THE HONEYMOONERS SPECIALS

Ralph and Ed Norton do drag!

THE HONEYMOONERS SPECIALS

"Just what I always suspected! I'm calling Anita Bryant in the morning!" -- Alice's mother after seeing Ralph rubbing Ed's back. 

"The Honeymooners: Second Honeymoon" (1976). Director: Jackie Gleason.
"The Honeymooners Christmas Special" (1978). Director: Jackie Gleason.
"The Honeymooners Valentine Special" (1978). Director: Jackie Gleason. 

Jackie Gleason brought back most of the cast of the original Honeymooners  -- Jane Kean of the Color Honeymooners replaced Joyce Randolph -- for four reunion specials in the late seventies, three of which are available on DVD. In "Second Honeymoon" Ralph (Jackie Gleason) and Alice (Audrey Meadows) are going to renew their vows at the raccoon lodge when Ralph gets the mistaken impression that Alice is pregnant. In the Christmas special, Ralph gets another hare-brained idea and uses his savings, his mother-in-law's social security check, and Norton's Xmas bonus to buy hundreds of lottery tickets. 

Trixie and Ed and Ralph and Alice

In the Valentine special, the funniest of the three, Ralph is convinced that Alice is plotting to murder him due to a gigolo she's met, and he and Ed (Art Carney) dress in drag to trap this other man. Some of the routines in these are over-familiar, the apartment looks especially stark on a large stage and in color, and Ralph and Alice still don't have a phone or most modern conveniences, but the cast's timing is still impeccable and there are a lot of laughs. Eileen Heckart [The Bad Seed; Miracle in the Rain] plays Ralph's mother-in-law in the Valentine special, and while she's a fine actress, she's not really suitable for the role. Templeton Fox is a little more on the mark, but neither of them can compare to Ethel Owen, who really nailed the role in the original series in the fifties. The fourth special had Ralph putting on "A Christmas Carol" for the Raccoon lodge, but this has not yet been released on DVD. Jane Kean was in the right time and place when these reunions were announced and got the part of Trixie again, but in all fairness it should have gone to Joyce Randolph, the original Trixie, as these were "reunions."

Verdict: Everyone's a little grayer, but the magic is still there. ***.

AFTER THE FOX

Peter Sellers

AFTER THE FOX (1966). Director: Vittorio De Sica.

Aldo Vanucci, a notorious criminal known as the Fox, escapes from jail to participate in the theft of a fortune in bullion known as the "Gold of Cairo." Working with a mysterious man named Okra (Akim Tamiroff), who only speaks through his beautiful companion, Aldo decides to make a movie about the theft and only pretend to be carrying off the gold. He inveigles aging American star Tony Powell (Victor Mature) to play the lead, and casts his aspiring actress sister, Gina (Britt Ekland) as his leading lady. The entire town turns out to participate in "Federico Fabrizi's" movie, but the best-laid plans ... 

Based on a play by Neil Simon (who also wrote the screenplay) this seems more like an attempt to cash in on the success of The Pink Panther and its sequels, but there's a reason why this never had any sequels. There are amusing and clever ideas and moments in the script, but they never quite jell, and the logistics of the crime are so hazy that the audience can't follow along, which is essential even in a comic caper treatment. De Sica may not have been the right director for this project -- he plays himself in a cameo -- but while star Sellers is good, he's simply not as farcical and as funny as he should have been; possibly he found the weak material uninspiring. Mature [Kiss of Death] is terrific as the vain actor whose dyed hair leaves streaks on Gina's face; Tamiroff [The Vulture] is as adept as ever; and Ekland [The Wicker Man], who was married to Sellers at the time, is also good and fetching. Martin Balsam has some funny moments as Tony's handler, and Lando Buzzanca makes an impression as a chief of police. This is one of those movies that probably looked hilarious on paper but just doesn't work out in actuality. The final gag is especially lame.

Verdict: Not one of Sellers' better movies nor performances. **.

THE THREE STOOGES featurettes

THE THREE STOOGES featurettes.

Most baby boomers remember the Three Stooges from their TV show when they were older (and different) men and had done the same old routines about ten thousand times. Years before, in the forties, when they were comprised of Moe and Jerry/Curly Howard (Shemp Howard came later) and Larry Fine, the Stooges had done much more interesting short features that were shown in movie theaters. AMC showed quite a number of these on New Year's Day, and while it must be said that the Stooges should only be taken in short doses, some of their old shorts are quite funny. In Hoi Polloi the boys try to turn into society types; the best scene has them imitating their pretty dance instructress who goes into all sorts of physical conniptions when a bee goes down her dress! They masquerade as psychiatrists at a society party in Three Sappy People and discover that a kindly widow has oil on her property in Oily to Bed, Oily to Rise. The boys manage to fix up a hotel but come afoul of mice and other things on opening night in Loco Boy Makes Good, and are ice men turned disastrous chefs in An Ache in Every Steak. As professorial impostors at a girls school, they have the lasses singing a dopey "Alphabet Song" in Violent is the Word for Curly. Curly becomes a wrestler in Grips, Grunts and Groans. In Woman Haters, Larry joins a misogynous club only to discover he has to get married. (The entire story is told in verse and song, but despite this clever aspect it all becomes quite tiresome after awhile.)

Three of the best Stooges shorts are: If a Body Meets a Body in which Curly Q. Link thinks he's inherited money from an uncle and winds up in a haunted mansion with assorted dead bodies; A-Plumbing We Will Go, in which the boys completely demolish a mansion when they try to fix a simple leak in the pipes; and especially Micro-Phonies in which Curly in a wig is mistaken for a grand opera singer and must perform with his buddies in front of a crowd. You have to see the Three Stooges lip-syncing to the sextet from Lucia di Lammermoor to believe it! Hilarious! Fine and the Howard boys were all gifted comic actors. The Stooges' full-length movies include Rockin' in the Rockies, the dreadful Gold Raiders, The Three Stooges Go Around the World in a Daze, and the amusing Have Rocket, Will Travel.

Verdict: They're not the Marx Brothers or Laurel and Hardy but they can be inventive and funny. ***.

NEVER SAY DIE

You're strangely attractive, my Henry: Devine and Sondergaard

NEVER SAY DIE (1939). Director: Elliott Nugent.

"I don't want any trouble with you -- you get back here in bed!" -- Henry to John.

Scene: the Bad Gassewasser health spa in Europe. John Kidley (Bob Hope) is worth twenty million dollars, and is being chased by "black widow" Juno Marko (Gale Sondergaard). Meantime, Mickey Hawkins (Martha Raye) is ordered by her father (Paul Harvey) to marry a man she does not love, the impoverished Prince Smirnov (Alan Mowbray), only so that he can get into the country club. John and Mickey decide to marry each other to keep out of the hands of their persistent suitors, but then Mickey's boyfriend, Henry (Andy Devine of Between Us Girls) shows up and accompanies the couple on their honeymoon, with the two men sharing a bed! An added complication is that John has mistakenly been told that he only has a short while to live, not to mention the fact that the prince wants to fight a duel with him. Never Say Die is a very funny movie with a great script and terrific performances from everyone in the cast, which includes Monty Woolley [Life Begins at Eight-Thirty] as the confused doctor; Ernest Cossart as "Jeepers," John's helpful butler; and Sig Ruman [Thank You Mr. Moto] as the hotel proprietor who is astonished by John's apparent bed-hopping.

Verdict: As usual Hope and Raye make a splendid team. ***.

EVERYBODY'S BABY

Hattie: "Woman, you better run for your life cause I'm rowed!"

EVERYBODY'S BABY (1939). Director: Malcolm St. Clair.

Jones Family daughter Bonnie (Shirley Deane) has a baby girl and makes the mistake of ascribing to the dopey child-rearing theories of one Dr. Pilcoff (Reginald Denny of Strange Justice), who believes the baby should have little contact with the parents for the first year. This doesn't sit well with Bonnie's husband, Herbert (Russell Gleason), nor with any  member of the Jones family, especially Granny (Florence Roberts). Pilcoff hires a hatchet-faced nurse (Claire Du Brey of Jane Eyre) who comes into conflict with the family, and especially with Bonnie's wise old housekeeper, Hattie (Hattie McDaniel of The Great Lie), in the movie's best and funniest scene. In this installment of the popular Twentieth Century-Fox series, Bonnie is pretty much an idiot, at one point suggesting that Hattie, who has eight children (including the adorable Triola), "doesn't know anything about children." She also objects strenuously and in almost racist fashion when she finds Triola in her daughter's crib. On the other hand, there's a great scene when the gang finds Bonnie's "missing" baby at a meeting of black families where Triola wins a prize and the Jones baby sits happily with the other infants. Granny is again revealed as the smartest member of the Jones family, cooking up a clever scheme to get rid of Pilcoff and his notions once and for all. The rest of the family is in tow, all giving fine performances, and McDaniel is as terrific as ever. Fun!

Verdict: One of the cutest entries in the series. ***.

GO WEST YOUNG MAN

GO WEST YOUNG MAN (1936). Director: Henry Hathaway.

"A thrill a day keeps the chill away!"

Film star Mavis Arden (Mae West) is on her way to a rendezvous in Washington D.C. when her limo breaks down and she must spend some time in a small-town boarding house. But there she sets her cap for a handsome gas station owner and inventor, Bud (Randolph Scott). However, things are complicated by the fact that Bud already has a girl, and that Mavis' press agent Morgan (Warren William) is paid to keep her away from men because her contract won't allow her to marry for five years. Then there are the other assorted townspeople and boarders and their varying reactions to Mavis. 

Randolph Scott and Mae West

Well, this sure sound like it would make a hilarious movie, and while it's cute and easy to take for the most part, it certainly isn't a classic. Sort of given an actual role to play, West "acts" as if she's doing a sketch on television. When she approaches Bud in a black outfit to seduce him, she looks about as sexy as a dead skunk. (The really funny thing about West's movies -- which I doubt she would ever have admitted to -- was the idea that the chubby, not exactly beautiful West would be the object of desire for so many men.) Elizabeth Patterson nearly steals the picture as Aunt Kate. When asked by her grand-niece if they had "it" in her day, she replies: "They had 'it' all right. But they didn't photograph it and set it to music."

Verdict: Hardly what you're hoping it will be, but not exactly awful. **1/2.

THE LAW AND THE LADY

THE LAW AND THE LADY (1951). Director: Edwin H. Knopf.

"At my age a good cook is more important than a husband." --Marjorie Main

Another version of The Last of Mrs. Cheney -- Norma Shearer and Joan Crawford did the others -- with Greer Garson and Michael Wilding as a lovable team of jewel thieves and rogues at the turn of the century. Jane Hoskins (Garson), with the help of Wilding, the brother of her former employer, reinvents herself as "Lady Jane Loverly" and becomes welcomed in American society, especially the home of wealthy old Julia Wortin (Marjorie Main), who has a fabulously valuable necklace. Fernando Lamas, Margalo Gillmore, Hayden Rourke, and Natalie Schafer all add to the fun as various guests and suitors. The movie gets kind of silly and unreal toward the end, to say the least, but it never quite loses its sense of humor. Speaking of which, it's definitely fun to see Marjorie Main as a lady in society! Soledad Jimenez scores as Lamas' peppery grandmother. This is arguably the best screen version of Frederick Lonsdale's play.

Verdict: Light and snappy for the most part. ***.

THE BRASS BOTTLE

The genie goes flying!

THE BRASS BOTTLE (1964). Director: Harry Keller.

Harold Ventimore (Tony Randall of No Down Payment) is an architect hoping to get some choice assignments from his boss, Mr. Beever (Philip Ober). He is engaged to Sylvia (Barbara Eden of The Yellow Canary), whose father Anthony (Edward Andrews) heartily disapproves of him, thinking he's a complete kook. This opinion is not revised when Harold acquires a large bottle that turns out to hold an ancient genie, Fakrash (Burl Ives), who in gratitude for being freed after thousands of years wants to do anything and everything he can for Harold. Unfortunately, Fakrash' notions are quite a bit dated and even dangerous ... Eventually Harold tries to convince everyone that Frakrash is exactly who he says it is, but it may be more difficult than he imagines. 

Burl Ives with Kamala Devi

The Brass Bottle is an absolutely delightful comedy fantasy with a wonderful performance from Burl Ives as the genie. Perhaps hoping to ground the story a bit more Randell underplays and probably isn't as amusing as he could have been, but this approach works fine. Eden is lovely, as is Kamala Devi, who plays a rather independent female genie named Tezra. Andrews, Ober, and Ann Doran as Eden's mother are all swell, as are Parley Baer as a potential client for Harold, and Richard Erdman and Kathie Browne as a couple who are Harold's unconventional buddies. At one point Fakrash reduces some authorities to tiny stature and has them desperately clinging to a pencil in a pitcher of water! Not much later Eden played a genie herself in I Dream of Jeannie. Harry Keller also directed several melodramas starring George Nader such as The Female Animal. 

Verdict: Charming, with a very satisfying conclusion! ***1/2. 

PASSPORT TO PIMLICO

The wonderful Margaret Rutherford

PASSPORT TO PIMLICO (1949). Director: Henry Cornelius.

After discovering a cache of treasure hidden under the streets, the residents of the district of Pimlico in Post-WW2 London discover documents that (in a convoluted way) actually make them residents of Burgundy. Then a handsome Duke of Burgundy (Paul Dupuis) shows up and begins romancing one of the local women. At first the residents playfully refuse to follow certain British rules -- such as shutting the pubs down at a certain hour -- because, after all, they aren't Londoners but Burgundians.  Unfortunately, this excites and dismays the British parliament and before long the residents of Pimlico find themselves mired in red tape and having to cross customs just to leave or enter their own district. In true British fashion, they decide to fight back and display their English tenaciousness. Okay. This is a cute idea and it does have some amusing sequences, but it gets bogged down way before its over, and its attempt to create characters you actually care about don't quite hit the mark. Most of the cast is unknown on American shores with the exception of Hermione Baddeley, Stanley Holloway, and the wonderful Margaret Rutherford, who plays a historian with her customary panache and enlivens every scene she's in. If only there were more of them!

Verdict: One of those quaint British movies that you can either take or leave. **1/2.

COPACABANA

COPACABANA  (1947). Director: Alfred E. Green.

Lionel Deveraux (Groucho Marx) is a manager with one client, Carmen Navarro (Carmen Miranda), to whom he's been engaged for ten years. When he tries to get her work at a nightclub owned by Steve Hunt (Steve Cochran), Hunt tells him that he prefers a French singer. Enter the always veiled Mlle. Fifi,  who is Carmen in disguise. Hunt hires the French doll, then decides he wants Miss Navarro as well. So Carmen does her best to keep up a hectic performance schedule without anybody knowing that both performers are actually the same woman. The interplay between Marx and Miranda, who make a great team, is priceless, and the other performers are game. Gloria Jean is charming as Hunt's secretary, Anne, who pines for him even as he pursues Fifi. Singer Andy Russell, who plays himself, has a very nice voice and is easy to take. Miranda may not be a brilliant performer, but it's hard not to like her, and Groucho is as wonderful as ever. Some nice songs include "Strange Things Have Happened." The film is full of chorus cuties who trade wisecracks with Marx, and there are guest appearances by columnists Abel Green, Louis Sobol, and Earl Wilson.

Verdict: This may not be a Night at the Opera, but it's very amusing and charming. ***.

PHFFFT

Judy Holliday and Luella Gear

PHFFT (1954). Director: Mark Robson.

Their eight-year marriage having grown stale, Nina and Robert Tracey (Judy Holliday and Jack Lemmon) decide to call it quits. Nina gets advice from her mother, Edith (Luella Gear of Carefree), while Robert moves in with and is sort of adopted by his best buddy, playboy Charlie Nelson (Jack Carson of The Groom Wore Spurs). Charlie importunes Robert to date the beautiful but intellectually-challenged Janis (Kim Novak). Although they both seem happy to be divorced and on their own, the truth is that Nina and Robert are having trouble moving on -- maybe they're still in love with each other? 

Jack Lemmon and Jack Carson

That same year Holliday and Lemmon, in his first picture, teamed up for the truly dreadful It Should Happen to You. Fortunately Lemmon survived that debacle and teamed again with Holliday and this time the results were more felicitous. Based on an early play by George Axelrod, Phffft hardly has the most original premise or situations -- the problems of divorced couples having trouble moving on because they're still in love were a staple of movies of the golden age -- but there is enough humor in the film to make it palatable, and the performances by the entire cast really put it over. Highlights include a scene when Nina and Robert, both with their own dates, wind up dancing the mambo together on the dance floor, and especially the hilarious climax, when Nina and Charlie Nelson have a disastrous date. These are three fine actors working at the top of their form, with good support from Novak and an excellent Luella Gear helping add to the fun. 

Verdict: A great cast makes this work. ***.

DON'T JUST STAND THERE

Mary Tyler Moore and Robert Wagner just read the script

DON'T JUST STAND THERE (1968). Director: Ron Winston. 

Martine Randall (Mary Tyler Moore of Just Between Friends) works for romance novelist Sabine Manning (Glynis Johns of The Cabinet of Caligari), who has run off to who-knows-where. Kendall Flannigan (Barbara Rhoades) is hired to finish Manning's latest opus, but after she is accused of killing her boyfriend she is kidnapped by his gangster friends. Martine hires Lawrence Colby (Robert Wagner of Say One for Me) to finish the book, and he winds up affecting a rescue of Kendall. And it gets more confusing and stupider after that. 

Wagner and Moore went in disguise after pic's release

I'm afraid that Don't Just Stand There is one of those alleged comedies that is simply busy and frenetic instead of funny. I believe I laughed exactly once during the entire hour and forty minutes. Moore and Johns must have been appalled at the results if and when they saw this incredibly bad movie disaster. Both, especially Moore, are capable of being funny, but the script defeats them. Even Harvey Korman in a supporting role doesn't garner a single laugh. This is the first film for Barbara Rhoades and she's lucky it wasn't her last. Glynis Johns at least isn't on screen for that long. Charles Williams, who wrote the book (The Wrong Venus) this was based on also wrote the screenplay, so he has to get much of the blame. Possibly this was never meant to be a comedy? 

Verdict: Atrocious film is an effort to sit through despite some good players. *. 

THE PRINCE AND THE SHOWGIRL

Lord Olivier and La Monroe

THE PRINCE AND THE SHOWGIRL (1957). Director: Laurence Olivier.

"We are not dealing with an adult but an unruly child."

On the eve of the coronation of the new British King in 1911 London, the Grand Ducal Highness of the Balkan nation of Carpatha, AKA Charles (Laurence Olivier), invites a pretty American showgirl named Elsie (Marilyn Monroe) to supper at the Carpathian embassy. Alas, the Grand Duke doesn't realize that Elsie is a lot smarter than she looks -- and not quite as "easy" as he hopes. During the night and the following day, the two argue and banter, and Elsie manages to wend her way into Carpathian politics and  more via the Duke's son Nicky (Jeremy Spenser), soon to be king, and the prickly if lovable Queen Dowager (Sybil Thorndike). The cast in this entertaining if overlong comedy, including Jean Kent as an actress friend of Charles and Richard Wattis as Northbrook, a liaison, is uniformly excellent. Olivier is fine as the rather stuffy if amorous duke, and Monroe is natural, unaffected and marvelous -- luminescent, in fact -- as Elsie. I'm not the first to think that she sort of out-acts Olivier at times, but both are splendid. The ending is a bit strange, but this is a colorful, unusual picture.

Verdict: The High and the Horny. ***.

THE COWBOY AND THE BLONDE

THE COWBOY AND THE BLONDE (1941). Director: Ray McCary.

"Oh, you beautiful dope!"

Actress Crystal Wayne (Mary Beth Hughes), a complete bitch, is softened when she falls in love with a hopeful new cowboy star, Lank Garrett (George Montgomery), which is just as well because Garrett proves to be a hopeless actor except when he's doing love scenes with Crystal. The couple have a series of dumb misunderstandings throughout the 64 minute movie, which seems three hours long. Alan Mowbray plays Crystal's liaison in the studio. Minerva Urecal shows up for a minute or two. It's hard to believe this dog was actually released by 20th Century-Fox, as it looks like nothing so much as a poverty row item with an undistinguished cast. Hughes is at least somewhat vivid as Crystal; Montgomery has some charm but little else. This "comedy" has not got one single real laugh in it.

Verdict: 64 minutes long and only one half-hearted chuckle! *.

THE BANK DICK

THE BANK DICK (1940). Director: Edward F. Cline.

W. C. Fields is simply splendid as Egbert Souse (pronounced Sousay, and don't you forget it!), who inadvertently foils a bank robbery and is given a job as a bank guard as a reward. Egbert's future son-in-law, Og (the wonderful Grady Sutton) borrows money from the bank for an investment opportunity and discovers to his horror that the bank examiner J. Pinkteron Snoopington (the superb Franklin Pangborn) is in town to look over the books! Egbert does what he can to prevent Snoopington from discovering the missing loot until Og can return it and has other assorted misadventures as well, even winding up directing a film. Una Merkel and Cora Witherspoon are terrific as members of Egbert's family. Jan Duggan from The Old-Fashioned Way has a cameo as a customer in the bank, and Pierre Watkin [Atom Man vs. Superman] is actually excellent as the bank president.

Verdict: This is a very funny and well-acted movie. ***1/2.

THE MEANEST GAL IN TOWN

Zazu Pitts and El Brendel

THE MEANEST GAL IN TOWN (1934).  Director: Russell Mack. 

Tillie Prescott (Zazu Pitts) owns a small town clothing store and has been keeping company with barber Chris Peterson (El Brendel) for a decade. Chris tells her he won't marry her until he can afford a second barber chair. Tillie decides to splurge on $300 for the chair, but discovers that Chris has installed a sexy lady -- a stranded actress named Lulu (Pert Kelton) -- as his manicurist. Tillie stops speaking to Chris and winds up being taken advantage of by a slick salesman named Jack (Skeets Gallagher). Chris determines to get Tillie's store back for her while Jack and Duke Slater (James Gleason) compete for the favors of Lulu. Will true love win out in the end?

Pert Kelton as Lulu

 The Meanest Gal in Town is a cute picture with good performances and many funny moments. Pert Kelton was the original Alice on The Honeymooners -- first playing the character on Cavalcade of Stars -- and also played Marion the Librarian's mother in The Music Man. Mae West had appeared in two or three films by 1934 and Kelton at times seems to be channeling her (perhaps deliberately), although in general Kelton has her own style. 

Verdict: Amiable comedy with gifted players. ***. 

VISIT TO A SMALL PLANET

Jerry Lewis

VISIT TO A SMALL PLANET (1960). Director: Norman Taurog.  

Intergalactic visitor Kreton (Jerry Lewis of The Patsy) has a fascination with Earth and attaches himself to a family that consists of businessman Roger Spelding (Fred Clark), wife Rheba (Lee Patrick), and daughter Ellen (Joan Blackman), whose horny boyfriend is Conrad (Earl Holliman of Hot Spell). Apparently Kreton's race has given up sex eons ago so he is fascinated whenever Ellen and Conrad make out. Roger has a neighbor named Mayberry (Gale Gordon), who is convinced the earth is being visited by flying saucers and extraterrestrials, which Roger thinks is utter poppycock until Kreton shows off his abilities. For one thing, whenever Roger or anyone else tries to tell anyone the truth about their visitor, all that comes out of their mouths is "Mary Had a Little lamb." Despite the irritation that Kreton may cause him, Roger appreciates it when he helps him with his boss, Abercrombie (Jerome Cowan). But it isn't long before the authorities take an interest in Kreton ... 

Lee Patrick, Jerry Lewis, and Fred Clark

Visit to a Small Planet is suggested by a play by Gore Vidal, who satirized McCarthyism. All that has been jettisoned to make way for the comedic style of Lewis, which actually fits the basic plot pretty well. Lewis is fine as the lovably dopey Kreton, although he gets competition from Lee Patrick, who is also lovably dopey. Clark, Gordon, Cowan and Holliman are all as professional as ever. Joan Blackman was introduced in this movie although she had already had a few credits; she later did a couple of films with Elvis. Ever-dignified John Williams (of Midnight Lace) is bizarre and perfect casting as Delton, the head of the extraterrestrials, and Ellen Corby is fun as Gordon's wife. Barbara Bostock makes a positive impression as Desdemona, who sings a weird ditty and dances with Lewis in a beatnik coffee shop scene. 

Verdict: Highly imperfect and often silly, but cute and well-acted as well. **3/4. 

THE GREAT RUPERT

THE GREAT RUPERT (1950). Director: Irving Pichel. 

Now here's a weird one. A down-on-his-luck entertainer, Joe Mahoney (Jimmy Conlin), with a trained squirrel act, reluctantly lets the squirrel, Rupert, go off on his own when he finds he can't get them bookings. Louie Amendola (Jimmy Durante), another entertainer who can't find work, moves into the apartment vacated by Mahoney with his family, but is unaware that the squirrel has moved back in. When Mrs. Amendola (Queenie Smith) prays for money, it drops from the ceiling into her hands! She is unaware that the landlord, who doesn't believe in banks, stashes his loot in a hole behind his bed, from whence the squirrel promptly throws it out. Despite the title, and the pivotal role that Rupert plays in the fortunes of the Amendola family, the squirrel -- animated through stop-motion -- hasn't much to do in the movie (although he isn't entirely forgotten either), which is decidedly bizarre, utterly original, and even strangely touching. The cast, including Durante, Sara Haden (as the landlord's wife), Chick Chandler (as an agent) and Terry Moore (Durante's daughter) are all fine, although love interest Tom Drake is strangely devoid of charm. 

Verdict: Really not as bad as you might expect, but certainly not for everyone. ***.

A ROYAL SCANDAL

William Eythe and Tallulah Bankhead

A ROYAL SCANDAL (1945). Produced by Ernest Lubitsch. Directed by Otto Preminger. 

Devoted Russian soldier Lt. Alexei Chernoff (William Eythe), hearing of a plot against his empress, Catherine the Great, dares all to rush to her side and warn her. Catherine (Tallulah Bankhead) already knows of the plot but is almost instantly smitten with the handsome Alexei. Although Alexei is engaged to the countess Anna (Anne Baxter), it isn't long before he is ensconced in the palace, the commander of the palace guards -- and a colonel to boot. Knowing that Catherine has undoubtedly had a long line of "commanders" as lovers, Anna is not about to take this lying down. But Catherine is hardly the type to put up with insubordination either from her ladies-in-waiting or from her lovers. The fur will fly!

Anne Baxter, Charles Coburn, William Eythe

A Royal Scandal is a very funny royal farce with an outstanding performance from Tallulah Bankhead who brilliantly mines every comic gem in the script. William Eythe and Anne Baxter are no slouches and deliver excellent performances, and we also have adept and amusing work from Charles Coburn as the Chancellor, Sig Ruman as General Ronsky, Vincent Price as the French ambassador, Misha Auer as Captain Sukov, Grady Sutton as Ronsky's nephew, and others. Briskly directed and with a notable theme by Alfred Newman, this is a real treat. William Eythe was a talented actor who died tragically young at 38. Although he had a brief and unsuccessful marriage, he was the boyfriend of actor Lon McCallister. Eythe somewhat resembled Tyrone Power and had a voice that reminds one of Audie Murphy. 

Verdict: Delightful and stylish comedy with engaging and highly adept players. ***1/2. 

THE DELICIOUS LITTLE DEVIL

THE DELICIOUS LITTLE DEVIL (1919). 

Mary (Mae Murray) loses her job as a coat check girl when she lingers too long and lovingly on a beautiful fur piece, so she reinvents herself as the notorious real-life Gloria Du Moine, who was in a scandal with the equally notorious Duke De Sauterne. Through this subterfuge she manages to get a job as a dancer at the Peace Tree Inn roadhouse. There she captivates a frequent patron, Jimmy Calhoun (Rudolph Valentino), who's the son of a millionaire contractor (Edward Jobson). Hoping she'll prove too crass for the boy, the elder Calhoun throws a party for "Gloria" -- and who should show up? This is a cute if minor comedy with Murray in good form and Valentino, in an early appearance, looking dapper and handsome. The sprightly musical score helps a lot. 

Verdict: Not that delicious but definitely appetizing. **1/2.