HELLZAPOPPIN

Olsen and Johnson

HELLZAPOPPIN' (1941). Director: H. C. Potter 

Ole Olsen and Chic Johnson, playing themselves, are told that in the film version of their (real life) Broadway hit "Olsen and Johnson's Hellzapoppin'" they have to add a little romance to the mix. The screenwriter (Elisha Cook Jr.) concocts a triangle in which aspiring producer Jeff Hunter (Robert Paige) wants to star Kitty (Jane Frazee), the women he loves, in a musical -- only his best friend, Woody (Lewis Howard), is in love with her too. Then there are complications in the form of man-hungry but homely Betty (Martha Raye) and a possible prince named Pepi (Mischa Auer). For reasons not worth recounting Olsen and Johnson want the show to fail and try to sabotage it a la Night at the Opera (a much, much better movie) to somewhat comical results in the last twenty minutes of the film. Meanwhile Olsen and Johnson have a running dialogue with the film's projectionist (Shemp Howard) who keeps screwing things up. 

Mismatch: Martha Raye and Mischa Auer

Hellzapoppin' has its share of laughs (and quite a few groaners) but despite its amiable nature it never quite bursts into full-blown hilarity. Olsen and Johnson are such a comparatively dull comedy team that for much of the film's length I confused one of them with the much more distinctive Hugh Herbert, who plays the giggling Quimby. As the lovers, Paige and Frazee are appealing, and get to sing two lovely numbers entitled "Heaven for Two" and "And You Were There." Martha Raye is wonderful as Betty whether she's running after an aghast Pepi with lust in her heart or warbling the snappy "Watch the Birdie" in a production number. Auer is her match in every way.

Robert Paige and Jane Frazee

Hellzapoppin' breaks through the fourth wall numerous times throughout the movie (this was done in many films afterwards including Gremlins 2) and has a lot of sight gags, some of which succeed (the "coat of arms") and some of which land with a thud. A highlight of the film is a performance by the sensational Harlem Congeroo Dancers and an all-black band that is equally spectacular. Olsen and John had teamed for at least one movie before this one, All Over Town, then got together again for Crazy House and Ghost Catchers, pretty much doing the same shtick that they do in Hellzapoppin'. A little of them goes a long way! To compare them in any way to the Marx Brothers is utterly ludicrous.

Verdict: Silly, frequently stupid, but it earns some genuine chuckles as well. **3/4. 

SHE WROTE THE BOOK

Mischa Auer and Joan Davis

SHE WROTE THE BOOK (1946). Director: Charles Lamont.

Jane Featherstone (Joan Davis of Around the World) is a prim and proper, intellectual science professor at the conservative Croydon College. She and everyone else on the faculty are appalled by the publication of a banned tell-all memoir entitled "Always Lulu," in which a woman's many amours are recounted in detail. No one knows that the author is actually the Dean's wife Phyllis (Gloria Stuart of Titanic). Phyllis can't collect the considerable royalties for the book unless she appears in person in New York, so she importunes her friend Jane to impersonate her. But when Jane is knocked out and becomes an amnesiac, she believes what everyone tells her, that she is Lulu, and takes on a whole new glamorous persona.

Joan Davis as "Lulu"

Given the excellent premise of this movie, as well as the cast members, one would think that She Wrote the Book was a laugh riot, but instead it's a disappointment. Joan Davis certainly gives it her all, and she gets some good support from Jack Oakie as the publisher's advertising manager; Mischa Auer as a man hired to woo her for money; Kirby Grant [In Society] as Eddie, a nice young guy who is attracted to Jane but definitely not to Lulu; and Thurston Hall as a wealthy ship builder who is mightily attracted to the supposedly oh-so-sexy and highly experienced "Lulu." John Litel is the dean and Jacquline deWit [The Damned Don't Cry] is the ship builder's jealous wife who threatens more than one person with a gun. The trouble with the film is not necessarily with the players but with a screenplay that lacks wit and never really pulls off the solid laughs it deserves, although there are a few amusing moments here and there. She Wrote the Book still manages to hold the attention and you do wonder how it will all turn out.

Verdict: Cute idea but the execution is only so-so. **1/2. 

SWEETHEARTS

Nelson Eddy and Jeannette MacDonald

SWEETHEARTS (1938). Director: W. S. Van Dyke.

"She's in the hospital for over work. She can't even see the doctor for six months."

Gwen Marlowe (Jeanette MacDonald) and Ernest Lane (Nelson Eddy) have starred in the hit Broadway musical "Sweethearts" since the show opened -- and they were married -- six years ago. Producer Felix Lehman (Frank Morgan of Saratoga) is horrified at the notion that his stars may flee to Hollywood, but they are so fed up with demands upon their time that they agree to go west with movie man Norman Trumpett (Reginald Gardiner). But then the show's lyricist, Leo Kronk (Mischa Auer), comes up with a rather cruel way to keep the couple in New York -- by breaking them up! To do this he plants the notion in Gwen's head that Ernest is having an affair with their secretary, Kay (Florence Rice of Mr. District Attorney).

Eddy, Frank Morgan and MacDonald

Let's make it clear from the start that although Eddy, MacDonald, Morgan and others are swell, the true star of this picture is Victor Herbert. The plot of the great composer's operetta was thrown out for this mild backstage roundelay in which the lead characters only appear in "Sweethearts," which retains Herbert's music while attributing it to fictional composer Oscar Engel (an amusing Herman Bing). So we get the gloriously romantic title tune; McDonald warbling "Summer Serenade;" Nelson delivering "Marching On Parade" with real panache; and the couple dueting on "A Little Gray House in the West,"  memorable tunes all. MacDonald is delightful as she jazzes up "Pretty as a Picture."

Nelson and Jeanette

The shame of it is that the stars, especially MacDonald, seem more than up to the task of delivering what's required if there had only been a more sophisticated and/or meatier script. Both Gwen and Ernest have parents who are or were in show biz, and who talk about their past glories endlessly. but their children's near-contempt of them is a bit unsettling. Lucile Watson and George Barbier are two of the parents. Ray Bolger has no dialogue but does a snappy dance number, and Douglas McPhail [Babes in Arms] and Betty Jaynes show up briefly as young hopefuls. Fay Holden and Olin Howland have smaller roles. The two leads are in fine voice, even if they at times tend to over-sing, and Ms. MacDonald can occasionally be shrill.

Verdict: Beautiful MGM technicolor, some good performances and vocalizing, and lilting Victor Herbert music -- but oh that script! **1/2. 

THE WOMAN CONDEMNED

Claudia Dell and Richard Hemingway

THE WOMAN CONDEMNED (1934). Director: Mrs. Wallace Reid (Dorothy Davenport).

Mediocre radio singer Jane Merrick (Lola Lane) confuses everyone, especially her boss and lover Jim (Jason Robards Sr. of Desperate), by taking off for unknown reasons and refusing to come out of her apartment. She gives instructions to her maid, Sally (Louise Beavers), that she is to tell everyone she is not at home. Then a woman named Barbara (Claudia Dell of The Lost City) is arrested when she is found sneaking around the tony apartment house where a woman is later found murdered. Reporter Jerry Beall (Richard Hemingway) goes to bat for Barbara when she's accused of the crime, and even winds up being married to her in court when he falsely tells one judge she is his fiancee. Confused? The Woman Condemned is suspenseful all right, primarily because you're wondering what the hell is going on and how these different people fit together. The solution is somewhat ridiculous, but what is especially mind-boggling is the silly reason for why Jane feels she needs to disappear. Director Dorothy Davenport, who had been married to the late Wallace Reid, an actor, was also an actress and she dabbled in writing and directing.She proves as adept as most of her male colleagues of the time. The cast in this is also adept, with Mischa Auer playing against type as a doctor. Richard Hemingway was a pleasing leading man -- despite his mild-mannered demeanor he was a boxing champion in real life -- but he had very few credits. Lola Lane [Deadline at Dawn] was one of the Lane sisters, Priscilla being the most successful.

Verdict: This holds the attention but there isn't much pay-off. **1/2.

THREE SMART GIRLS

THREE SMART GIRLS (1936). Director: Henry Koster.

Dorothy Craig (Nella Walker) has been divorced from her wealthy husband, Judson (Charles Winninger) for years, when she discovers that he's keeping company with a marriage-minded gal named Donna (Binnie Barnes). Her three daughters, who haven't seen their father in ten years, jet from Switzerland to New York City -- along with nanny-maid Martha (Lucile Watson) -- to break Judson and Donna up and reunite their parents. Three Smart Girls sort of glosses over the fact that there's no excuse for a father not to see his own daughters in a decade, but as he's played by the "lovable" Winninger, it's made more palatable, if not quite excusable. You have to wonder why Judson would have the slightest interest in seeing his wife again let alone remarrying her. The three sisters are Joan (Nan Grey of Dracula's Daughter), who falls for her father's associate, Bill (John King of Charlie Chan in Honolulu); mousy Kay (Barbara Read), who is unaccountably pursued by Lord Michael Stuart (Ray Milland); and Penny (Deanna Durbin), who is the youngest and most high-spirited of the bunch. Universal obviously put the publicity push strictly behind Durbin, giving her several song numbers to showcase her glorious voice, and letting the other two gals sink or swim. Grey had quite a few credits before Three Smart Girls, while this was the first picture for Read, who had a few later credits. Except for a short, this was also Durbin's first movie. Whatever its flaws, Three Smart Girls is amusing, entertaining and well-acted by all, with Barnes especially good as Donna, and Alice Brady [Beauty for Sale] scoring as her mother. Mischa Auer is quite funny as a man hired by the girls to romance Donna. Followed by Three Smart Girls Grow Up.

Verdict: Cute picture with a winning Durbin and others. ***.

UP IN MABEL'S ROOM

Mischa Auer, Dennis O'Keefe and baby

UP IN MABEL'S ROOM (1944). Director: Allan Dwan.

Gary (Dennis O'Keefe) is married to the easily excitable and almost neurotically jealous Geraldine (Marjorie Reynolds). Years ago Gary had a drunken fling in Mexico City with Mabel (Gail Patrick), and gave her some intimate lingerie with a love message embroidered on it with his name. Mabel, who is engaged to Gary's prospective business partner, Arthur (Lee Bowman), thinks Gary should be honest about it and they can all laugh about it and forget it -- very sensible -- but not-so-sensible, nervous Gary wants to get the notorious slip out of Mabel's hands and destroy it. To that end he hires Boris (Mischa Auer) to help him get it when the two couples and others converge at a house party. Somehow, after much hiding under beds and marital misunderstandings, the rumor gets around that Gary and Mabel's big secret isn't a mere slip, but a "slip" of a baby! Up in Mabel's Room is based on a creaky old farce that might have been hilarious in its day, but this attempt to turn it into a wartime screwball comedy just doesn't come off. There are some talented players in this -- O'Keefe certainly tries hard, Patrick is quite likable as the sophisticated Mabel, and Mischa Auer gets the film's only laughs (and there are far too few of them) -- but Marjorie Reynolds [Bring On the Girls] and most of the others show no gift for farce. If the picture were really funny you might overlook that most of the characters are quite stupid. John Hubbard [The Mummy's Tomb] and Binnie Barnes play another couple, and Charlotte Greenwood is an older woman who thinks Boris is a burglar and tries to shoot him. Allan Dwan also directed the terrible Brewster's Millions with O'Keefe.

Verdict: Pick any Mexican Spitfire movie and it will be a lot funnier -- this is leaden. *1/2

THE FLAME OF NEW ORLEANS

Marlene Dietrich and Theresa Harris

THE FLAME OF NEW ORLEANS (1941). Director: Rene Clair.

In old New Orleans lady of leisure Countess Claire (Marlene Dietrich) has set her cap for the wealthy older banker Charles Giraud (Roland Young). But Claire has left behind quite a reputation in St. Petersburg, and to deflect Giraud's suspicion she also pretends to be another notorious woman from Russia, Claire's lookalike and [kind of] cousin, Lily. Complicating matters is a lusty sailor named Robert Latour (Bruce Cabot), who has an eye for Claire (and Lili)  and vice versa. One could say that Flame of New Orleans is Dietrich's Two-Faced Woman [in which Greta Garbo pretended to be two different women] not just because of the plot but because Flame is similarly mediocre. However, the actors, especially a surprising Cabot, all do a good job, and they are backed by such stalwarts as Franklin Pangborn, Mischa Auer, Anne Revere, Laura Hope Crews, Andy Devine, and a host of talented black actors, including Theresa Harris [Baby Face] as Clarie's saucy, sexy maid Clementine. However, the film is predictable and not as much fun as it sounds. Clair also directed It Happened Tomorrow.

Verdict: Pleasant in many ways but minor. **1/2.  

AROUND THE WORLD

Kay Kyser and Joan Davis

AROUND THE WORLD (1943). Director: Allan Dwan.

"He can't be real. He must be propaganda." --Marcy McGuire

"I wish he wouldn't be so proper and would take a gander at me." -- Joan Davis.

Bandleader Kay Kyser, playing himself, leads a troupe of musicians and entertainers on a world-wide tour to entertain the troops, going everywhere from Australia and India to China and Egypt. In Australia the group picks up a girl named Marcy McGuire (also playing herself in her second film after Seven Days Ashore), who wants to join them so badly that she stowaways on their plane. Also playing themselves are Mischa Auer, Joan Davis, and singer Harry Babbitt, who at one point sings for some reason in a little girl voice [weird]. But then Auer plays piano with two grapefruits at one point, which is equally weird. Robert Armstrong of King Kong shows up late in the film as a general who gives Marcy very bad news in the film's surprisingly downbeat conclusion. [It was as if these patriotic WW 2 movies such as this and Follow the Boys, being highly trivial, had to throw in some depressing business to let people know that the filmmakers were aware there was serious stuff, such as death, going on, but it sort of defeats the purpose of providing escapism from tragedy. What makes it more odd is that McGuire was a real person, but we can't assume she actually suffered a personal loss.] Also in the cast is the bizarre "Ish Kabibble" [AKA M. A. Bogue] who isn't very funny, while Joan Davis, as usual, is very funny indeed playing her usual frustrated man-chaser. Pleasant song numbers include "Candlelight and Wine" and "Great Things are in the Making." Barbara Hale of Perry Mason plays one of the chorus cuties. Amiable and easy to take. Kyser made a number of similar films in the forties.

Verdict: A swingin' time capsule with a highly amusing Joan Davis. ***

THE GAY DESPERADO

THE GAY DESPERADO (1936). Director: Rouben Mamoulian.

The story is some stuff and nonsense about Mexican bandits being influenced by Hollywood movies, kidnapping a young couple, while one of their number, Chivo (Nino Martini) , happens to have a major operatic voice. This is one of only a half dozen movies done by Martini, and he's really the only reason to tune in. He was not at all a bad actor for this kind of stuff, but boy what a voice! He sings the pants off "Celeste, Aida!" from Verdi's Aida, proving that he is no poser like Andrea Bocelli, but the genuine article -- an outstanding dramatic tenor. Whenever he's not singing the movie is kind of tiresome, despite the snappy presence of Ida Lupino as the love interest. Leo Carrillo and Mischa Auer are also in the cast.

Verdict: Sing, fellow, sing! **1/2.

HOLD THAT GHOST

HOLD THAT GHOST (1941). Director: Arthur Lubin.

Lou Costello: I'm afraid to go outside by myself with no one to talk to.

Bud Abbott: Why don't you talk to yourself?

Lou Costello: I get stupid answers.

It's a toss-up as to which is Abbott and Costello's best and most-beloved film, this or Abbott and Costello Meet Frankenstein. In Hold That Ghost the boys wind up inheriting a spooky abandoned inn from a mobster who died in a shoot-out with the cops. His money is hidden in the house and nefarious characters run about acting like ghosts while the fellows and a bunch of stranded travelers try to keep their nerves from jangling. The most nervous of the bunch -- after Costello -- is Camille, a professional radio show screamer played by the hilarious Joan Davis. Lou and Joan make a delightful pair, and their inventive dance to the Blue Danube Waltz is the picture's highlight. Sure, this is pretty silly at times but it's also very cute and amusing, with everyone in top form. Evelyn Ankers, Richard Carlson, and others offer fine support, and Mischa Auer is as dinstinctive as ever as Bud and Lou's exasperated boss in the opening scene. The hokey but likable Ted Lewis asks "Is Everybody Happy?" more than once, and the much-less-than-beautiful Andrews Sisters sing two songs. And there's the loopy three-way interchange between Bud, Lou and Joan that ends with Lou angrily answering "The Twain on Twack Twee!"

Verdict: Real good classic comedy if you're in a silly mood. Plus the Andrews Sisters sing Aurora! ***.