Lum Edwards is annoyed with his partner in Pine Ridge's Jot-'em-Down general store, Abner Peabody, because Abner has swapped their delivery car for a racehorse. Lum is also too timid to ... See full summary »
Owen Waterbury, bestselling novelist, recruits aspiring writer Stephanie 'Steve' Gaylord as his latest of many secretaries. The stars in her eyes fade when she finds she is to work in his ... See full summary »
Streetwise but kind-hearted Maisie Ravier has put her vaudeville life behind her, but not its associated outward good looks, flash and glamor. Trying to get to New York for a job, she ... See full summary »
Rafe Covington promises a dying friend that he'll watch over the man's wife and ranch after he's gone. When Rafe gets to his friend's ranch, he finds that Barkow, the local power in town, ... See full summary »
John Forbes is a family man who's tired of the 9 to 5 humdrum of his job an insurance company executive. Life gets a little more exciting for him when he calls upon femme fatale Mona ... See full summary »
Young lawyer meets and marries girl after knowing her one day. Takes bride home to meet his mother who disapproves of the marriage. Lawyer thinks everything will be fine as he moves up the ... See full summary »
Lum Edwards is annoyed with his partner in Pine Ridge's Jot-'em-Down general store, Abner Peabody, because Abner has swapped their delivery car for a racehorse. Lum is also too timid to propose to Geraldine, so he involves Abner in a "rescue" effort which nearly gets both of them killed. They try again, and this time Geraldine is impressed. Lum writes a proposal note, but Abner, by mistake, delivers it to the Widder Abernathy, who has been ready to remarry for years. This puts Lum in a peck of trouble until the sheriff appears with the Widder's long-gone and hiding husband. Written by
Les Adams <email@example.com>
The failure of the original copyright holder to renew the film's copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a VHS/DVD copy of the film. Therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and/or of extremely poor quality, having been duped from second- or third-generation (or more) copies of the film. See more »
Orson Welles didn't just plunk down in a sea of stupidity. That apparent stupidity had been working for decades on key elements of reflection in narrative. Here's a great example.
It consists of dumb hee-haw jokes. The two characters who are almost the whole show are two country bumpkins in a long tradition of bumpkin humor. They do stupid things and we laugh.
But check out a few intelligent notions lurking beneath the surface. The jokes come from two reflexive notions.
The first is that everyone gets new, faulty glasses that distort their vision. Near and far are thrown out of whack. So the difference between what they see is mapped in a way to what we see and this distance between what makes sense to us and them.
The second idea is more cinematically reflective. One of these dopes is in love. He wants to be seen as a hero. We see his imagining at the very beginning as a movie in his head. We as viewers literally enter his internal movie before we enter the "real" one. The plot of the real movie involves him trying to make a fake movie so his love will see him as a hero
These aren't turned into egghead humor. I believe it significant that the writers probably had no intellectual intent in using these devices. But they are there, both of the then reinforcing each other as if the structural diagram were drawn first.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
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