Boarding House Blues (1948)Tenants of a Harlem boarding house put on a show to save their home. Director:Josh BinneyWriter:Hal Seeger |
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Boarding House Blues (1948)Tenants of a Harlem boarding house put on a show to save their home. Director:Josh BinneyWriter:Hal Seeger |
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| Cast overview, first billed only: | |||
| Moms Mabley | ... |
Moms
(as Jackie Mabley)
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Dusty Fletcher | ... |
Dusty
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Marcellus Wilson | ... |
Jerry
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Marie Cooke | ... |
Lila Foster
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Augustus Smith | ... |
Norman Norman
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John D. Lee Jr. | ... |
Stanley
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Emory Richardson | ... |
Simon
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Harold Cromer | ... |
Moofty
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Sidney Easton | ... |
Boo Boo
(as Sid Easton)
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Freddie Robinson | ... |
Freddie
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John Mason | ... |
Boarders (with 'company')
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John Riano | ... |
Steggy (the ape)
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Lucky Millinder | ... |
Himself (bandleader)
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Una Mae Carlisle | ... |
Herself (singer)
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Bull Moose Jackson | ... |
Himself (singer)
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Despite the slapstick atmosphere there, the inhabitants of Moms' theatrical boarding house in Harlem are broke and in danger of losing their home. For some ready cash, they trick a producer into helping them put on a show, featuring a variety of black specialty acts. Written by Rod Crawford <puffinus@u.washington.edu>
Forget the "plot"--it's just contrived to string together various classic vaudeville routines and exciting musical numbers from Black performers of the 1940s. If you enjoyed Killer Diller (made by the same people as this one, and also featuring Dusty Fletcher and Moms Mabley), you'll want to see this one too. It offers a rare opportunity to see African-American vaudeville routines that were probably old in the 1920s, now performed in the waning days of vaudeville. Dusty Fletcher, best known for his smash hit "open the door, richard," is a wonderful physical comedian (her accompanied by some acrobatic person in an ape suit!), and ANY opportunity to see the legendary Moms Mabley should be taken advantage of. The musical performances by Anisteen Allen, Una Mae Carlisle, and Bullmoose Jackson are wonderful, and it's great to see bandleader Lucky Millinder as compere. There's also some off-the-wall "novelty acts" worked into the show, including the one-legged dancer "Crip" Heard. The emphasis here is on the acts you're watching, NOT on the filmmaking. All in all, this is a pleasant way to kill 90 minutes and also gives us a window into a form of entertainment long gone--classic African-American vaudeville.