From the Twitch Live Stage at New York Comic Con 2017, IMDb LIVE host Kevin Smith talks to Marvel Chief Creative Officer Joe Quesada about the development of the Marvel franchise, his history at Comic Con and more.
Rightly suspected of illicit relations with the Masked Bandit, Flower Belle Lee is run out of Little Bend. On the train she meets con man Cuthbert J. Twillie and pretends to marry him for "... See full summary »
Larson E. Whipsnade runs a seedy circus which is perpetually in debt. His performers give him nothing but trouble, especially Edgar Bergen and Charlie McCarthy. Meanwhile, Whipsnade's son ... See full summary »
Edward F. Cline
Fields wants to sell a film story to Esoteric Studios. On the way he gets insulted by little boys, beat up for ogling a woman, and abused by a waitress. He becomes his niece's guardian when... See full summary »
Tillie and Augustus Winterbottom are thought to be missionaries when they arrive to find Phineas Pratt trying cheat the Sheridans out of her father's inheritance, including a ferry ... See full summary »
Jim and Walter are two brother sailors in the United States Navy. Walter tells Jim as soon as they get home he is going to ask his beautiful girlfriend, Nancy Larkin to marry him. But Jim ... See full summary »
New ocean liner S.S. Gigantic is about to race its rival, the Colossal. Gigantic owner T.F. Bellows sends his brother S.B. on the Colossal, hoping he will cause trouble; delayed by a golf game, S.B. lands on Gigantic instead, and so does his unlucky daughter Martha. Meanwhile, radio emcee Buzz Fielding announces a series of musical acts and tries to juggle fiancée Dorothy and three ex-wives who've come for the ride. Can the Gigantic win against all handicaps? Will true love triumph? Written by
Rod Crawford <email@example.com>
There are momentary gems in this movie, and I recently bought the DVD because I fondly remembered it from its television broadcasts during my childhood. Hope and Ross's "Thanks for the Memory" (that's the actual spelling; it isn't plural) is so well portrayed that it seems they are recalling actual moments from their lives. This is almost the only moment of sincerity in this otherwise farcical fluff-piece. Martha Raye's "Oh, Mama!" is eye-popping primarily because I believe she did her own stunts in it, and she is bandied about like an unlucky mouse caught by a gruesomely playful puss. WC Fields sparks frequent smirks with his ostentatious manner combined with total buffoonery. Dorothy Lamour is only pleasant; I don't believe she had yet found her spark for comedy that was later displayed in the Hope & Crosby Road Movies. Her song (she only gets one but sings it ad infinitum to Leif Erickson), along with the remainder of the musical score, is surprisingly engaging. All in all an enjoyable musical comedy review, designed so audiences could finally see the faces of the performers they invited into their living rooms through the radio.
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