A bumbling pants presser at an upscale hotel's valet service nurses an unrequited crush on a Broadway star. He gets more than he bargained for when she agrees to marry him, to spite her womanizing fiance, and encounters Nazi saboteurs.
Lowly clerk Aubrey Piper has a fondness for exaggerating about himself to impress people. His fantastic tales of visiting China and working as a manager at his place of employment charm his... See full summary »
Parting company with her on-stage partner Professor Orco partly due to the job being potentially hazardous to her health, streetwise but kind-hearted vaudeville performer Maisie Ravier, in ... See full summary »
Pirdy is accident prone. He has been denied insurance from every company in town because he is always getting hit or hurt in some way. On the day that he meets the lovely Ellen of the ... See full summary »
Johnny Riggs, a con man on the lam, finds himself in a Latin-American country named Patria. There, he overhears a convent-bred rich girl praying to her guardian angel for help in managing ... See full summary »
Constance Shaw is a dance star on Broadway, Joseph Rivington Renolds is a keen fan of her. After she is fed up with her fiance, she meets Joseph and marries him, because she thinks he is the owner of a mine. But that's a misunderstanding, he works at a cleaning shop. After disturbing rehearsals he is thrown out of the theater, but when he sneaks in again, he discovers an actor talking about a bomb he wants to set in the theater to blow up an ammunition store next door. Written by
Stephan Eichenberg <email@example.com>
According to M-G-M press materials, Buster Keaton served as technical advisor for some of the slapstick scenes in this film. It is a loose remake of Spite Marriage (1929) which starred Keaton in his second film under contract to M-G-M and his last silent film. Indeed, Red Skelton seems to exactly mimic many of Keaton's gags from the earlier film. See more »
How's the piano, Hazel?
[Hazel runs her fingers up and down the keyboard]
I guess it'll hold up.
See more »
I have this notion that the thirties was a great pressure cooker for movies, during which time all sorts of experiments were tried. Out of that period came the genres we know today, plus the great invention of Noir, uniquely American.
So I've been watching lots of 30s movies, not because they are good or particularly enjoyable. But because you can see the genotype of today's movies, which is to say I can see the origins of how we all dream and mostly imagine.
Now here is an anomaly, a 30s movie made in the 40s. I can only imagine that it was to feed the war-starved theaters. It is a remake and "borrows" musical numbers from a couple films that really were made in the 30s.
It is a spliced picture, three movies combined, something that was common in the 30's.
One movie is a stage show. Simple and straightforward. Lots of variety here.
A second movie is a comedic fold: a movie where all the players are involved in some way in a play (different than the earlier mentioned performances and more like "Gone with the Wind"). Lots of physical humor here. Red Skelton's technique was to perform a comedic motion (like rolling his eyes after getting bonked) in an exaggerated fashion and then abruptly stop before it finished and look at the audience with a big grin. It was humor about humor, a not very sophisticated but an effective fold that would grow into what we have today (and call irony).
The third movie has a wartime saboteur. Because the "fold," the notion of the play within the play, is explicit here, the explosion is to blow up the theater (and somehow simultaneously threaten the nation by mechanisms unexplained).
Its a mess, these three parts not integrated in any way.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
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