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Rowland V. Lee
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Cecil B. DeMille
Eddie and his Mexican friend Ricardo are expelled from college after Ricardo put Eddie in the girl's dormitory when he was drunk. Per chance Eddie gets mixed up in a bank robbery and is forced to drive the robbers to safety. To get rid of him they force him to leave the USA for Mexico, but a cop is following him. Eddie meets Ricardo there, Ricardo helps him avoid being arrested by the cop when he introduces Eddie as the great Spanish bullfighter Don Sebastian II. The problem is, the cop is still curious and has tickets for the bullfight. Eddie's situation becomes more critical, when he tries to help Ricardo to win the girl he loves, but she's engaged to a "real" Mexican, who is, unknown to her father, involved in illegal business. While trying to avoid all this trouble, Eddie himself falls in love with his friend's girl friend's sister Rosalie, who also want to see the great Don Sebastian II to kill the bull in the arena. Written by
Stephan Eichenberg <email@example.com>
Eddie Cantor musical where a jittery simpleton is forced to cross the border to Mexico and pretend he is a matador. It's nothing special all told. Some of the jokes are funny, yes, but the whole is thin and I'm sure recycled from previous film and radio work.
What is of some interest, is that Busby Berkeley is here with his crafty engineering. Oh, both of his numbers feel tacky and have nothing to do with anything, which is more proof of zero vision behind this. Yet both numbers impress. Both are in that voluptuous mode he would cultivate in coming years: sexual tease, sparkle and shadowplay, the female body as the fulcrum of a continuously shifting erotic landscape. Eddie in blackface among Busby's radiant troupe feels crude and out of place.
He would be on to 42nd Street and history the next year.
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