The charm of Jane Withers is the saving grace of this dated musical comedy that has that grand old man of the south (Claude Gillingwater) facing the loss of his estate, and a traveling salesman (Slim Summerville) and his companion (Jane Withers) stepping in to help him even if they have no money to speak of. Withers can sing and dance, and she uses the happy black field workers of the plantation to put on a show that somehow makes it to Broadway!
There's the romantic subplot of Gillingwater's granddaughter (Helen Wood) to, believe it or not, a Northerner (Thomas Beck)! An old suitor of hers (Donald Cook) steps in to try to help save the estate, and his only request is that she marry him! Little Miss Fix It Withers not only puts on shows, but manipulates everything so everybody can be happy. This leads to the big show in the finale which has to be seen to be believed and a horse race conclusion that confirms that this had too many plot devices to try and fit altogether.
The highlight of the film is a sequence where Summerville and Withers are warned to leave the house because something horrifying is about to occur, and on their way out, they encounter the ghosts of Gillingwater's family. Withers proves her comic genius in this sequence which makes me wish that this had been an actual occurance rather than just a quick passing dream sequence. Had this dealt with the ancestors of the family coming together to aide Gillingwater rather than the plot going in dozens of other directions, it could have been a bit more acceptable other than to have a stereotypical view point of southern plantations still running in modern times.
This was the type of film that will never see the light of day on home video or even TV broadcast, because there is something offensive on every level. It doesn't matter that it is extremely big hearted and filled with talent. It just doesn't stand the test of time, especially with lyrics that you might have to rewind to make sure you heard them correctly. Withers is engaging and sweet, Summerville deadpan, and Gillingwater as gruff as ever. Hattie McDaniel is present for good measure, and she makes the most out of her stereotypical characterization.
The songs and dances are well staged but outlandish, even more so than anything than Jolson or Cantor or any other minstrel show performer ever did. Historically, it does show how far filmmakers have come, but you can't help but widen your eyes and drop your jaw, even as you try to stop your toes from tapping and face from grinning even if the jaw has hit the floor.
There's the romantic subplot of Gillingwater's granddaughter (Helen Wood) to, believe it or not, a Northerner (Thomas Beck)! An old suitor of hers (Donald Cook) steps in to try to help save the estate, and his only request is that she marry him! Little Miss Fix It Withers not only puts on shows, but manipulates everything so everybody can be happy. This leads to the big show in the finale which has to be seen to be believed and a horse race conclusion that confirms that this had too many plot devices to try and fit altogether.
The highlight of the film is a sequence where Summerville and Withers are warned to leave the house because something horrifying is about to occur, and on their way out, they encounter the ghosts of Gillingwater's family. Withers proves her comic genius in this sequence which makes me wish that this had been an actual occurance rather than just a quick passing dream sequence. Had this dealt with the ancestors of the family coming together to aide Gillingwater rather than the plot going in dozens of other directions, it could have been a bit more acceptable other than to have a stereotypical view point of southern plantations still running in modern times.
This was the type of film that will never see the light of day on home video or even TV broadcast, because there is something offensive on every level. It doesn't matter that it is extremely big hearted and filled with talent. It just doesn't stand the test of time, especially with lyrics that you might have to rewind to make sure you heard them correctly. Withers is engaging and sweet, Summerville deadpan, and Gillingwater as gruff as ever. Hattie McDaniel is present for good measure, and she makes the most out of her stereotypical characterization.
The songs and dances are well staged but outlandish, even more so than anything than Jolson or Cantor or any other minstrel show performer ever did. Historically, it does show how far filmmakers have come, but you can't help but widen your eyes and drop your jaw, even as you try to stop your toes from tapping and face from grinning even if the jaw has hit the floor.
