Cockeyed Caravan: SULLIVAN’S TRAVELS (Paramount 1941)

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I’m no expert on Preston Sturges, having seen only two of his films, but after viewing SULLIVAN’S TRAVELS I now have a craving to see them all! This swift (and Swiftian) satire on Hollywood stars Joel McCrea as a successful slapstick comedy director yearning to make important, socially conscious films who gets more than he bargained for when he hits the road to discover what human misery and suffering is all about.

John L. “Sully” Sullivan sets his studio bosses on their collective ear when he tells them he wants to film an adaptation of ” O Brother, Where Art Thou?”, a serious novel by ‘Sinclair Beckstein’. The head honcho balks, wanting Sully to do another comedy, but Sully’s not dissuaded, deciding to see what life among the downtrodden is first-hand. He dresses in rags and sets out on his quest, followed by a gaggle of PR flacks in a bus. Somehow he keeps winding up back in Hollywood, where he meets a girl (her name is never given) in a diner, a disillusioned young actress about to leave Tinseltown behind.

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After the pair get arrested for stealing a car, which is actually his in the first place, Sullivan reveals his true identity to her, taking The Girl to his palatial estate. She’s angry at first, having thought him a real hobo, but when he’s determined to continue his odyssey she becomes equally determined to join him. From there they hop a freight train and live among the homeless souls, dining in soup kitchens and sleeping in a crowded shelter, learning how the poor and desperate souls live. Having gathered enough material, the director decides to hand out $1000 in fives to the street people in gratitude.

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Then the film takes a turn to the dramatic, as Sully gets rolled by the same bum who previously stole his shoes, and dragged onto a train leaving the station. The unfortunate crook drops the ill-gotten dough and is run over by an oncoming locomotive. The studio execs believe the dead man is Sully, who wakes up concussed and confused, charged with trespass and atrocious assault, winding up in a prison work camp run by a brutal overseer who doesn’t take any guff.

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Everything turns out okay in the end, as Sullivan finds a way to be freed and discovers making comedies isn’t so bad after all. Joel McCrea is flawless as the idealistic, earnest director, whose journey of self-discovery leads him to this conclusion: “There’s a lot to be said for making people laugh. Did you know that’s all some people have? It isn’t much, but it’s better than nothing in this cockeyed caravan”. Sturges punctures the pretentiousness of Hollywood elitists who think they can save the world, suggesting that maybe what the world needs more of is a good, hearty laugh. The fact remains while comedies do big box-office, they get very little love come Oscar time. The great screen comics of their respective eras have rarely been rewarded for their efforts, usually settling for a lifetime achievement award after they’re way past their prime, while “relevant” dramas get all the accolades. Myself, I’d rather be entertained than preached at.

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Veronica Lake  shines as The Girl, showing a flair for comedy as the struggling starlet. She’s the perfect match for McCrea, with comic timing that’s just right. Tons of Familiar Faces parade on the screen, like William Demarest, Franklin Pangborn,  Porter Hall Byron Foulger , Eric Blore, Torbin Meyer, Esther Howard , Almira Sessions, Frank Moran, Chester Conklin, and Dewey Robinson, many of whom appeared in subsequent Sturges films as a sort of stock company. A shout-out goes to Jess Lee Brooks as a black preacher who allows the prisoners to attend his church for a movie, leading the congregation in a stirring rendition of ‘Go Down, Moses” (that’s Madame Sul-Te-Wan  at the organ). Ray Milland also appears in a blink-and-you’ll-miss-it cameo.

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SULLIVAN’S TRAVELS is social commentary disguised as screwball comedy, or maybe vice versa. Its rapid-fire dialog, great sight gags, and satirical skewering of Hollywood makes it a must-see for film fans. It carries a timeless message, and that is, as Donald O’Connor would say, “Make Em Laugh”! I’ll be keeping my eyes peeled for more Preston Sturges films in the future, because we all need to stop and have a good laugh these days.

Hillbilly Deluxe: MURDER, HE SAYS (Paramount 1945)

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George Marshall has long been a favorite director of mine. Though he excelled in all genres (particularly Westerns), it’s his comedies that first caught my attention. Marshall guided W.C. Fields through his first for Universal, YOU CAN’T CHEAT AN HONEST MAN (with radio foils Edgar Bergen and Charlie McCarthy), did some of Bob Hope’s best films (THE GHOST BREAKERS, MONSIER BEAUCAIRE, FANCY PANTS), and directed MY FRIEND IRMA, the debut of Dean Martin & Jerry Lewis, later teaming with the pair for SCARED STIFF. He’s also responsible for the classic comic Western DESTRY RIDES AGAIN with James Stewart and Marlene Dietrich, and the remake with Audie Murphy. But his wackiest comedy is undoubtably the off-the-wall MURDER, HE SAYS.

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This black comedy gem stars the underrated Fred MacMurray as Pete Marshall, pollster for the Trotter company (“Like the Gallup Poll, but not as fast”), sent to tiny rural Potowanamie to find missing coworker Hector P. Smedley. He rides his bicycle to the home of the Fleagle family, a murderous gang of hillbilly outlaws led by the whip-cracking Maw Fleagle Smithers Johnson. Falling into a hole, he’s taken to the dilapidated old house, meeting Maw’s homicidal twin dimwits Mert and Bert, Maw’s latest husband Mr.  Johnson, and crazy daughter Elany. Gun-toting Grandmaw Fleagle is dying (the brood has poisoned her, causing her to glow in the dark!), and she’s harboring a secret- bank robber son Ollie Fleagle stashed $70 Grand somewhere, and the only clue is a nonsense song that only his daughter Bonnie will recognize.

Grandmaw kicks off, leaving the lyrics to the tune on a sampler she gives to Pete. Then brazen Bonnie shows up, having escaped from prison, clutching a cigar in her teeth and gun in her hand. Only it’s not Bonnie, it’s Claire Matthews, whose father was falsely imprisoned in the robbery and wants to find the loot to clear him. The Fleagle brood attempt to kill Bonnie/Claire with poisoned gravy on her grits, winding up with Mr. Johnson’s untimely demise instead. Soon the REAL Bonnie shows up and the game’s afoot…

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This premise sets up a heapin’ helping of slapstick gags and goofiness, with MacMurray showing off his comic skills to good advantage. He mugs, double-takes, pratfalls, and tosses off one-liners with the best of them (there’s even a quick quip referencing his noted saxophone playing!). The scene where he tricks the doltish twins by pretending to converse with the ghost of Hector Smedley is a comic highlight, as is the riotous ending in the hay barn. If you’re only familiar with Fred MacMurray for his dramatic roles, gentle Disney comedies, or the long-running MY THREE SONS, watch him put his clowning hat on, he’s a delight!

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Equally delightful is Marjorie Main as Maw, a warm-up for her Ma Kettle role, only this hillbilly matriarch is deadlier than a rattlesnake. Whether killing a fly on the wall with her whip or slyly commenting on her home décor (cattle skulls, quipping to MacMurray, “Pretty, ain’t they?”), Main broadly plays this grotesque caricature of motherhood to the hilt. Peter Whitney  in a dual role as twins Mert and Bert made a living off playing no-account white trash types. Helen Walker (NIGHTMARE ALLEY ) acts tough impersonating killer Bonnie, vulnerable as Claire, and is more than a match for MacMurray. That perennial slimeball Porter Hall shines as Mr. Johnson, Jean Heather (who costarred with MacMurray in DOUBLE INDEMNITY) is loony Elany, and Barbara Pepper (who’d later play Arnold’s “mom” Mrs. Ziffel on GREEN ACRES) is the real escaped con Bonnie.

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MURDER, HE SAYS benefits from Marshall’s fast-paced direction, it’s 91 minutes flying by faster than the train to Potowanamie. It’s full of physical schtick, in-jokes, and demented black comedy that classic film lover’s will eat up like Maw’s grits… just make sure you pass on the gravy!

 

Halloween Havoc!: Fredric March in DR. JEKYLL & MR. HYDE (Paramount 1931)

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Robert Louis Stevenson’s DR. JEKYLL & MR. HYDE was first published in 1886, causing quite a stir in its day. The tale of man’s dark side was a huge hit, and over the years has been adapted on stage, radio, and numerous film and TV versions. John Barrymore (in the 1920 silent), Spencer Tracy (a lush 1941 MGM production), Boris Karloff (Meeting Abbott & Costello), Paul Massie (Hammer’s 1960 shocker), Jack Palance (Dan Curtis’ 1968 TV movie), and Kirk Douglas (a 1973 TV musical) are just a few actors who’ve sunk their teeth into the dual role. The best known is probably this 1931 horror film with Fredric March in an Oscar-winning turn as good Dr. Henry Jekyll and his evil counterpart, the snarling Mr. Hyde.

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Unless you’ve been living in a cave the past 130 years, you’re familiar with the story, so let’s look at the performances of Fredric March and Miriam Hopkins. The incredibly handsome March as Jekyll (here pronounced JEE-kul) is a bastion of goodness, as we see in the opening POV shots where everyone smiles at him riding down the street in his carriage. Jekyll spends his free time working on the charity ward, comforting the ill and infirm, giving of himself to the less fortunate. Henry Jekyll is also the epitome of Victorian Era repression, striving to tamper down his baser instincts. He saves street prostitute Ivy from a beating, and treats her with care and compassion. She comes onto him, and Jekyll obviously struggles to remain restrained.

The love of his life, Muriel Carew (Rose Hobart), is a prim and proper maiden whose father wants the two to wait before being wed. Here March is staid, though frustrated at the thought of a long courtship. He’s like a gentleman in one of those drawing-room dramas, all googly-eyed and saccharine sweetness with Muriel, but trying to retain that stiff-upper-lip façade about it the whole thing.

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Jekyll’s been experimenting with a new drug that will separate the two halves of his nature, bringing out only the finer, noble qualities and destroying the animalistic impulses. This backfires, and Mr. Hyde comes out in full, furious force. Where Jekyll was in control of his emotions, Hyde is the Id come to life. Here March (with an assist from Wally Westmore’s incredible makeup) rips off the veneer of morality and becomes an unbridled ball of energy, full of fury and lust. As Hyde, he’s a snarling, simian-like animal, leaping and bounding like a whirling dervish, without a thought for the welfare of others. He tracks down Ivy and asserts control over her in more ways than one, abusing her physically, mentally, and sexually, a really sick S&M/B&D relationship that inevitably ends with him murdering her, a scene that still manages to shock in its brutality. Whereas Jekyll appreciates beauty, Hyde only seeks to tear it down and destroy it. It’s a bravura performance by March, and his Oscar was well-deserved.

Dr. Jekyll samples his own brew. However, instead of bringing out his goodness, the drug summons out the most evil parts of his personality. He becomes Fredric March (Mr. Hyde) and becomes involved with the prostitute Miriam Hopkins (Ivy Pierson).

Miriam Hopkins  as Ivy is both sympathetic and pathetic. Her cockney accent doesn’t quite convince, but her acting as the poor, doomed Ivy sure does. She’s street-wise and sexually provocative, a free soul who knows the way to a man’s wallet is through her body. Ivy’s repulsed by Hyde’s ugly countenance, but she’s willing to take his money at first. It soon becomes apparent that Hyde wants more than just sex, he wants to completely control her mind, body, and spirit. Now she’s trapped in a nightmare of torture and living in constant fear, with no way out except death. Ivy goes from carefree working girl to tormented victim, and Hopkins’ transformation in the part is just as effective as March’s. If the Academy had a Supporting Actress Oscar back then, Miriam Hopkins would’ve been the hands-down winner that season.

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Rouben Mamoulian’s innovative direction sets DR. JEKYLL & MR. HYDE apart from its early Universal horror counterparts. FRANKENSTEIN and to a greater extent DRACULA suffer from staginess, but JEKYLL & HYDE moves thanks to Mamoulian’s dynamic camera tricks. The opening POV shot brings things to life, and Mamoulian’s use of swipes, fade-outs, split screens, tracking shots, and dissolves lets the viewer known they’re watching a FILM, not a filmed stage play. The director’s use of the medium was widely praised, and deservedly so. Mamoulian made other all-time greats still watched and studied today: QUEEN CHRISTINA (with Greta Garbo in another take on duality), BECKY SHARP (the first feature shot in three-strip Technicolor), THE MARK OF ZORRO (with an energetic Tyrone Power), and his last, SILK STOCKINGS (Fred Astaire’s final musical). Cinematographer Karl Struss uses lighting to create two worlds, the brightness of Jekyll’s moralistic life in society and the bleakness of Hyde’s debauchery down in the slums. The Jekyll-to-Hyde transformations were groundbreaking back in 1931, but sadly don’t hold up well.  DR. JEKYLL & MR. HYDE is a classic of early horror, and compares favorably to the Universal nightmares of the era, even surpassing them on many levels. If you’re a lover of all things horror, put this one on your Halloween watch list.

Strange Bedfellows: THE GLASS KEY (Paramount 1942)

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Anyone who watches television, reads a newspaper, or surfs the Internet today knows the axiom “Politics is a dirty business” is dead on point. The mudslinging and brickbats are being tossed at record rates, and it just keeps escalating. Here at Cracked Rear Viewer, we’re just plain tired of all the nonsense. Ah, for the old days, when politics was much more genteel and civil, right? Wrong! Politics has always been a dirty business, proving another old adage, “There’s nothing new under the sun”. Case in point: the 1942 film THE GLASS KEY.

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The story’s based on a novel by Dashiell Hammett, and was filmed once before in 1935 with George Raft, Edward Arnold, and Claire Dodd. In this version, Paramount chose to star their red-hot team of Alan Ladd and Veronica Lake, fresh off their hit THIS GUN FOR HIRE. Brian Donlevy takes the Arnold role as Paul Madvig, a shady political boss who came up from the streets to become a powerful kingmaker. Madvig throws his support to reform candidate Ralph Henry, mainly because he’s got the hots for Henry’s daughter Janet. Madvig’s second-in-command Ed Beaumont doesn’t trust her, as she’s been making the goo-goo eyes at him.

Henry’s son Taylor is a young wastrel with a gambling habit who’s in deep to gangster Nick Varna. Varna’s backing another candidate, and he and Madvig are at odds (at one point Madvig calls him “a pop-eyed spaghetti bender”). Taylor’s been dating Madvig’s sister Opal, and Ed warns her to steer clear of him. Soon Taylor’s found murdered, and Madvig’s the #1 suspect. The local newspaper (in Varna’s pocket) is splattering Madvig’s name all across the headlines (Aside: I love it when the newsboy screams, “Extry! Extry! Read all about it!”).

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Soon Janet asks for Ed’s help in solving her brother’s murder. Varna sends for Ed and offers him a stake in his gambling joint in exchange for dirt on Madvig. He tells Ed he’s got a sworn affidavit from an eyewitness, but Ed turns the gangster down flat, causing Varna to sic his brutal henchman Jeff on him. Ed’s locked in a room as Jeff continuously beats the shit out of him, trying to “persuade” him. Ed escapes by setting fire to a mattress and lands in the hospital.

Madvig and Janet visit Ed there, and reveal they’re now engaged, though Janet’s still hot for Ed. When he leaves the hospital, Ed goes to the Pine Lake home of publisher Matthews, finding Varna and his hoods there as well. Ed figures it all out, and the publisher commits suicide, leaving a note behind. Ed grabs the note and puts the kibosh on the story. The so-called “witness” is gunned down by Varna’s men, then Madvig astounds Ed by telling him he really did kill Taylor! Madvig’s indicted, and Ed tracks Jeff down at a seedy bar. The hulking brute is drunk, and plans on more fun and games with Ed. Varna arrives, Jeff spills the beans that he killed the witness, Varna pulls a gun, Jeff strangles him, and the real murderer is finally revealed (no, I won’t tell you who it is!). Ed and Janet leave for a new life in New York, with Madvig’s blessings.

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The dense story, a Hammett trademark, is adapted well by screenwriter Joanthan Latimer, no slouch himself in the hardboiled department. Latimer covered the Chicago crime beat during the heyday of Al Capone, then began writing novels featuring tough PI William Crane, three of which were filmed as part of Universal’s “Crime Club” series. Latimer also wrote the scripts for the noir’s NOCTURNE, THEY WON’T BELIEVE ME , and NIGHT HAS A THOUSAND EYES, and over thirty episodes of the TV classic PERRY MASON.

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Alan Ladd and Veronica Lake had an onscreen electricity between them, a red-hot sexual chemistry that wasn’t topped until Bogie & Bacall. Of the seven films they appeared in together, three (THIS GUN FOR HIRE, THE GLASS KEY, THE BLUE DAHLIA) are bona-fide film noir classics. Ladd, who’d kicked around Hollywood for years, became a major star in films like SHANE and THE GREAT GATSBY. Veronica Lake, whose “peek-a-boo” hairstyle became a 40’s fad, wasn’t so lucky. A troubled soul diagnosed with schizophrenia, Lake turned to alcohol for relief, and by the early 60’s was working as a bartender in New York City. Her final film was the Grade-Z FLESH FEAST, in which she played a Nazi mad scientist. The beautiful Miss Lake died from complications of cirrhosis in 1973.

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Always reliable Brian Donlevy is at his sleazy best as Madvig. I like Donlevy much more when he plays villainous roles, and though Madvig’s not exactly a villain here, he definitely is a political slimeball. Joseph Calleia (Varna) was one of Hollywood’s great gangster types; he’s got a face made for wanted posters! The sadistic Jeff is brutish William Bendix  , and he’s one scary dude. Jeff is supposedly homosexual, but I see him more as a sadistic animal who gets off on inflicting pain no matter who it is. It’s a good performance any way you look at it, and a far cry from Bendix’s later success as a likeable lug on early TV’s THE LIFE OF RILEY. Bonita Granville (Opal, also called ‘Snip’) was just graduating from juvenile leads (as in the popular Nancy Drew films) to more mature roles. The doomed Taylor is Richard Denning, years before his days as a sci-fi hero (CREATURE FROM THE BLACK LAGOON, THE BLACK SCORPION ). Some other Familiar Faces of note here are Donald McBride (as the dishonest DA), Frances Gifford (a lovely sight to behold!), Moroni Olsen, Dane Clark, Billy Benedict, and Three Stooges nemesis Vernon Dent in a small role as a bartender.

Director Stuart Heisler graduated from the editing room, and does a great job handling the film. Would that I could say more about him, but he was mainly relegated to undistinguished ‘B’ pictures with a few exceptions (ALONG CAME JONES, SMASH-UP THE STORY OF A WOMAN) before ending his career in television. Given some bigger productions and we could be talking about Heisler as a major director, but it just wasn’t to be. That’s a shame, because THE GLASS KEY is a fine example of noir filmmaking, and a film everyone should see during this crazy political season. There’s just as much shady shit going on here as there is today on both sides of the aisle. The more things change, the more they stay the same.

 

Cleaning Out the DVR Pt 8: All-Star Comedy Break

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Tonight I’ll be watching the Major League Baseball All-Star Game, but for those of you non-baseball fans, here’s a look at five funny films from the 1930’s & 40’s:

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IT’S A GIFT (Paramount 1934, D: Norman Z. McLeod) The Great Man himself, W.C. Fields , works his magic in this delightfully demented domestic comedy about hen pecked grocer Harold Bissonette, who dreams of owning an orange grove in California. His wife (Kathleen Howard) is a domineering battle-axe, his kid (Tommy Bupp) an obnoxious, roller skating brat, and daughter Mildred (Jean Rouveral) doesn’t want to leave her “true love”. This sets the stage for some of Fields’ funniest surrealistic scenes, including his grocery store being demolished by blind Mr. Mickle and perennial nemesis Baby Leroy; poor W.C. trying to get some sleep on the porch while being constantly disturbed by noisy neighbors, a wayward coconut, a man looking for “Carl LeFong”, and Baby Leroy dropping grapes through a hole in the porch (“Shades of Bacchus!”); and a wild picnic on private property. One of Fields’ best movies, an absurd comic classic! Fun Fact: Kathleen Howard was a former opera singer who costarred in three of W.C.’s films.

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GENERAL SPANKY (MGM 1936, D: Fred Newmeyer and Gordon Douglas) Spanky, Alfalfa, Buckwheat, and the “Our Gang” kids star in this Civil War era comedy that plays like a few shorts strung together. There’s not really any overt racism, as some critics claim; except for the use of the derogatory term “pickaninny” early on, it’s simply a product of its era. The story is told from the Southern POV, making it sympathetic to their cause. In fact, the slaves are treated with more dignity by the Southerners than the invading Yankee army! The warm relationship that develops between the two orphans Spanky and Buckwheat rarely gets mentioned. Still, this ain’t GONE WITH THE WIND; if it sounds offensive, just don”t watch. Fans of Our Gang/Little Rascals shorts will want to catch it, though. Fun Fact: Irving Pichel, who I’ve discussed here in past posts , plays the mean Yankee captain at odds with Spanky and friends.

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TURNABOUT (United Artists 1949, D: Hal Roach) Gender-bending screwball comedy about a constantly bickering couple (John Hubbard, Carole Landis) that have their wish to swap bodies granted by a Hindu idol come to life. Ultimately the film tries a little too hard at being wacky and is a letdown considering it’s groundbreaking theme. Adolphe Menjou, William Gargan, Mary Astor, Joyce Compton, Verree Teasdale, Franklin Pangborn, Marjorie Main, and especially Donald Meek head a game supporting cast. Based on a novel by Thorne (TOPPER) Smith. Fun Fact: One of a handful of feature films directed by comedy pioneer Roach.

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BLONDE INSPIRATION (MGM 1941, D: Busby Berkeley) Minor but amusing screwball comedy concerning an idealistic unpublished writer (John Shelton) who’s conned out of $2000 by two broke publishers (the unlikely but funny comedy team of Albert Dekker and Charles Butterworth !) to write Western pulp fiction when their drunken star scribe Dusty King (Donald Meek again!) quits. Shelton’s bland in the lead,  but the rest of the cast makes up for it, with a wisecracking script by Marion Parsonnet and swift direction from musical maestro Berkeley. Virginia Grey plays the publisher’s cynical secretary who ends up falling for the dopey, naïve Shelton. Reginald Owen, Alma Krueger, Byron Foulger, and Charles Halton all add to the fun. Fun Fact: Marion Martin, former Ziegfeld showgirl, is the “blonde inspiration” of the title, playing the dumb-blonde companion of Butterworth.

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WHO DONE IT? (Universal 1942, D: Erle C. Kenton) Abbott & Costello play two soda jerks (emphasis on “jerks”) and wanna-be radio mystery writers who get caught up in a real-life murder mystery at the station. This was Bud and Lou’s first effort without the usual musical interludes (no Andrews Sisters, no swing bands, etc), and allows them to unleash their comic mayhem uninhibited. The radio setting gives them good material to work with, like their “watts are volts” wordplay riffing (they even have a bit disparaging their classic ‘Who’s On First?” routine). There are some genuinely scary touches between the slapstick from horror vet Kenton (ISLAND OF LOST SOULS, HOUSE OF FRANKENSTEIN ), and a solid supporting cast featuring William Gargan and William Bendix as a pair of dopey detectives, Mary Wickes as Lou’s love interest (!!), and Universal’s Familiar Face Brigade: Patric Knowles, Louise Allbritton, Thomas Gomez, Don Porter, Jerome Cowan, and Ludwig Stossel. Cadaverous Milton Parsons even shows up as the coroner! Fast and fun entry in the A&C catalog. Fun Fact: The page boy constantly getting over on Lou is Walter Tetley, a radio actor known to TV affecianados as the voice of Mr. Peabody’s favorite boy, Sherman!

Still Funny After All These Years: Harold Lloyd in THE MILKY WAY (Paramount 1936)

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Harold Lloyd was one of the “Big 3” comedy stars of the Silent Era, right up there with Charlie Chaplin and Buster Keaton in popularity. I’ve viewed and enjoyed comic gems like SAFETY LAST and THE FRESHMAN, and some of his hilarious shorts. His bespectacled, energetic character was wildly popular in the Roaring Twenties, but with the advent of sound and The Great Depression, audiences turned away from Harold’s brand of comedy. Recently, I watched 1936’s THE MILKY WAY and wondered why they did, because Harold Lloyd was just as funny as ever in it, and the film is just as good as any screwball comedy of the era.

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Harold plays Burleigh Sullivan, a milquetoast milkman constantly in hot water for failing to meet his quotas. When a pair of drunken ruffians try to hit on his sister, meek Burleigh is forced to come to her defense. A fight breaks out, and Burleigh emerges from the pile victorious. The fight hits the papers because it seems Burleigh has knocked out the world’s middleweight champion! In reality, the milkman never touched him… he’s just a good ducker, and the champ’s friend did the slugging (seems Burleigh was picked on by bullies in his schooldays, and learned how to dodge a punch).

The champ’s manager, shifty “Honest” Gabby Sloan, tries to persuade Burleigh to get in the ring, but timid Burleigh declines. When Burleigh’s beloved milk wagon horse Agnes falls ill, the milkman changes his mind, needing money for the sick nag. What Burleigh doesn’t realize is Sloan and his gang plan on setting him up with a series of pugs taking dives so they can clean up at the box office for the big matchup between Burleigh and champ Speed McFarlane.

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It’s all pretty silly, but serves as a showcase for Lloyd’s comedic gifts. His physical agility is put to good use, he has a fine voice that fits his personality, and I really don’t understand why he wasn’t able to make the successful transition to talkies. After one more starring vehicle, 1938’s PROFESSOR BEWARE, Lloyd was off the screen until teaming with director Preston Sturges for THE SIN OF HAROLD DIDDLEBOCK (1947), a sequel to Lloyd’s silent hit THE FRESHMAN.

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Lloyd is surrounded by a solid supporting cast, led by Adolphe Menjou as the scheming promoter Gabby. Gravel voiced Lionel Stander is dimwitted henchman Spider, William Gargan the chump of a champ, and Verree Teasdale (Mrs. Menjou offscreen) Gabby’s wisecracking moll. Helen Mack (star of SON OF KONG) plays sister Mae, Dorothy Wilson is Burleigh’s girl Polly (they “meet cute” when Harold needs a phone to call a doctor for his horse at 3AM), and Marjorie Gateson is a scream as society matron Mrs. Winthrop Lemoyne (who Harold gives a ducking lesson to in another funny scene). Charles Lane plays a reporter, Murry Alper a cabbie, and if you look real close, you’ll spot Anthony Quinn making his film debut as a fight spectator.

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Leo McCarey was an old pro when it came to directing comedy. McCarey got his start at Hal Roach studios, working with the likes of Charlie Chase and Laurel & Hardy. When talkies arrived, he was the go-to guy for the top comedians of the day: The Marx Brothers (DUCK SOUP ), W.C. Fields, Burns & Allen, Mae West. McCarey won two Oscars in his career, for 1937’s screwball hit THE AWFUL TRUTH and the sentimental 1944 GOING MY WAY. Many of you are probably familiar with Harold Lloyd’s silent classics, but don’t take his talkies for granted. If they’re anything like THE MILKY WAY, they’ll be worth watching.