Comedy Classics [24 Discs]Comedy Classics [24 Discs]

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DVD FEATURES:
  • Number of Discs: 24
  • Audio: Dolby Digital Stereo
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Won Best Comedy Short - 1934
  •     Won Best Live Action Short - 1934
  •     Nominated Best Story and Screenplay - 1949 (T.E.B. Clarke)
  •     Nominated Best Actor - 1947 (William Powell)
  •     Nominated Best Color Art Direction - 1947 (George James Hopkins, Robert M. Haas)
  •     Nominated Best Color Cinematography - 1947 (J. Peverell Marley, William Skall)
  •     Nominated Best Score - Drama or Comedy - 1947 (Max Steiner)
  •     Nominated Best Song - 1947 (Frank Loesser)
  •     Nominated Best Dramatic Score - 1941 (Werner Richard Heymann)
  •     Nominated Best Original Score - 1939 (Werner Janssen)
  •     Nominated Best Score - 1937 (Constantin Bakaleinikoff, Victor Schertzinger)
  •     Nominated Best Actor - 1936 (William Powell)
  •     Nominated Best Actress - 1936 (Carole Lombard)
  •     Nominated Best Director - 1936 (Gregory La Cava)
  •     Nominated Best Screenplay - 1936 (Eric Hatch, Morris Ryskind)
  •     Nominated Best Supporting Actor - 1936 (Mischa Auer)
  •     Nominated Best Supporting Actress - 1936 (Alice Brady)
  •     Nominated Best Actor - 1930- (Adolphe Menjou)
  •     Nominated Best Director - 1930- (Lewis Milestone)
  •     Nominated Best Picture - 1930-
  • Film Daily
  •     Won 10 Best Films - 1947
  •     Won 10 Best Films - 1931
  • Hollywood Foreign Press Association
  •     Won Best Original Score - 1949 (John W. Green)
  •     Won Best Original Score - 1947 (Max Steiner)
  •     Nominated Best Performance by an Actor in a Motion Picture - Musical or Comed - 1950 (Harold Lloyd)
  • Library of Congress
  •     Won U.S. National Film Registry - 1999
  •     Won U.S. National Film Registry - 1992
  • National Board of Review
  •     Won Best Picture - 1931
  •     Nominated Best Picture - 1954
  • New York Film Critics Circle
  •     Won Best Actor - 1947 (William Powell)
  • New York Times
  •     Won 10 Best Films - 1947
  •     Won 10 Best Films - 1939
  • Telluride Film Festival
  •     Film Presented - 1997
  •     Film Presented - 1984
ADDITIONAL INFORMATION:
REVIEWS:
  • A B-movie directed with all the briskness that the genre demanded, East Side Kids was vastly entertaining and diverting, a low-budget successor to such well-intentioned major studio dramas as Dead End and Angels With Dirty Faces. East Side Kids is also a very dark film, however, when compared with the East Side Kids series of movies that followed it -- this was the only movie in the series (and essentially wasn't part of the series, but spawned it) in which a member of the gang is killed. Producer Sam Katzman recognized that he'd struck gold with the movie, but did some retooling of the concept. He signed up the available principal members of the original Dead End Kids (all except for Billy Halop and Bernard Punsley) rather than the secondary players such as Hally Chester who'd starred in East Side Kids, and put together a less realistic but more memorable and charismatic, as well as more humorous, gang led by Leo Gorcey and Huntz Hall. Dave "Tex" O'Brien, seen here as unjustly convicted felon Knuckles Dolan, was kept and shown as the reformed, upright mentor to the group in the first few movies that followed, but the role of his brother Danny was recast with Bobby Jordan. The character of Algernon Wilkes, introduced here as the only well-spoken, serious student among the gang, was also kept but also altered slightly, so that he was a teenager from a wealthy background in future installments. Katzman maintained the Lower East Side New York setting and made it even more vivid, despite the low budgets involved, and the result of all of his work, and the contributions of several writers and directors who became very important down the road including Phil Karlson and Carl Foreman, was one of the longest-running film series in the history of movies, so successful that it spawned an even longer-running successor series, The Bowery Boys. ~ Bruce Eder, Rovi
  • A lovely screwball gem that, while not obscure, is also not as widely known as it well deserves to be, The Rage of Paris is a great antidote to the blues. Indeed, this frothy, bubbly, escapist delight is so charming that the only real response is to totally surrender. Sure, there are a few flaws. As with any screwball comedy, one has to be willing to suspend logic a wee bit here and there and to accept extreme coincidences as an everyday occurrence. But this artifice is part of the genre's appeal, and Paris is especially artful in its artifice. As an actress, Danielle Darrieux is perhaps not in the same league as other screwball stars (such as Carole Lombard), but it doesn't matter. She has more than enough acting chops for the part, and more importantly, she has the requisite personality and charisma that enables her to handle the role with the lightest of touches. Douglas Fairbanks Jr. is a great foil for her, Louis Hayward is near-perfect, and Helen Broderick and Mischa Auer are dependable as always. Throw in sleek Art Deco sets, beautiful costumes, and well-pitched direction, and the result is an enchanting laugh-fest. ~ Craig Butler, Rovi
  • Although the cynical Nikolai Gogol stage play on which it is based would seem an unlikely vehicle for a musical comedy, The Inspector General is one of Danny Kaye's best and most energetic films. The production is held together by the steady work of veteran director Henry Koster, who was probably happy to be working on a Warner Bros.-sized budget rather than at his usual cash-strapped Universal. In his lesser work, Kaye often veered his buffoon act into self-parody. Here, he benefits from Koster's control, from the solid supporting work of such character actors as Walter Catlett and Walter Slezak, and from the songs of Johnny Mercer. Russian literature purists will likely object to the liberties taken with the source story, but fans of Kaye won't notice. ~ Richard Gilliam, Rovi
  • Although The Greeks Had a Word for Them is hardly a classic (and was better realized when it was reinvented as How to Marry a Millionaire), it's an enjoyable little trifle, especially if one is in an undemanding mood. Sidney Howard's screenplay features enough amusing situations and fairly snappy dialogue (when one can make it out; this is till the early days of talkies, after all) to provide decent entertainment, and Lowell Sherman directs the proceedings efficiently if unremarkably. Much more important than the script or direction is the cast. Joan Blondell, less brassy and brash than usual, is a sweet but saucy little treat. Madge Evans manages to be a noble gold digger, making that odd combination work somehow. And Ina Claire is simply a hoot as the conniving man hunter whose selfishness should be appalling but is amusing instead. David Manners is a bit bland and annoying, but director Sherman gets actor Sherman to turn in a fine performance. The lack of morality in this pre-Code ditty is surprising and may bother some, but others will find it refreshing for a film of this era. ~ Craig Butler, Rovi
  • Although Three Husbands was inspired by A Letter to Three Wives, there's really no similarity between the films, other than the basic idea that three individuals receive a letter indicating that one of their spouses has been unfaithful. Those who come to Husbands expecting more of what they received in Wives will be disappointed, especially since mastermind Joseph Mankiewicz had no hand in the male version. However, if one puts Wives out of one's mind and approaches Husbands fresh, as just a film with no ties to any other film, s/he will likely be fairly entertained. Granted, Husbands is nothing like a great picture; the screenplay is adequate but not special, the dialogue humorous but not witty, the characters appealing but rather on the predictable side. But it has a certain small charm that makes one forgive it for not being a classic. Director Irving G. Reis helps matters by keeping things moving at a bright clip and making sure everything stays lively. As the men, Howard Da Silva, Sheppard Strudwick and Robert Karnes are all fine, but it's dependable Eva Arden who makes the biggest impression. Emlyn Williams also adds zest as the instigator of all the trouble. ~ Craig Butler, Rovi
  • A modestly entertaining holiday film, The Great Rupert (often also known as A Christmas Wish) is not on a level with It's a Wonderful Life or The Bishop's Wife but it does have a certain charm. It also stretches things a little to call Rupert a holiday film; while part of the film does take place at Christmas, much of it is set after the season has ended. Still, it has enough of a connection to make the classification stick. Some may be bothered by the fact that Rupert on one level equates money and happiness. That isn't really the creators' intention, but they were rather artless in conveying the message, causing this confusion. More bothersome to some will be the lack of a first rate screenplay; Rupert is sweet and moderately engaging, but the script just barely gets by. Modern viewers used to sophisticated CGI animation tricks may also be put off by the title character. George Pal's stop motion animation is charming but undeniably jerky and, to eyes raised on Pixar, not totally realistic. If they can get past this, however, they will probably find Rupert a lovable little character. Even moreso is Jimmy Durante, who has one of his best screen roles in Rupert and who displays his unique talent to very good effect. Terry Moore and Tom Drake are only adequate, hampered by roles that are fairly dully written, but Queenie Smith is a lot of fun. Irving Pichel's direction is fine, hampered a bit by budget constraints but accomplishing what it sets out to do. Rupert is a nice change of pace from the Christmas films one has seen dozens of times -- although it's not one that bears dozens of viewings itself. ~ Craig Butler, Rovi
  • An early sound adaptation of Shakespeare, As You Like It originally was of interest for the chance to catch Elisabeth Bergner's portrayal of Rosalind, which was much acclaimed on the stage. Nowadays, Like is much more likely to be watched due to the presence of a very young Laurence Olivier in the role of Orlando. It's interesting to watch Olivier, acting Shakespeare in a film over which he did not exercise control and in a role which does not offer the actor the chance to stretch his dramatic prowess to a significant degree. Orlando is a perfectly fine role, with some very nice speeches, but it's not the dominating figure that Olivier and other classical actors yearn to play. His performance is quite good, yet not as good as one wishes; one gets the feeling that the actor isn't totally committed to the character. Bergner is another matter. Some partisans praise her performance and give her exceptionally high marks, but most will find her mannered; most will also find her portrayal of a boy to be unconvincing, to say the least. Still, there is a special quality about Bergner that impels one to watch her, even if one is not "buying" what she is doing. The supporting cast is good, the direction is dull, and the adaptation is fine, even if the parts of Jacques and Touchstone have suffered from too much editing. Jack Cardiff and Hal Rosson provide atmospheric cinematography, although working together seems to have hampered their inventiveness a bit. ~ Craig Butler, Rovi
  • An uneven romantic comedy that shows its age for modern audiences, Honeymoon in Bali is nevertheless a moderately entertaining way to pass an hour and a half. As with many "battle of the sexes" comedies from the period, Bali promotes the idea that, all her own protestations aside, a career woman should see that her work is far less important than fulfilling an expected role with a man. Those who disagree with this premise will find Bali a bit difficult to get through; but those who agree with it, or at least are able to view it as a plot contrivance, should find sufficient pleasure in the film. The writers have supplied a more-than-decent amount of witty dialogue and some amusing situations, and for the first 2/3 have devised a plot that works well. They do seem to have lost control of things a bit in the final third, when the plot gets derailed by too many pointless complications. They also have included a child character who grates, especially in the too-cute-by-half performance of Carolyn Lee. But the rest of the cast is lovely, with Madeleine Carroll in tip-top form and Fred MacMurray persuasive as the man destined to be her partner. Allan Jones seems to have been hauled in primarily for his voice, which sounds quite good, but he handles his perfunctory role quite well, and Akim Tamiroff is a delight as a wise window washer ~ Craig Butler, Rovi
  • Bowery Blitzkrieg is almost more valuable as a sociological artifact than it is as a movie -- that fact might have astounded producer Sam Katzman, who thought he was delivering an hour's worth of entertainment to a couple of million viewers paying 25 or 50 cents a piece (probably for whatever the "A" feature was that this was paired with); but it makes watching Bowery Blitzkrieg our pleasure. It is entertaining, to be sure, but it's also a cut above the typical East Side Kids movie in its depth, and little touches in the writing of the characters and the nature of the plot -- all of that could be a result of the fact that it was one of a handful of East Side Kids films to be co-authored by future Oscar-winning screenwriter and producer Carl Foreman. Bowery Blitzkrieg is almost eerie in its mixing of settings, genres, and atmosphere. It takes place in a bleak urban environment, the slums of New York's Lower East Side; but it also possesses an almost wide-eyed, bushy-tailed vision of the decency of people. The tough young Irish cop on the beat (Warren Hull) has a heart of gold and a soft spot for kids on the edge of delinquency; his mother (Martha Wentworth) takes in a tough, two-fisted charity case in the guise of Muggs McGinnis (Leo Gorcey); and even the doctor who sees to Bobby Jordan's injuries is so sympathetic, and giving of his time, that he arranges to have a radio brought into his hospital room so Jordan's character can listen to the Golden Gloves fight. Couple that with the sleazy activities of the villains, who are driven by naked greed, and one gets the hint of a social message -- perhaps anti-greed, but also anti-capitalist (which would have fit in with Foreman's sensibilities from that period). One also gets an interesting image of how Americans wanted to see themselves on the eve of World War II -- Katzman was in the business of making popular entertainment and giving audiences what they wanted, and the fact that he was able to sustain the East Side Kids series across dozens of entries for five years is testimony to his ability in that area. Bobby Jordan's Danny Breslin, whose hitting the books gets him on the wrong side of his tough friend Muggs McGinnis (Leo Gorcey), is a quintessential pop-culture "type" in movies of this era -- the good kid, who, so his detractors said, is studying "so he can be president." Leo Gorcey's Muggs McGinnis is his opposite, the good kid who doesn't recognize his own decency until it's almost too late. These portrayals, put forth breezily in the hands of director Wallace W. Fox, make Bowery Blitzkrieg as much a document of their time and the sensibilities of the audience for which it was made as, say, the Dr. Christian movies at RKO or any other popular "B" pictures of their era. Sharp-eyed viewers may make note of the presence of Pat Costello, the brother of Lou Costello, as Muggs' trainer, veteran character actress Minerva Urecal as the reform school matron, and, in one of his earliest screen roles, tough-guy character actor Dick Ryan as the police lieutenant. And sharp-eared viewers may notice a very funny topical joke in the scene where Huntz Hall pedals Leo Gorcey on a bicycle and Gorcey asks why he doesn't sing "On a Bicycle Built for Two" -- "I'm not a member of ASCAP," Hall replies, a reference to the fact that the American Society of Composers, Authors, and Publishers (ASCAP) kept a tight lid on the use of songs in movies in those days. ~ Bruce Eder, Rovi
  • Charles Chaplin's first feature-length film pairs his Tramp character with an orphan boy, forging a life together in a slum reminiscent of Chaplin's childhood London home. Finding humor in the extreme harshness of the Tramp's impoverished existence with his plucky adopted foundling, Chaplin turns the pair's survival into a series of comic set pieces depicting such events as their scheme to sell windows and their daily breakfast rituals. Coordinated in their movements and well-matched in their temperaments, the Tramp and the Kid are the perfect pair, underlining the potential for tragedy when the child welfare authorities step in. Still, having revealed the Tramp's paternal devotion in a bravura chase scene and a whimsical dream sequence, Chaplin reunites the redefined family for a happy ending. Chaplin overcame First National's resistance to his desire to make a dramatic comedy, and he wrote, directed, and starred in a major success. Shot over nine months and accompanied by a score composed by Chaplin himself, The Kid became an critically hailed international hit, launching Jackie Coogan as a major child star. With a blend of social realism and finely tuned physical comedy, Chaplin infuses The Kid with a pathos and sweetness that would later mark one of his greatest features, City Lights (1931). ~ Lucia Bozzola, Rovi
  • Considering the presence of David Niven and Loretta Young, it's surprising that Eternally Yours isn't a more engaging little film. Granted, Eternally has the handicap of a predictable and manipulative screenplay, one that asks its audience to accept a lot of nonsense and that doesn't come across with much in the way of a reward for the viewers' efforts. Still, Niven and Young are so utterly charming, so thoroughly winning, that one really wants to like Eternally more than one ultimately is able to. Despite the efforts of three (credited) screenwriters, the script feels as if it were put together by taking part "a" from this typical scenario and putting it with part "b," then part "c." And the conflict that is supposed to form the core of the plot is never really resolved: Young marries the always-on-the-go Niven despite the fact that what she wants is to settle down in Connecticut and leaves him when he can't change his traveling ways. Yet when Niven wins her back and settles down with her, he hasn't changed a bit, and viewers are left wondering if in four or five months their happy little love nest will have crumbled. If the writers had actively pursued that kind of option, Eternally might have had some interest, as well as a little bite and something to say. Instead, it just ambles along, depending on its marvelous stars to carry the film all by themselves. ~ Craig Butler, Rovi
  • Directed by Leo McCarey and produced by and starring Harold Lloyd, The Milky Way is one of the most finely etched and precisely paced comedic romps ever to grace the screen, and a dazzling showcase not only for Lloyd, but also for the entire cast. Naturally, he is the star and the main spark plug for the film, but Veree Teasdale as Ann Westly, Gabby Sloan's smart, long-suffering fiancee, steals most of the scenes that she's in with a wisecracking gem of a performance, like Eve Arden with a sharper edge; Adolphe Menjou's Gabby Sloan is a manic whirlwind of neurotic tics and apoplexy-in-the-making; William Gargan and Lionel Stander as the middle-weight champion and his stooge make a boundlessly funny dumb-and-dumber duo (Stander was so good in the part of the stooge that he repeated it in the Danny Kaye remake The Kid From Brooklyn a decade later); finally, Helen Mack and Dorothy Wilson are refreshing and delightful as two young women who are smarter than most of the men around them and not afraid to show it. The screenplay, by Frank R. Butler, Richard Connell, and Grover Jones, is a marvel of verbal and physical humor in perfect balance, while McCarey pulls it all together seamlessly as a vehicle for Lloyd's eager-beaver, go-getter screen persona. The first time he saw it, this reviewer almost hurt himself laughing at the scene where Lloyd's Burleigh Sullivan explains how the champion came to be knocked out, and most of the movie is just a few notches off from that sequence. The Milky Way wasn't a huge success when it was originally released, but over six decades it has retained its comedic edge and its charm where many other celebrated comedies of the period have faded -- and today, along with The Freshman, Safety Last, and Mad Wednesday, it's essential viewing for anyone who wants to appreciate Harold Lloyd's work, and for any fan of classic screen comedy. ~ Bruce Eder, Rovi
  • Director John Huston and actor Humphrey Bogart, who had previously collaborated on classics ranging from The Maltese Falcon to The African Queen, teamed up for the last time on Beat the Devil, the least known and most unfairly underrated of their five joint efforts. An exquisitely dry comedy with a witty script by Truman Capote, the film finds subtle, absurdist laughs in the misadventures of Bogart's tough customer, who becomes involved in a complex scheme to gain control of a patch of uranium-rich land in Africa. Indeed, the humor is played with such a straight face that many critics have suggested that the film's first audiences did not realize they were watching a comedy, contributing to its box office failure. Audiences in later years, however, have revived interest in the film, fully appreciating its bounty of comic riches. In addition to the well-plotted, always unpredictable script, the production is bolstered by uniformly excellent performances. Bogart treats his usual romantic cynic role with a pleasingly light touch, and establishes superb chemistry with Jennifer Jones, who portrays the female half of a seemingly proper British couple who may not be everything they seem. Especially strong laughs are provided by a memorably colorful rogue's gallery of supporting villains and kooks, including an especially nervous Peter Lorre. ~ Judd Blaise, Rovi
  • Even in 1937, Swing High, Swing Low's story was in need of a new coat of paint. The filmmakers made an effort, resetting the first part of the story in Panama, and that actually gets things off to a promising start. Stars Carole Lombard and Fred MacMurray "meet cute" as Lombard's ship passes through a lock of the canal that soon-to-be-discharged soldier MacMurray is guarding. The sequence is charming and well staged, and it promises the film will have a certain degree of invention. That promise holds true for the first 20 minutes or so; even though the plot follows traditional lines, the Panamanian setting and a few tricks here and there keep it lively. Soon, however, the screenplay starts to sink down to the predictable, and as the plot machinations kick in, it becomes creaky and unconvincing. By the time the finale arrives, they audience feels they have all been there before and know exactly what is going to happen. Fortunately, Lombard and MacMurray are on hand to keep our interest, which they do to an amazing degree. They can't make the film any better than average, but they do a great job of holding our attention. ~ Craig Butler, Rovi
  • Happy Go Lovely is a moderately entertaining British-made musical that falls short of being first rate. What keeps it in the second tier is the confinement of musical talent to female lead Vera-Ellen. This is not to knock the leading lady, for she gives the part her all and is quite winning an actress and a knock-out as a dancer. (Her singing is, as usual, dubbed). The problem is that the male lead is played -- deftly and quite well -- by David Niven, whose many talents do not include those associated with a song-and-dance man. In a typical musical, the most important moments are of course the musical numbers; when the male lead is not called upon to participate in them, it usually creates a serious imbalance, as here. This situation is made worse by the fact that there are several moments when the script seems to cry out for the Niven character to become musical; had Fred Astaire, for example, been cast in the role, the dinner sequence at the swank restaurant would have become a true musical scene that would have made the sequence something truly special. As it is, it's amusing but nothing more. Aside from this, the only serious flaw is the over-the-top performance of Cesar Romero. It's true that the script is contrived, but it still is diverting. It is also offset by some very good choreography, particularly impressive in the street ballet near the end of the picture, and by some nice location shots. Light and breezy, Happy Go Lovely is an enjoyable trifle. ~ Craig Butler, Rovi
  • Her Favorite Patient is a moderately amusing little piece of fluff, but the kind of film the improbabilities of which will leave many modern viewers rolling their eyes. For example, I'm willing to grant that the character played by Ruth Hussey could indeed be a brilliant physician, but no doctor can be an expert in an as many areas as Hussey. And, more importantly, any doctor who actually was so brilliant would easily see through the scheme hatched by Charlie Ruggles and John Carroll to keep her in her home town rather than let her go on to fame and fortune in Chicago. Even with these improbabilities, Patient has sufficient appeal to make it worth a viewing, thanks especially to Hussey's well-turned performance. Her timing is quite good, and she knows how to handle the silly elements that are thrown her way; what she can't do is provide the kind of special star charisma that the part really calls for. She's technically excellent -- just lacking that extra "oomph." Carroll is a bit of a bore, but Ruggles is a delight as always and Ann Rutherford adds considerably to the affair. ~ Craig Butler, Rovi
  • His Double Life is an amiable enough way to pass a little bit of time, although modern audiences are perhaps going to find it a bit too tame. Based upon a story which has been adapted to the stage and to film several times, the plot is one that by now will come across as somewhat predictable and more than a bit farfetched. Credibility, of course, does not have to be a major concern in a comedy, provided that the tone of the piece allows for a bit of a flight of fancy and that the dialogue and characters are engaging enough. Life's dialogue is diverting, but it doesn't sparkle as brightly as one might wish, and the same could be said of its characters. This isn't due to the performers, for both Roland Young and the lovely Lillian Gish turn in worthy performances. Young is occasionally a bit too wan, but Gish's timeless charm more than makes up for his momentary lapses. Arthur Hopkins' direction could be sprightlier in places, but it is not damaging. Overall, it's a pleasant, though not noteworthy, little film. ~ Craig Butler, Rovi
  • How a viewer reacts to The Perils of Pauline will probably depend to a large extent on his/her feelings about Betty Hutton. It's a star vehicle for the raucous comedienne, and as usual, she has the volume turned up to 11 and the energy to 12. Fortunately, however, Hutton does find some moments when she can lower her guard and let the audience see a gentler, more tender side, as in her charming rendition of the lovely Frank Loesser ballad, "I Wish I Didn't Love You So." The actress also makes "The Sewing Machine" an enjoyable romp, and if she pushes too hard in "Rumble, Rumble, Rumble" and "Poppa, Don't Preach to Me," the songs themselves are so well-crafted that they withstand the sometimes-rough treatment. Perhaps taking his cue from his leading lady, George Marshall has directed much of the film with an eye on speed, keeping the film moving at a brisk pace, which helps to add emphasis to those moments when things get a little "serious." John Lund is fine in a thankless part, but Constance Collier, William Demarest, and Billy De Wolfe come across quite nicely in their smaller but more engaging roles. Pauline plays fast and loose with historical fact -- not unusual for a Hollywood biopic -- and much of the script is rather routine, but on the whole it's an agreeable confection. ~ Craig Butler, Rovi
  • I'm from Arkansas is strictly from hunger, the type of low budget, low-down programmer that modern audiences watch and wonder how it ever got made. Of course, it's unlikely that the creators had anything on their mind other than filling up an hour or so of screen time with as little effort as possible. With that in mind, screenwriters Joseph Carole and Marcy Klauber came up with an idea -- a pig has a whole bunch of piglets, which draws attention to the small Arkansas town in which they reside -- and then just let the "plot machine" run its course in as simple and unobtrusive a manner as possible. The dialogue serves no purpose other than to set up a "joke," establish stereotype (for it would be stretching it to call any of the roles "characters") and, most importantly, provide some slim reason for a musical number. And it is those musical numbers that provide the only real entertainment in Arkansas (aside from the occasional snide remark from the reliable Iris Adrian). Fans of Mary Ford will spot her as part of the "Sunshine Girls" trio (and relish her short duet with Jimmy Wakely during "You Are My Sunshine." Carolina Cotton does her always interesting yodel routine in a couple of numbers, and the Pied Pipers (sans Jo Stafford) lend their smooth harmonies to a couple of tunes. ~ Craig Butler, Rovi
  • It's all too easy to make fun of creaky old melodramas, and The Villain Still Pursued Her does not accomplish this feat with much originality or style. Contemporary audiences may want to think of this as a precursor to the Mel Brooks school of moviemaking, in which the film is intended to be nothing but a silly riot of gags, but unlike the better films of Brooks, Villain is far often simply silly. It's all intended to be good clean fun, but the fun wears thin very quickly; this was a one-reel gag idea stretched to feature lengthy and the padding shows. Director Edward F. Cline has a certain amount of flair, but it's not strong enough to make the material work; more importantly, it's not VARIED enough to make the material work. He falls into a rut that makes the film, repetitious in nature, drag far too much. The cast is certainly game, but it's disheartening to see the brilliant Buster Keaton reduced again to a part that is far beneath his talents; he does a fine job, but one longs for him to be able to break loose and show what he's really capable of. Still, there are some fun moments amidst the silliness and those who don't mind a belabored premise may find it amusing enough. ~ Craig Butler, Rovi
  • It's doubtful that one could find a movie as fast-paced as Howard Hawks' His Girl Friday, and next-to-impossible to find a film of the period more laced with sexual electricity. Decades after its release, the comedy-thriller adapted from Ben Hecht and Charles MacArthur's play The Front Page holds up as a masterpiece of pacing and performance, and even manages a few healthy swipes at some of officialdom's sacred cows. At the time, His Girl Friday was also a piece of groundbreaking cinema for the rules it broke: Hawks' version added an element of sexual tension that was about the only thing missing from the original play and the 1931 film version, in which main characters Walter Burns and Hildy Johnson are men engaged in a symbiotic/exploitative professional relationship. Hawks transmuted Hildy Johnson into the persona of Rosalind Russell, who was entering her prime as an archetype of the ambitious, energetic woman. Coupled with Cary Grant's cheerful nonchalance as the manipulative editor Walter Burns, the material -- which was fairly scintillating on its own terms -- took on a fierce sexual edge that made the resulting film a 92-minute exercise in eroticism masquerading as a comic thriller. Russell may never have had a better role than Hildy Johnson; she became a screen symbol for the intelligent, aggressive female reporter, decades before Candice Bergen's star turn as television's Murphy Brown. Amid all of the jockeying for superiority, and the sparring between Grant and Russell -- which, in many ways, anticipates the jousting between Humphrey Bogart and Lauren Bacall in Hawks' own The Big Sleep, made four years later -- His Girl Friday found room to enhance some of the issues from the original play, including cynicism about government, the justice system and freedom of the press. ~ Bruce Eder, Rovi
  • Jimmy Stewart was one of the screen's finest and most reliable performers, and it's the rare film that his presence doesn't redeem, but even his presence can't make Pot o' Gold anything more than barely passable. The story is just so much silliness, a very weak plot that exists to string along a few so-so musical numbers. Granted, this is often the case with musical films, but the better ones make sure that the songs are worth waiting for, that the dialogue has some snap and/or sparkle to it, and the characters are engaging. Gold is not so lucky. It doesn't even have performers with a real knack for musicals as its leads, for Stewart's voice is thin and he doesn't have the innate flair that musical performing demands. Paulette Goddard comes off a bit better musically, but she's no Ann Miller. Both Stewart and Goddard do the best they can with the dramatic demands of their parts, but there's absolutely no chemistry between them. George Marshall's direction is workmanlike but uninspired, and only one musical number -- "Broadway Cabellero" -- is staged with any real distinction. ~ Craig Butler, Rovi
  • Life With Father is yet another well-made film from the versatile Michael Curtiz, who probably directed more types of films well than anyone else in screen history. This is another "family values" film from the post-WWII era, with William Powell as the loving patriarch and Irene Dunne as the wife who understands her duties to gender traditions. One of the best reasons to watch is to see a young Elizabeth Taylor in an important supporting role. The film does not so much evoke the values of a bygone era as advocate them, and current-day audiences may have difficulty relating to its simplistic world view. As with nearly all of Curtiz' studio efforts, the production is first-rate, the performances strong, and the events fast-moving. The film is perhaps better remembered by reputation than by re-viewing, but it was one of Warner Bros.' top films of the era, and it remains a well-constructed piece of commercial filmmaking. ~ Richard Gilliam, Rovi
  • Long unavailable due to a couple of highly successful remakes, the original screen version of Ben Hecht's and Charles MacArthur's 1928 Broadway hit remains perhaps the most faithful to it theatrical origins -- although, as an inside joke, several character names were altered to reflect the change in medium, e.g. "George Kid Cukor" and "Judge Mankiewicz." But Walter Burns (Adolphe Menjou) is still attempting to keep star reporter Hildy Johnson (Pat O'Brien) from leaving his place at the paper in favor of marrying the upwardly mobile Peggy Grant (Mary Brian). And poor Earl Williams (George E. Stone's), whose upcoming hanging drives the plot, is still more or less ignored while the tough reporters crack wise. The overlapping lines are much in evidence here and obviously not the invention of Howard Hawks, whose gender-switch remake His Girl Friday (1941) may be faster but not nearly as gritty. Menjou, who actually fits his bombastic role better than perhaps expected, was actually a last minute replacement when the original choice, Louis Wolheim, suddenly died. Menjou went on to win an Academy Award nomination for his efforts. Producer Howard Hughes drew mightily from the Warner Bros. stock company and every role, no matter how small, is filled with such notorious scene stealers as Edward Everett Horton as the prissy Bensinger; Clarence H. Wilson as the inane sheriff, and Mae Clarke as the self-sacrificing streetwalker Molly Malloy. In fact; Miss Clarke conveys the character's desperation skillfully. According to Mary Brian, The Front Page was this charming actress' favorite film. ~ Hans J. Wollstein, Rovi
  • Made for Each Other shouldn't really work as well as it does. There's a third act change-of-gears that is so wrenching that it should throw the whole film off course, and it's followed by some changes-of-heart that are pretty hard to take. Fortunately, before this happens, Made has built up such good will for the characters that most viewers will accept the abrupt melodrama. Before that point, writers Jo Swerling and Frank Ryan have done a wonderful job of pulling the viewer in to the lives of young marrieds James Stewart and Carole Lombard. Even though the situations the couple finds itself in are certainly familiar, they're well handled and given just enough individuality to seem fresh. There are marvelous little touches in the dialogue, nothing poetic or meaningful, but little turns of phrases that make the characters live and breathe. All this would mean little if the actors portraying the couple were not Stewart and Lombard, each of whom turns in a performance that is absolutely pitch perfect. More importantly, they share a palpable chemistry; one really does believe that these two characters were made for each other. The supporting cast is also first rate, and John Cromwell's direction is appropriately sensitive, helped enormously by Leon Shamroy's gorgeous but unobtrusive cinematography. ~ Craig Butler, Rovi
  • Mixing murder and comedy successfully requires a very careful hand, something that is lacking in Behave Yourself. Clearly wishing to be a mixture of Arsenic and Old Lace and The Thin Man, Behave falls far short of its goals. One of the reasons for this is simply its casting. Farley Granger is a good looking leading man and when handled correctly is capable of giving a pleasing comedic performance, but he's no Cary Grant or William Powell, who could naturally fall into this kind of part and through sheer charm and presence make it work. AndShelley Winters, while capable of some very fine acting in the right circumstances, can also easily turn into an annoying and irritating persona, which she does here. George Beck's slipshod direction doesn't give them the guidance they crucially need, nor can he conjure up that difficulty mixture of laughter, suspense and quirkiness that is called for. Beck isn't helped by his self-penned screenplay, which strains far too hard for laughs and ends up falling back on some tired (even for the period) mother-in-law jokes. That said, Behave does have the blessing of a marvelous supporting cast, and the likes of William Demarest, Hans Conreid, Elisha Cook, Jr. and Sheldon Leonard keep the film afloat. ~ Craig Butler, Rovi
  • Nothing Sacred is among the best screwball comedies of the 1930s, and one of the few to have been filmed in Technicolor. Carole Lombard and Fredric March lead a strong, versatile cast, and William Wellman's crisp direction keeps the story brisk and peppy. Screenwriter Ben Hecht gives the story an unusually sardonic edge, with fine dialogue and interesting secondary plot twists. Overall, the film plays well for current-day audiences, and the New York location gives the film a distinctive visual texture. One amusing bit of irony is the name and profession of Oliver Stone, the character played by Walter Connolly, a newspaper editor willing to alter facts to fit his needs. Nothing Sacred was released in 1937, nine years before the birth of future screenwriter/director Oliver Stone. ~ Richard Gilliam, Rovi
  • Poverty-stricken Grand National certainly had something to sing about in 1938. The upstart studio had somehow managed to corral both James Cagney and director/songsmith Victor Schertzinger, not to mention the pretty Evelyn Daw, a discovery of Schertzinger. What they didn't have, alas, was an adequate budget -- a reported 450,000 dollars was hardly enough for what was meant to be a top-grade musical -- or a good story. Granted, James Cagney goes along way, but not even he can save Something to Sing About, which lacks both polish and a first-class score. What it does have, however, is Dwight Frye playing a gay hairdresser and that is at least somewhat entertaining. ~ Hans J. Wollstein, Rovi
  • Pride Of The Bowery was one only the third East Side Kids movie -- Huntz Hall was not yet aboard, but Leo Gorcey, Bobby Jordan, David Gorcey (all of whom had appeared in the original play Dead End) and Donald Haines (an alumnus of Hal Roach and an ex-Our Gang member) were aboard, and Sammy "Sunshine" Morrison was present as Scruno, but that character wasn't in exactly the same role that he usually played in the East Side Kids films; even Bobby Stone, who would figure in the later films, was here. Director Joseph H. Lewis, who would do excellent work in film noir, thrillers, and westerns in feature films and television for another 20 years, moves the story forward at a breakneck pace without sacrificing any coherency or logic, and even leaving room for some good dramatic scenes -- within the context of a low-budget Monogram production that probably took less than 10 days to shoot, there are two especially good moments: When Gorcey's Muggs Maloney tries to shrug off the jam he is in, saying he's been in trouble before, and Bobby Jordan's Danny tells him, "Yeah, but not for stealing," the look on Gorcey's face is one of the best serious screen moments of his career; and the scene in which Muggs rescues Al (Ken Howell) from a falling tree is shot about as well as any action scene you'll ever see. Pride Of The Bowery is also a fascinating pop-culture document of its era, with a plot set in the Civilian Conservation Corps (or CCC), a Depression Era answer to the unemployment of the nation's youth -- recognizing that there were vital land reclamation and rural restoration projects that needed doing and hundreds of thousands of idled older teenagers and young men, the Roosevelt administration set up the CCC in 1933; over the next nine years, once their need was established, members signed up for six month hitches at $30 a month ($25 paid to their families) plus shelter and meals, doing land clearing and other essential projects. Thanks to the lingering popularity of the East Side Kids movies across the decade, Pride Of The Bowery is probably the last Hollywood artifact about the New Deal and the CCC that one can still see. [Note: The presence of Sammy "Sunshine" Morrison's character of Scruno as one -- and so far as we can tell, the only -- black member of the camp raises an interesting historical matter; the CCC had originally been integrated, but by the mid-1930's the organization was as segregated as any institution in the south, mostly because of local resistance, especially in the south, to integrated CCC camps, and the Roosevelt administration was forced to quietly restrict black enrollment in the program]. ~ Bruce Eder, Rovi
  • Speak Easily is noted today primarily because of the presence of Buster Keaton and fans of the incredible silent era clown will want to seek it out; however, they should be warned that, as with all of the talkies he made in which he starred, Easily is a big disappointment. That's not to say that it is bad or totally without merit. Granted, its plot is entirely too typical, the kind of misunderstanding-as-set-up-for-comedy that was ground out frequently but which, when not given an inspired treatment, usually came across as ridiculous; nevertheless, it does provide Keaton with a few opportunities to demonstrate his unique talent, most notably in a delectable drunk scene in which Thelma Todd also gets to show that she too knew her way around physical comedy. But most of Easily doesn't take advantage of the qualities that made Keaton a silent star; for the most part, it's the kind of role that any number of performers could have played. Easily is one of three pairings of Keaton and Jimmy Durante, and while it should be a match made in heaven -- Keaton's stoniness and Durante's exuberance being theoretically perfect foils for each other -- the two don't create sparks here. As an average comedy of the period, Easily is quite watchable; as a Keaton vehicle, however, it's a letdown. ~ Craig Butler, Rovi
  • That Uncertain Feeling is a bubbly and effervescent concoction, a champagne cocktail that packs a nice, gentle wallop. As is often the case, Ernst Lubitsch is exploring the terrain where sex, marriage, and money all meet -- and while this meeting makes for rough going for the participants, it's all a joyride for the viewer. Walter Reisch and Donald Ogden Stewart's screenplay is beautifully structured and filled with witty banter and clever observations; helped by Lubitsch's unerring hand, it also easily takes the full measure of its characters with the minimum of fuss, so that a simple act like moving a party guest or hiding a particular vase is both amusing and meaningful. As for the cast, Merle Oberon is not quite up to the demands of the project -- she tries hard, but the effort shows -- though she still comes off more than acceptably overall and quite nicely in many places. Melvyn Douglas, on the other hand, is pitch perfect, sailing through the part with ease but hitting every note dead-on, whether manufacturing a masculine chuckle that is both appealing and irritating or finding the courage to slap his wife as she demands. Eve Arden is a delight in a small part, but the real comic jewel is provided by Burgess Meredith, playing his misanthropic pianist as a Mephistophelean leprechaun. His laser beam eyes piercing at the slightest provocation, Meredith's creation is both scary and hilarious, and gives the film the punch that makes it special. ~ Craig Butler, Rovi
  • The first screen adaptation of LI'L ABNER is fairly disappointing, but it does do one thing very well: capture the bizarre physical look of Al Capp's outlandish cartoon world. It's not just Granville Owen (a.k.a. Jeff York)'s muscle-bound, lantern-jawed, curlicue banged Abner either ; even the unrealistically squat, potato-nosed Mammy Yokum and outlandishly-bodied Daisy Mae look as if they stepped right out of the newspaper and onto the screen, and the settings are equally faithful. The cast's "rightness" goes beyond the physical; while the characters are, by design, lacking in depth, the cast captures their personalities very well. Unfortunately, they're working in the service of a trite screenplay that is successful at replicating Capp's dialect but not the flavor that informs it. Worse, it totally dispenses with the social and political satire that Capp brought to the strip and which gave it a great deal of punch. What is left is a standard issue, uninspired story that never comes to life. Albert Rogell's plodding direction doesn't help, although he is to be commended for casting the immortal Buster Keaton, even if it's in a part that doesn't allow him to shine very much. Abner has the right look; it's too bad its charms are too much on the surface. ~ Craig Butler, Rovi
  • The flip side of Here Comes Mr. Jordan, Angel on My Shoulder is an amusing and engaging fantasy comedy that suffers a bit from its structural similarities to the earlier "repossessed body" picture. The gimmick in Angel, of course, is that it is the Devil that is offering a soul a second chance at life, and for nefarious reasons; but the basic throughline is much the same as in the Jordan. Still, Angel has its own style of humor, with its fish-out-of-water premise given a few nice twists, and the screenplay in general bubbling along with snappy dialogue and nifty little turns. Angel works, however, because of it gives its two male leads the chance to shine. Paul Muni over-the-top performance is a load of fun, made the more so when one realizes that it's over the top in a remarkably controlled way. This fine actor knows that there are ways to underplay one's overplaying, and he demonstrates this time and again throughout. As the Devil, Claude Rains makes "sinister" seem like a heavenly compliment. He rages, he thrashes, he insinuates, he cajoles, and it's all as appealing as one might wish. Add in Anne Baxter, doing quite well with a "reactive' part, and some swiftly paced direction by Archie Mayo and the result is a spiffy way to pass some time. ~ Craig Butler, Rovi
  • The inimitable and uniquely charming Rosalind Russell makes Never Wave at a WAC a pleasantly diverting way to pass a couple of hours. Russell's contribution to WAC's success is impossible to overestimate, for without her commanding presence, nimble way with a one-liner, willingness to throw herself into any physical demands the comedy requires and ability to turn a double-take into a very peculiar double-and-a-half-take, the film would be seriously deficient in genuine laughs. Russell is not the whole show: Marie Wilson's dumb blonde routine provokes quite a few chuckles, and Paul Douglas, with his ability to be both tough and a softy combined with a finely honed sense of comedic playing, scores heavily. But without Russell to play off of, Douglas would be working in a void, and Wilson's part is too much of a supporting role to fill in were a lesser star in Russell's place. The screenplay isn't bad, mind you, but it's pure nuts-and-bolts, the kind of vehicle that's put together in the way that it's put together because the writers know that Russell's velvet-with-ice voice is going to take the basic they give her and play it for all its worth. Even with Russell, WAC threatens to run out of steam -- but whenever it starts to, Russell girds up her loins and puts it back on track. ~ Craig Butler, Rovi
  • The Paleface was one of the transitional films in Buster Keaton's career, made just before he switched from two-reel comedies to features. It displays Keaton's trademark intricate physical comedy -- for example, Keaton's hopping around while tied to a stake. From a cultural standpoint, it's notable among films of the early 1920s for presenting its Indian characters with some sympathy; the white oil barons are clearly the bad guys. Everyone, however, gets treated as a comic foil, sometimes in ways that might not appeal to current-day audiences. This is one of several highly regarded comedy collaborations between Keaton and writer/director Eddie Cline. In the late 1930s and early 1940s, when Keaton's career was in decline, Cline would go on to direct W. C. Fields in some of his best films, including The Bank Dick. ~ Richard Gilliam, Rovi
  • The plot for Road to Bali is pretty thin stuff, even for one of the "Road" pictures. This does, however, place more of a burden on our trio of stars and on the quality of the jokes and songs; while there's nothing really wrong with any of these elements, things still don't really come together to make Bali the boffo fun that it wants to be. Even moreso than in previous entries in the series, there's an abundance of self-referential humor and light genre parodies -- and comic cameo appearances are taken to a bit of a ridiculous extreme. But even so, Bali is amiable and undemanding fun, and if Bob Hope and Bing Crosby don't have the inspired lunacy that they had in Road to Morocco, they still work like a well-oiled machine (with Dorothy Lamour as the lever that often gets them started). Bali also benefits from being shot in Technicolor. There aren't any real location shots, just studio sets, but they positively drip with rich, savory color. Lamour gets the best song, "Moonflowers," and Crosby does quite nicely with the mediocre "To See You." Not the best "Road" show, Bali nonetheless is enjoyable and occasionally very funny. ~ Craig Butler, Rovi
  • There's really nothing amazing about The Amazing Adventure (or Amazing Quest, as one of its several titles has it), but it does star Cary Grant, and that alone makes it worth watching. Grant was a one of a kind star, someone whose urbane personality would seem to limit him in his choice of roles but who somehow was able to handle a wide range of assignments. As at home in drama as in comedy, Grant here takes advantage of his beautiful comic timing and his ability to be both self-absorbed and utterly open to the world, to good effect. Indeed, Grant's personality is key to Adventure's success, because the part as written is rather mild and uninvolving. There's little of real interest to Ernest Bliss, a character we've encountered many times before under other names; but Grant makes him someone that makes us stop and take notice. The screenplay is a bunch of fluff and nonsense, filled with the kind of platitudes and warm-hearted portrayals of "the common folk" that make for good populist sentiment but don't convince as drama. Alfred Zeisler's direction is commonplace, but the supporting cast is worthy. Not a very good film, but Grant shines even with inferior material. ~ Craig Butler, Rovi
  • The second of Monogram's "East Side Kids" programmers was directed by Joseph H. Lewis and his deft hand is easily detectable. No, this quasi-horror comedy is no forgotten masterpiece -- how could it be with those mugging, language-mangling East Side Kids/Bowery Boys? -- but Lewis does employ a couple of interesting camera angles and obviously attempts to compose a scene with a sense of esthetics, a far cry from "one take" Monogram hacks like William Beaudine or Phil Rosen. Lewis cannot do much with the Kids themselves, of course, and they are mainly left to fend for themselves, but Minerva Urecal makes a creepy housekeeper (she even has a dead "Rebecca" to moon about) and ingenues Inna Gest and Dave O'Brien both perform up to their potential, minor as it may have been. Screenwriter William Lively should perhaps be forgiven for not only plagiarizing Daphne DuMaurier but also, in one or two instances, James Whale's The Old Dark House (1932) --plagiarism, after all, being the sincerest form of flattery -- and with a little help from the casting department, the identity of the killer comes at least somewhat as a surprise. As for the East Side Kids themselves, they remain purely a matter of taste. ~ Hans J. Wollstein, Rovi
  • The Smallest Show on Earth is a little slip of a film from Britain in the tradition of later films such as Cinema Paradiso and The Majestic, along with a hoard of others that try to incestuously convey what a wonderful experience going to the movies can be. Although that's a laudable and often entertaining premise, in this film it is literally the only thing going for it besides an early cinema appearance by Peter Sellers in a supporting role, giving an indication of his amazing versatility playing a septagenarian while in his thirties. There are very quaint and decent performances by the cast, including British stalwarts Virginia McKenna, Bill Travers, Margaret Rutherford, and Leslie Phillips. Travers and McKenna play a young couple who inherit a movie theater and find (surprise!) that it's a run-down antique and in danger of being bought out by the larger theater up the street. Naturally, they decide to refurbish it in the hopes of increasing the offer price but instead come to discover that the joy of the movies means a lot more than they thought it did. Cliches abound, but since the film was made in the late fifties, it's easy to see where a lot of later productions, whether intentionally or not, used many of the same conventions and made them rote. The film has been re-released on video as part of a Sellers collection but its inclusion in that category is paper-thin given his screen time. However, it is very enjoyable as a diversion and, for those who appreciate the days of film gone by, a well-crafted slice of entertainment. ~ Dan Friedman, Rovi
  • The word "lightweight" could be applied to Three Guys Named Mike, except that even that appellation might be too much for Mike to handle. Perhaps "featherweight" is a better choice. There is, of course, nothing wrong with lightness in a movie, especially a comedy; but it does help if there is some small weight attached to the film. Otherwise, it's liable to float away before one has noticed, which is essentially what happens with Mike.. There's so little to the film that one has a hard time keeping one's attention on it; the mind wanders, and soon one realizes it's been 5 or 10 minutes since one paid attention to the movie. It hardly matters, because -- except possibly for the decision as to "which Mike will she choose?" -- there's nothing that happens in the screenplay that requires a person's attention. Writer Sidney Sheldon would have been better advised to at least provide more amusing and engaging dialogue, if he wasn't going to bother with a more substantial story. Charles Walters' direction at least emphasizes speed, even if it's not particularly imaginative. There are some nice location shots, and some interesting "coming in for a landing" moments, but for the most part Mike relies upon its cast to sustain interest. Certainly Jane Wyman does her perky best, Van Johnson and Howard Keel are appealing and Barry Sullivan does what he can with the weakest of the Mike. They do manage to add a bit of sparkle to what is otherwise a fairly dull, if innocuous, little film. ~ Craig Butler, Rovi

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