Double Your Fun With Wheeler & Woolsey: HALF SHOT AT SUNRISE (RKO 1930) & COCKEYED CAVALIERS (RKO 1934)

Welcome back to the wacky world of Wheeler & Woosley! Bert and Bob’s quick quips and silly sight gags kept filmgoers laughing through the pain of the Depression Era, and continue to delight audiences who discover their peculiar type of zaniness. So tonight, let’s take a trip back in time with a double shot of W&W comedies guaranteed to keep you in stitches!

1930’s HALF SHOT AT SUNRISE was their 4th film together, and the first exclusively tailored for their comic talents. In this WWI service comedy, Bert and Bob are a pair of AWOL soldiers on the loose in Paris, chasing girls while in turn being chased by a couple of mean-mugged MP’s (Eddie DeLange, John Rutherford). Bert winds up falling for Dorothy Lee (who appeared in most of their films, almost as a third member of the team), the youngest daughter of cranky Col. Marshall (cranky George MacFarlane), who’s having troubles of his own with frisky Frenchwoman Olga (Leni Stengel), to the consternation of wife Edna May Oliver (a frequent film nemesis of the boys).

This all sets the stage for W&W’s patented brand of lunacy, with snappy patter galore, and since it was made in the Pre-Code Era, some of it is pretty racy :

Girl: “Monsieur, you are making a bad mistake”

Bob: “You may be bad, but you’re no mistake!”

Each gets their own song, as Bert teams with Dorothy for a cute little number called “Whistling Away the Blues”, while Bob and Leni warble “Nothing But Love”, a tune that ends with Woolsey in a fountain dressed in nothing but his skivvies! The comedy comes fast and furious, as do the quips, and a standout scene finds W&W disguised as waiters in a fancy French restaurant serving the Colonel and his family. After a truly bizarre musical number featuring an all-female-soldier chorus line, Bert and Bob wreak their usual havoc, and Bob gets off some funny one-liners at the Colonel’s expense:

Colonel: “How’s your turtle soup?”

Bob: “Very snappy, very snappy”

Colonel: “Have you a wild duck?”

Bob: “No, but we can take a tame one out and aggravate it for you”

(Corny, I know, but I still laughed!!)

Eventually, Dorothy and Leni persuade the boys to deliver some secret plans to the front so they’ll be heroes (and her Dad won’t throw them in the brig), and things take a brief dramatic turn – but just briefly, as everything’s wrapped up in a neat comic bow and Bert and Bob get the girls, while the Colonel gets a reprieve from his sourpuss wife! HALF SHOT AT SUNRISE would make a good introduction to those who haven’t yet experienced Wheeler & Woolsey (and as a side note for film buffs, disgraced former silent star Fatty Arbuckle had an uncredited hand in the screenplay).

Most fans of the duo cite 1934’s COCKEYED CAVALIERS as their best picture, but while I would opt for the delirious political satire DIPLOMANIACS , this outrageously funny costumed musical comedy set in Medieval Olde England found me laughing out loud from start to finish! Bert and Bob are a pair of vagabonds who hitch a ride underneath the carriage of the portly Duke of Weskit (Robert Greig) and his niece Lady Genevieve (the delightful Thelma Todd ). The Duke has come to this small village to marry pretty young commoner Dorothy Lee (who else?), who wants nothing to do with the lecherous old toad, and disguises herself as a boy!

Bert suffers from kleptomania (Bob tells him, “Yeah, well why don’t you take something for it?), going into a comical convulsion every time he gets an urge to steal. He gets caught taking the Duke’s horses (and then the carriage!), and the two are put in stocks and pelted with rotten vegetables until Dorothy helps them escape. They waylay the King’s physician and his aide and ride off to the Duke’s estate. Lady Genevieve, believing they’re the real deal, flirts shamelessly with Bob, who flirts right back (Her: “Oh dear, I think you’re making a mistake” Him: “Not with you, baby, not with you!”), not knowing her husband is the rough, gruff Baron (Noah Beery Sr) they met at the local Inn.

Genevieve has called in the King’s physician to cure the Duke’s ills, and the boys proceed to “operate” on him, using a horse training manual! While the Baron goes out hunting the killer wild black boar that’s been terrorizing the countryside, Bob and Genevieve continue their *ahem* flirtation. Bert discovers Dorothy’s not a boy after all, and the quartet all do a comic song and dance number called “Dilly Dally”. The Baron returns and catches Bob messing with his Lady (thanks to his trained Great Dane!), Dorothy consents to marry the Duke to save her father from being beheaded, and everything winds up in a chaotic finale where Bert and Bob capture that devilish wild boar to save Dorothy and her Dad.

COCKEYED CAVALIERS is loaded with outrageous puns, sly double entedres (Thelma: “Don’t you just love wild game?” Bob: “The wildest game I ever played was post office”), plenty of slapstick humor (and you know how much I love slapstick humor!), and silly songs like “Dilly Dally” and the tongue-twisting “And The Big Bad Wolf Was Dead”, sung in the tavern by Bert, Bob, a bevy of extras, and the bass-voiced Beery.

It also features their best supporting cast, including everyone’s favorite comic “Ice Cream Blonde”, Thelma Todd, who also made HIPS HIPS HOORAY with W&W, and costarred with virtually every classic comedian of the era until her untimely death in 1935. Robert Greig (The Duke) was featured in the Marx Brothers’ ANIMAL CRACKERS and HORSE FEATHERS (also with Thelma), and later became a member of Preston Sturges’ movie stock company. Noah Beery Sr (The Baron) played the villain in both comedies and dramas, and was the older brother of Wallace Beery. Other Funny Familiar Faces in COCKEYED CAVALIERS include Billy Gilbert (The Innkeeper), Charlie Hall (the coach driver), Esther Howard (sitting on Bob’s lap at the Inn!), Hollywood’s favorite souse Jack Norton (The King’s physician), prissy Franklin Pangborn (The Town Crier), and former silent star Snub Pollard (the physician’s aide).

Bert Wheeler and Robert Woolsey’s comedy is timeless, and the team is ripe for rediscovery. In this mad, mad, mad world we live in today, with everyone at each other’s throats on social media over stupidity (read: politics), we all need a good laugh, and the team certainly delivers the goods. The world needs to find it’s sense of humor again, and watching either of these classic comedies may not end the divisiveness, but they’ll sure make you laugh! All Hail Wheeler & Woolsey!!

Lunatic Fringe: Wheeler & Woolsey in HOLD ‘EM JAIL (RKO 1932)

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The comedy team of Wheeler & Woolsey is pretty esoteric to all but the most hardcore classic film fans. Baby-faced innocent Bert Wheeler and cigar-chomping wisecracker Robert Woolsey made 21 films together beginning with 1929’s RIO RITA (in which they’d starred on Broadway), up until Woolsey’s untimely death in 1937. I had heard about them, read about them, but never had the chance to catch one of their films until recently. HOLD ‘EM JAIL makes for a good introduction to W&W’s particular brand of lunacy, as the boys skewer both the prison and college football genres, aided by a top-notch comic supporting cast that includes a 16-year-old Betty Grable.

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Football crazy Warden Elmer Jones (slow-burn master Edgar Kennedy ) is the laughing-stock of the Prison Football League. His team hasn’t had a winning season in years, and he sends a message to the president of “the alumni association” to send some new recruits “for the old alma mater”. He goes to the president’s office, and enter Wheeler and Woolsey, two novelty salesmen who proceed to drive him crazy. When he leaves, the real “alumni” show up, and after the boys brag about their gridiron prowess, they’re set up to stick up the joint with real guns instead of their water pistols.

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Of course, the framed fools are sent to Bidemore, where Spider trades barbs with the warden’s spinster sister Violet (the marvelous Edna May Oliver ) and Curley tries to romance daughter Barbara (Miss Grable). They continue to infuriate the poor warden with their antics, especially when Violet has them made trustees. When Bidemore’s star quarterback gets paroled, Woolsey touts Wheeler as a superstar. Let’s just say Tom Brady, he ain’t!! This all culminates in the most improbable victory since Super Bowl LI , with Bidemore winning the game and getting cleared of the frame-up to boot.

The deliriously funny script is by S.J. Perelman, Walter Deleon, and Eddie Welch. Perelman was a writer for The New Yorker magazine, and one of the early 20th century’s best known humorists. He wrote two of the Marx Brothers movies (MONKEY BUSINESS and HORSE FEATHERS), the stage and screen versions of ONE TOUCH OF VENUS, and won an Oscar for his screenplay AROUND THE WORLD IN 80 DAYS. His fingerprints are all over the film’s dialog, as in this exchange between Woolsey and Oliver- Edna: “I spent four years in Paris. Of course, I’m not a virtuoso”. Woolsey: “Not after four years in Paris”. Edna (pausing a beat): “I trust we’re talking about the same thing!”. Earlier in the film, W&W get booted out of a swanky nightclub on their keisters, followed by this-  Wheeler: “You know, I met that bouncer’s foot before”. Woolsey: “Yeah, I met it behind”.

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Deleon was no slouch when it came to comedy either, having written films for W.C. Fields , Bob Hope, Jack Benny Abbott & Costello , and Martin & Lewis. Welch seems to be a kind of “comedy doctor”, with three other W&W films to his credit, and an uncredited contribution to Laurel & Hardy’s SONS OF THE DESERT . All this madness was directed under the deft hand of Norman Taurog, who began in films in 1912, won an Oscar for 1931’s SKIPPY, and directed all the great comics of the classic era. Wheeler & Woolsey’s slapstick sight gags and pun-tastic wordplay are on a par with other teams of the time, and are worth rediscovering. Start right here with HOLD ‘EM JAIL.

 

Curiouser & Curiouser: ALICE IN WONDERLAND (Paramount 1933)

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Lewis Carroll’s 1865 children’s classic ALICE IN WONDERLAND was turned into an all-star spectacular by Paramount in 1933. But the stars were mostly unrecognizable under heavy makeup and costumes, turning audiences off and causing the film to bomb at the box office. Seen today, the 1933 ALICE is a trippy visual delight for early movie buffs, thanks in large part to the art direction of William Cameron Menzies.

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Menzies’ designs are truly out there, giving ALICE the surrealistic quality of the books themselves. He actually storyboarded his ideas right into the physical script, earning a co-writer credit along with Joseph L. Mankiewicz . Menzies was the cinematic wizard whose art direction brought the magical 1924 THE THIEF OF BAGDAD to life. He was co-director and special effects designer for 1932’s CHANDU THE MAGICIAN, and the title of Production Designer was invented for him on the classic GONE WITH THE WIND. Menzies also directed a few films; especially of note are the science fiction entries THINGS TO COME and INVADERS FROM MARS.

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You all know the story: young Alice is snowed in and bored, daydreaming away the time. She falls asleep, and dreamily takes a trip through the looking glass, where everything is backwards, and the chess board comes to life. Alice goes outside and follows the White Rabbit (Skeets Gallagher) down the hole, where she encounters a strange world inhabited by Caterpillar (Ned Sparks), Frog (Sterling Holloway ), The Duchess (Alison Skipworth) and her baby (Billy Barty), The Cheshire Cat (Richard Arlen), The March Hare (Charlie Ruggles ), The Mad Hatter (Edward Everett Horton), The Doormouse (Jackie Searl), The King and Queen of Hearts (Alec B. Francis, May Robson), Gryphon (William Austin), The Mock Turtle (Cary Grant), The Red Queen (Edna May Oliver), The White Queen (Louise Fazenda), Tweedledee and Tweedledum (Roscoe Karns, Jack Oakie), Humpty Dumpty (W.C. Fields ), and The White Knight (Gary Cooper ) on her madcap journey through Wonderland.

Alice In Wonderland (1933) | Pers: Alison Skipworth | Dir: Norman Z. (M) Mcleod | Ref: ALI012AJ | Photo Credit: [ The Kobal Collection / Paramount ] | Editorial use only related to cinema, television and personalities. Not for cover use, advertising or fictional works without specific prior agreement

Nineteen year old Charlotte Henry stars as  twelve year old Alice, and she’s perfect in the part. In fact, she was too perfect, as she became so closely identified with Alice it was tough for her to get other roles. After costarring as Bo-Peep in Laurel & Hardy’s BABES IN TOYLAND (retitled MARCH OF THE WOODEN SOLDIERS), Henry appeared in CHARLIE CHAN AT THE OPERA (with Boris Karloff) and the Frank Buck serial JUNGLE MENACE before retiring from film at the age of 28.

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Film fanatics will be able to recognize many of the stars by their distinct voices. Grant, Cooper, and Fields (who’s my personal favorite) are easy, but true movie afficianados won’t have trouble finding Oakie, Ruggles, Horton, Holloway, or Oliver. Leon Errol Roscoe Ates , Baby LeRoy, and Mae Marsh also take part in this hallucinogenic fantasy directed by Norman Z. McLeod. The director was a comedy specialist, working with greats like Fields (IT’S A GIFT, IF I HAD A MILLION), The Marx Brothers (MONKEY BUSINESS , HORSE FEATHERS), Bob Hope (THE ROAD TO RIO, THE PALEFACE), and Danny Kaye (THE KID FROM BROOKLYN, THE SECRET LIFE OF WALTER MITTY), and helming the classic ghost comedy TOPPER.

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Besides the Fields and Cooper segments, one part of the film I really enjoyed was when Tweedledee and Tweedledum relate the story of The Walrus and The Carpenter to Alice. Here the movie veers off into animation by Hugh Harman and Rudoph Ising, a pair of Disney veterans who’d later inaugurate Warner’s Looney Tunes and Merrie Melodies cartoons. It’s a cute little vignette done by the animation pioneers, who later created such characters as Bosko and Barney Bear. ALICE IN WONDERLAND probably won’t appeal to those who’re enamored of CGI, but it was way ahead of its time, and is historically worth a look. After all, it isn’t every day you get a chances to see Cary Grant as The Mock Turtle or W.C. Fields as Humpty Dumpty, now is it?