Nothin’ Dirty Goin’ On: THE CHEYENNE SOCIAL CLUB (National General 1970)

THE CHEYENNE SOCIAL CLUB isn’t a great movie, but it’s not a bad one, either. It couldn’t be; not with all that talent in front of and behind the cameras. You’ve got two legendary leads, James Stewart and Henry Fonda , Oscar winner Shirley Jones, Gene Kelly in the director’s chair, and John Wayne’s favorite cinematographer William Clothier . Still, the film, while amusing, should’ve been so much better.

The story’s fairy simple: two old Texas cowhands, John O’Hanlon (Stewart) and Harley Sullivan (Fonda) are plying their trade when John receives a letter. Seems John’s brother has died and left him an inheritance – The Cheyenne Social Club in Cheyenne, Wyoming. John and his old pal head north, and it turns out The Cheyenne Social Club is a cathouse, run by Madame Jenny (Jones), and she and the girls warmly greet the perplexed duo. Uptight John, who’s always wanted to be a “man of property”, decides he’s going to fire the girls and open a boarding house, but Harley doesn’t seem to mind the set-up, sampling all the fine young wares!

The girls are upset when John gives them the news, and the townsfolk are up in arms. There’s an obligatory barroom brawl which lands John in the pokey, and he then discovers if he gets rid of the girls, he loses the property, due to an agreement his brother, “the late DJ”, made with the railroad. Jenny receives a brutal beating from irate customer Corey Bannister, and John straps on his shootin’ iron (even though he’s “no hand with a gun”) and goes after him. Thanks to Harley’s inveterate habit of cracking nuts, John wins the gunfight, only to have the entire Bannister clan descend on Cheyenne for the inevitable shootout scene….

Critics of the time called the film “smutty”, but it’s pretty harmless when seen today. There’s a lot of chuckles to be had, but like I said it’s not the great movie it could’ve been. The problem as I see it is two-fold, the first being Gene Kelly’s meandering direction. Kelly is my favorite among Golden Age dancers (sorry, Fred Astaire), and co-directed one of my all-time favorite films, SINGIN’ IN THE RAIN. But his career as a solo director was hit-or-miss, and the pacing in this Western comedy is off by a country mile. Someone like Burt Kennedy would’ve had a ball with this material, but Kelly is out of his element. Then again, James Lee Barrett’s script doesn’t help matters. It’s far too talky and lacks characterization. Only the three main stars get anything resembling distinctive, motivated parts; everyone else is a cardboard cut-out.

Fonda and Stewart, of course, can do no wrong. The two actors had been friends since their salad days at the University Playhouse on Cape Cod, and became lifelong friends despite the differences in their personalities. Both men became major stars, and appeared together in three films: the 1948 anthology ON OUR MERRY WAY, the Western drama FIRECREEK (1968), and this one (both were in the all-star HOW THE WEST WAS WON, but appeared separately). Jimmy’s still being Jimmy here, but the usually taciturn Fonda’s Harley is a garrulous, randy old coot, and gives the funnier performance. Stewart and Fonda never let their political differences get in the way of their friendship (something sorely lacking today), and even got to satirize it in this exchange:

John: “Solid, respectable, Republican business. That’s what makes America, Harley.”

Harley: “Our folks were Democrats, John.”

John: “Yeah, and where did it get you. A lifetime on the range and sweat in the summer and freezin’ in the winter, and sleeping on the ground and fightin’ wolves and the rattlesnakes… oh no, Harley. There can’t be a finer calling in the world than being a Republican businessman.”

Harley: “I don’t like to dispute you, John, but didn’t you always vote Democratic?”

John (in that trademark Jimmy Stewart hemming and hawing): “Wal, wal, that was when I didn’t know any better.”

And later in the exchange – Harley: “John, you don’t mind if I still vote Democratic, do you?”

John: “Just so long as you’re not seen with me when you do it. Be bad for business.”

Shirley Jones won the Oscar for playing a prostitute in ELMER GANTRY, and she’s a bawdy good time here. Her Jenny is the only one of the girls – Sue Ane Langdon , Jackie Joseph, Elaine Devry, Jackie Russell, Sharon DeBord, all capable actresses – with a fully fleshed out character. Jean Willes is entertaining as Alice, a saloon girl with her sights set on Harley, but again she’s just a stock character, as are the other Familiar Faces here: John Dehner, Dabbs Greer, Myron Healy, Arch Johnson, Robert Middleton, J. Pat O’Malley, Charles Tyner, Jason Wingreen. I’ll usually watch THE CHEYENNE SOCIAL CLUB whenever it’s aired (and have many times), but I can’t help but wonder how much better it could’ve been with tighter direction and a richer script. James Stewart and Henry Fonda together on film for the last time is what makes it worthwhile for me.

Rockin’ in the Film World #16: Herman’s Hermits in HOLD ON! (MGM 1966)

In yesterday’s  ‘One Hit Wonders’ post on the Blues Magoos, I told you Dear Readers my first concert was headlined by Herman’s Hermits, five non-threatening teens from Manchester, UK – Karl Greene, Barry Whitwam, Derek ‘Lek’ Leckenby, Keith Hopwood, and lead singer Peter Blair Denis Bernard Noone, known as Herman for his slight resemblance to cartoon character Sherman (of “Mr. Peabody and…’ fame). Their infectious, peppy pop rock and Herman’s toothy grin made the teenyboppers scream with delight, with hits like “I’m Into Something Good”, “Mrs. Brown You’ve Got a Lovely Daughter”, and “I’m Henry the VIII, I Am”. Even parents liked The Hermits, and they seemed destined to follow in the cinematic footsteps of The Beatles. MGM, who released their records stateside, concocted a ball of fluff for Herman and the lads called HOLD ON!, and any resemblance between that title and The Fab Four’s HELP! is strictly not coincidental!

It’s your basic Sam Katzman production, who’d been cranking out teen oriented rock flicks since 1956’s ROCK AROUND THE CLOCK . Like most (okay, all) Katzman movies, the budget is decidedly on the low side, aided and abetted by some clever camerawork and plenty o’stock footage, not to mention veteran director Arthur Lubin, who’d been around since the 1930’s, directed the first five Abbott & Costello films, the Francis the Talking Mule series, and created the TV sitcom MR. ED. He wasn’t outstanding, but very competent, especially when it came to comedy.

The plot? It’s thin as a cup of weak tea, with Herman’s Hermits going on a big U.S. tour, and NASA astronauts (or rather, their kids) wanting to name their new space capsule after the band, causing an apoplectic State Department official to send a man to follow the boys a “get a full report”! A couple of subplots (yes, there are subplots!) involve a publicity hungry starlet determined to be linked with Herman, and a rich young girl who falls for the singer. There’s some merry mix-ups and slapstick gags along the way, as a charity ball the Hermits play becomes a catastrophe, but by the end everything works out for the best, as these things usually do.

This flimsy story, written by Robert E. Kent (WHERE THE SIDEWALK ENDS ) under the pseudonym James B. Gordon, serves as an excuse to hold together a plethora of songs by Herman’s Hermits. Besides the title tune, we get hits like “A Must to Avoid” and “Where Were You When I Needed You”, as well as lesser songs “All the Things I Do For You, Baby”, “Got A Feelin'”, and “Wild Love”. There are a couple of fantasy sequences set to “The George and Dragon” and “Leaning on the Lampost”, but again, this is a Sam Katzman production… don’t expect anything fancy!

The supporting cast consists mainly of TV actors. Bernard Fox (BEWITCHED’s Dr. Bombay, HOGAN’S HEROES’ Col. Crittendon) plays the band’s manager, whose job is to keep girls away from Herman (and vice versa!). Shelley Fabares (THE DONNA REED SHOW, COACH) plays Herman’s love interest, and gets the chance to warble “Make Me Happy” (Shelley had a #1 hit of her own in 1962 with “Johnny Angel”). Herbert Anderson (DENNIS THE MENACE’s dad) is the put-upon State Department guy spying on the Hermits, getting constantly doused with water for his troubles. Sue Ane Langdon, a frequent TV gust star who costarred with Elvis in FRANKIE & JOHNNY, is the publicity-mad actress.

I loved this when I saw it in the theater, but then again I was only 8! Times change, and now that I know a little more about films, I can tell you it’s not all that great. If you’re not a fan of the band, you won’t understand what all the hype was about. The songs are good, but you won’t find any thespic talent among Herman and his Hermits. It’s a time capsule movie of a more innocent era, when the group was riding high on the pop charts. As I said, times change, and the harder, more experimental rock sounds of the late 60’s soon left Herman’s Hermits by the wayside. I still like ’em though, and even own a double-CD of their music (and break it out of a couple times a year).  In fact, I’ve heard Peter Noone himself will be playing the Cape Cod Melody Tent later this summer with another 60’s pop rock group, Tommy James & The Shondells. Yeah, you just KNOW I’ll  be there!