca himself, was the perfect choice to portray the Flynn-like Swann. The gaunt actor may look like death warmed over, but his way with the ladies remains intact, and underneath the bravado of his screen persona lays a barely concealed vulnerability. His hard-partying ways have left him in debt and involved in scandalous behavior, but his dignity manages to shine through. O’Toole’s performance makes Alan Swann a flamboyant, funny, poignant, and all-too-human character, and he deserved the Oscar nom, but lost to Ben Kingsley in GANDHI. In fact, the actor was nominated and lost eight times in all, an Oscar record, only receiving an honorary award in 2002 for his body of work.

This was Benjamin’s first film as director, and got him off on the right foot. The actor had starred in TV’s HE & SHE and films like GOODBYE COLUMBUS, CATCH-22, and WESTWORLD before taking a seat in the director’s chair, and has made some good films since (CITY HEAT, LITTLE NIKITA, MERMAIDS, MRS. WINTERBOURNE). The supporting cast also features Adolph Green as show producer Leo Silver. Green’s no stranger to comedy writing himself, having penned the Broadway and Hollywood hits ON THE TOWN, SINGIN’ IN THE RAIN, THE BAND WAGON , AUNTIE MAME, and BELLS ARE RINGING with partner Betty Comden. Selma Diamond, who also wrote for Sid Caesar in the 50’s, plays the sarcastic costume matron. Familiar Faces Phil Bruns, Stanley Brock, Lou Jacobi, and George Wyner are on hand – and yes, that’s 1930’s starlet Gloria Stuart (later of TITANIC fame) as a dowager dancing with O’Toole during the Stork Club scene.

MY FAVORITE YEAR is right up my alley, a backstage pass to a show biz long gone. It’s got heart and chutzpah to spare, and never gets boring. If you’re like me, and love movies about behind the curtain shenanigans , you’re sure to love this one.

Mad Libs: Hope & Crosby on the ROAD TO MOROCCO (Paramount 1942)

Bing Crosby and Bob Hope travel the ROAD TO MOROCCO, the third in the “Road” series and by far the funniest. The plot involves two shipwrecked Americans who wind up in an absurd Arabian Nights style adventure complete with beautiful princess Dorothy Lamour and murderous desert sheik Anthony Quinn , but you can throw all that out the window as Bing and Bob trade quips, sing, and break down the Fourth Wall to let the audience know it’s all in good fun, so sit back and enjoy the zany ride.

Bob and Bing were already established superstars when Paramount teamed them for ROAD TO SINGAPORE (1940), which was a huge box office hit and followed quickly by ROAD TO ZANZIBAR (1941). By the time they made MOROCCO, the pair had their act down pat, with Der Bingle the smooth-talking crooner who always gets the girl, and Ol’ Ski-Nose the cowardly wisecracker. Scripts were just a framework as the two hired their own gagsters to punch things up and ad-libbed madly, sometimes without even letting the rest of the cast and crew in on it. Their onscreen anarchy convulsed war-weary 1940’s filmgoers with laughter, as they skewered everything in their paths, including the hand that fed them, Paramount Pictures!

Some of their best gags are in this film: riding a camel through the desert while singing “The Road to Morocco” (“Where we’re goin’, why we’re goin’, how can we be sure/I’ll lay you 8 to 5 that we’ll meet Do-ro-thy La-mour”), Bob trying to get a free meal by acting like an idiot (not a stretch!), Bing selling Bob into slavery (which is how he ends up as Lamour’s concubine), trying to pull the old “pat-a-cake” routine on Quinn without success (he must’ve seen the previous movies!), stranded in the desert by Quinn’s army and seeing mirages, including one of Lamour where the trio sing “Moonlight Becomes You” in each others voices. The song, written by Jimmy Van Heusen and Johnny Burke, became a #1 hit for Bing that year, and is a standard today in The Great American Songbook:

The highlight comes when Bing and Bob attempt to rescue Lamour and handmaiden Dona Drake (who’s hot for Hope!) from Quinn’s clutches by sabotaging his party honoring a rival chieftain with whoopee cushions, a dribble glass, the old hot foot, and gunpowder-loaded cigarettes (as Crosby laces the tobacco, Hope quips “Hey, whaddaya doing, making reefers?”!!), all while being kibbitzed by a pair of talking camels! They escape for America, and all’s well that ends well, until bungling Bob goes for a smoke in the ship’s powder room and blows it to smithereens, an excuse for Hope to crack an Oscar joke to cap the shenanigans off.

From Hope playing dear, departed “Aunt Lucy” in drag to this exchange: Bob: “First, you sell me for two hundred bucks. Then I’m gonna marry the Princess, then you cut in on me. Then we’re carried off by a desert sheik. Now we’re gonna have our heads chopped off!” Bing: “I know all that”. Bob: “Yeah, but the people who came in the middle of the picture don’t”. Bing (flabbergasted): “You mean they missed my song!?!”, ROAD TO MOROCCO is tons of foolish fun, an enjoyable romp through the desert sands with two of the 20th Century’s greatest entertainers at the top of their game. If you’ve never travelled down the ROAD with Bing and Bob, this one’s a great place to start.

Goats and Nuts and MILLION DOLLAR LEGS (Paramount 1932)

Hail, hail Klopstokia! MILLION DOLLAR LEGS is  total  movie anarchy, a throwback to the halcyon days of Mack Sennett. It’s a comedy cornucopia filled with sight gags and verbal nonsense, led by legendary W.C. Fields as president of the mythical country of Klopstokia, about to default on its loans until itinerant brush salesman Jack Oakie comes up with a plan to enter the hale and hearty Klopstokians in the 1932 Olympics and win the huge cash prize being put up by his employer!

Klopstokia is noted for “Goats & Nuts”, their chief exports, imports, and inhabitants! All political disputes are settled by arm wrestling, and President Fields is the strongest of all, though he’s constantly being challenged by his Secretary of the Treasury Hugh Herbert. Presidential daughter Angela (Susan Fleming, future wife of Harpo Marx) and brush salesman Migg Tweeny (Oakie) “meet cute” and immediately fall in love. When asking for her hand, Angela tells her dad she calls Migg “Sweetheart”, which the Prez mistakes for Migg’s real moniker! (Migg: “Listen, my name’s Tweeny” Prez: “You’ll always be ‘Sweetheart’ to me” Migg: “I know, I know, but there’s talk already…)

Secretary Herbert and his traitorous cabinet (including Keystone veterans Irving Bacon, Vernon Dent, and Billy Gilbert , who performs his comical sneeze routine) plot to put Klopstokia’s athletic team out of commission by hiring super-spy Mata Machree, “A Woman No Man Can Resist”! She’s played by luscious Lyda Roberti, parodying Garbo (who starred in 1931’s MATA HARI) and sings the risqué “When I Get Hot in Klopstokia”. You haven’t lived until you’ve seen lithe Lyda slink and wiggle her way to a man’s… err, heart.

You all know what a sucker I am for punny wordplay, and MILLION DOLLAR LEGS is loaded with it, thanks to screenwriters Henry Myers and future Oscar winner Joseph L. Mankiewicz . Here’s a couple of examples:

Migg: “You know what? I love you!”

Angela: “In Klopstokia, we have another way of saying that”

Migg: “In public??”

Then there’s this: Angela: “All the girls in this country are named Angela, and all the men are named George”

Migg: “Why?”

Angela: “Why not!”

Fields is a riot, as always, whether having troubles with his top hat, juggling clubs to stay in shape, or performing as a one-man band. Cross-eyed silent comedian Ben Turpin keeps popping up (for no reason!) as a cloak-and-dagger spy, Andy Clyde as Fields’ Major-Domo could give The Flash a run for his money, and little Dickie Moore steals whatever scenes he’s in as Angela’s brother Willie – apparently the only male in Klopstokia not named George!! All this absurdity is expertly handled by director Edward F. “Eddie” Cline, who went back to Mack Sennett’s Keystone Kops, and worked with nearly every great comic in history, from Chaplin and Keaton, to Wheeler & Woolsey and Olsen & Johnson, to the Ritz Brothers and the Andrews Sisters!

MILLION DOLLAR LEGS is sheer nonsense, and I mean that in the best way possible. Predating the Marx Brothers’ DUCK SOUP by a year, the film shares its anarchic spirit, and the two together would make a great double feature when you need to just cut loose and laugh. And we all need that in this day and age!!