Typical Amos 'n Andy storyline has the boys trying to make a go of their "open-air" taxi business while they get caught up in a society hassle, involving driving musicians to a fancy party. ... Read allTypical Amos 'n Andy storyline has the boys trying to make a go of their "open-air" taxi business while they get caught up in a society hassle, involving driving musicians to a fancy party. All the regular characters are here (or mentioned), including the famous Mystic Knights of... Read allTypical Amos 'n Andy storyline has the boys trying to make a go of their "open-air" taxi business while they get caught up in a society hassle, involving driving musicians to a fancy party. All the regular characters are here (or mentioned), including the famous Mystic Knights of the Sea. The only film appearance of radio's long-running characters.
- Director
- Writers
- Stars
- Awards
- 3 wins total
- Richard Williams
- (as Charles S. Morton)
- Elinor Crawford
- (as Rita LaRoy)
- Brother Arthur
- (as Rosco Ates)
- The Cotton Club Orchestra
- (as The Cotton Club Orchestra)
- Akim Tamiroff
- (uncredited)
- Member, Cotton Club Orchestra
- (uncredited)
- Member, Cotton Club Orchestra
- (uncredited)
- Member, Cotton Club Orchestra
- (uncredited)
- Angry Policeman
- (uncredited)
- Policeman
- (uncredited)
- Member, Cotton Club Orchestra
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
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This is of course the infamous, original incarnation of Amos and Andy, with white actors Gosden and Correll in black face playing the leading roles. They aren't as mean spirited as some of the other caricatures of the time, but it's a sad sight, nonetheless. The decision was also made to have all other black characters with a speaking part also be white people in black face, although extras were cast with actual black performers. The nature of Amos and Andy is enough of a drawback, but what really killed this for me was that it is just not funny in the least. Actors like Willie Best and Mantan Moreland could often be hilarious despite the insensitive portrayal of their characters. But the comedy here is non-existent. The "old dark house" set-up seems tacked-on and unexploited for the inherent comedy, and none of the supporting players are very good at all, either. Gosden was said to have been unhappy with how the film turned out, and there were no other Amos and Andy features. This is surprising since the film was extremely profitable, and was the biggest hit in RKO's history until King Kong.
The movie does feature one stand-out scene of Duke Ellington's band performing some songs (even using Bing Crosby's voice for one). It raised the entire film's rating by one star, in my humble opinion.
The story opens on a New York City street during a traffic jam where John Blair (Edward Martindel) and his wife (Irene Rich) await patiently in their limousine while on their way to pick up a family friend, Richard Williams (Charles Morton) at Pennsylvania Station. Holding up a line of cars is the run-down Model T cab by owners of the Fresh Air Taxi Company, Amos (Freeman F, Gosden) and Andy Brown (Charles V. Correll). Obtaining a taxi leading to the Blair estate in Hartsdale, New York, Charles meets with the Blair daughter, Joan (Sue Carol), whom he had seen since childhood, horse riding with her suitor, Ralph Crawford (Ralf Harolde). Ralph becomes jealous of their relationship and schemes on keeping them apart. Later, the Blairs hire Duke Ellington and his Cotton Orchestra to perform at their social function, but arrive two hours late due to their slow taxi transport by none other than Amos and Andy. "Check and Double Check" finally serves its title purpose as Amos and Andy attend their lodge club, "The Mystic Knights of the Sea." Their fraternity brother and mystic leader, Kingfish (Russell Powell), selects them as to spend the night in an old abandoned estate in Harlem acting as night watchmen and locate a piece of paper labeled "Check and Double Check," that's to be returned to the lodge the following morning. While the home has a reputation for being haunted, Amos and Andy are unaware the noises are being made by Ralph and assistant searching for an unclaimed deed of Richard's deceased grandfather needed in order for Ricjhard to marry Joan. Roscoe Ates (Roscoe); and Rita LaRoy (Elinor, Ralph's sister) are also seen in the cast. While Amos and Andy's girlfriends, Ruby Taylor and Madame Queen, are discussed, they do not appear.
Anyone familiar with the television series, "The Amos and Andy Show" (1951-1953), would be disappointed by this sole motion picture venture based on the same radio characters. Being an early talkie, certain sequences are drawn-out and stiffly played. Much of the story devotes more time on the Blair family than on Amos and Andy. Although there's no singers, the Blair function does present Duke Ellington's Band playing the hit tune to Bert Kalmar and Harry Ruby's classic, "Three Little Words." Ellington, unfortunately, is glimpsed piano playing either by back of head or side facial profile, only gets his facial view in long shot.
With Hal Roach having Stan Laurel and Oliver Hardy, and RKO Radio having Bert Wheeler and Robert Woolsey, the same studio (RKO) gambled on the success by acquiring another comedy team, Amos and Andy. Reportedly successful in 1930, with viewers getting a full glimpse of the popular dual, interestingly there were no future follow-up Amos and Andy features nor comedy shorts. They did appear on screen once more, doing a guest spot in THE BIG BROADCAST OF 1936 (Paramount, 1935). As it appears, Amos and Andy were probably more popular and funnier on radio than on the silver screen. When Amos and Andy were transferred to television, the two-season comedy series featured natural black actors (Alvin Childress and Spencer Williams) in their title roles, yet they were mostly secondary players to its actual star of that program, Kingfish (wonderfully played by the scene-stealing Tim Moore).
Though Amos and Andy could be said to be black replicas to Laurel and Hardy, with Amos the thin and sensible partner to Amos's fat, loafing, cigar smoking character sitting back to think while Amos does all the work, their comedy routines include mix-up telephone conversation, their new math method with Kingfish; tire changing, and race against time taxi driving to Pennsylvania Station, which unfortunately lacks comedy scoring and obviously staged in front of a rear projection screen.
Who knows if CHECK AND DOUBLE CHECK might have stood the test of time had Amos and Andy been played by actual black actors as Sam McDaniel and Clarence Muse, as opposed to white actors in blackface. Yet with them doing the same exact thing might still stir up controversy by the way how blacks obtain laughter rather than getting laughter.
Having turned up on television around 1979, CHECK AND DOUBLE CHECK, a public domain title, did become available on video cassette (1980s) and years later on DVD. It has turned up sparingly on cable television's Turner Classic Movies, notably in 2006 as part of its subject matter, "Black Images on Film." As in 1930, this comedy would be seen today more as a curiosity than a comedy classic. (**)
Both of these folks will be delighted to take offense at the very mention of the name "Amos and Andy," whether they've ever actually SEEN any version of the show or not. A&A are the very SYMBOL of Hollywood racism, defaming the image of blacks. Supposedly.
I would take it that "Amos and Andy" represents (however accurately or not) a broadly caricatured representation of regular poor black folks. You could make it out to depict them as foolish, but no more so I say than do shows aimed at poor whites. I have in mind for starters the Beverly Hillbillies.
Nor are the depictions of Amos and Andy harsher than those of Ma and Pa Kettle. Now THERE is some negative stereotyping.
But hey! It's just a joke, and not particularly mean. Amos and Andy as characters aren't deep, but they're affectionate and good natured, just a couple of regular joes trying to get by. Doesn't strike me as much of a hate crime.
Oh, and they're pretty damned funny, too. Note that this bears the same screenwriter's name as several Marx brothers classics, Bert Kalmar. This ain't quite up there with "Duck Soup," but it's pretty funny stuff. The kingfish and the lodge stuff put me in mind of the Flintstones' "Water Buffalo" lodge, and the silly rituals and blowhard leaders trying to puff themselves up to look like alpha-males.
Also, this film stops for some straight up film time for the most righteous Duke Ellington orchestra. There is very limited film available for any musicians of the era, especially black ones. This part alone justifies the film's existence for me.
C'mon, loosen up folks. Eddie Murphy makes 10 times more stinging jokes. At least Amos and Andy weren't pimps or dope-dealers or crooks.
Now of course, in "Check and Double Check" Amos and Andy are played by two guys in blackface, the two white guys who have made Amos and Andy famous up until that point. It is very funny seeing the white guys in blackface, because there is no doubting they are indeed white men (Kingfish is white too). Seeing this film was especially interesting for me because I have the two Amos and Andy cartoons from 1934 (the only ones ever made) which use the voices of these two actors.
The movie itself is pretty good, Amos and Andy get mixed up in some society plot, involving some well-to-do white people from Westchester. Back in Harlem, the duo run their taxicab company, and there are some nice shots of New York City in 1930. And for train/subway fans, there is a particular treat, as we go into the original Pennsylvania Station for some shots! There are some funny scenes in the film, with Andy's deadpan lines making me laugh the most. Maybe the thing that would surprise most new viewers of this film, is just how much the actors underplay their roles as Amos and Andy as far as black stereotyping from the 30's goes. As all old film fans know, black actors in these old movies were usually put in for comic relief, making funny faces and noises, looking bug-eyed, running scared at the slightest sound, jumping around with arms flailing if they were scared, etc. But these two guys really don't do any of that. Sure, they play for comedy, but even though they are in blackface, they actually avoid all that kind of stuff, and just play the comedy straight. This may disappoint anyone looking to blast and tear the film apart concerning the two actors as Amos and Andy, but it's the truth, they really don't make an effort to make blacks look silly, they are really playing a comedy while happening to be in blackface.
Most don't understand just how huge the characters of Amos and Andy were in those days. This film is an unbelievable artifact of the era, an entertaining excursion into 1930's comedy. The quality of the print is also downright excellent on the DVD I viewed. I highly recommend this film for entertainment as well as historical study.
But you have to see Check and Doublecheck and realize that it was a pair of white ex-vaudevillians who were playing these characters. And playing them servile. Note right at the beginning of the film as the Fresh Air Taxi was holding up traffic and a cop asks them to move along. Note the tone he takes with them and note the "yassuh" response that both of them give. Later on Amos and Andy are busy reminiscing about the good old days on the plantation back in Georgia before they came to Harlem. Back in Georgia dealing with Klan and lucky to be making enough money to exist on as sharecroppers. Of course you know they're going to help the son of the old plantation owner.
The plot as it is Check and Doublecheck has the son of that former plantation owner previously described looking for the deed to an old abandoned house in Harlem so he can claim title, sell it, and be rich enough to marry his intended. His path crossed that of Amos and Andy who are on a kind of treasure hunt for their Mystic Knights of the Sea Lodge. The intended bride is played by Sue Carol who left acting to become an agent and her most famous client was her fourth and last husband Alan Ladd.
Also in the film are Duke Ellington and his Orchestra. Ellington made his screen debut here and he played himself in several films after this. For that reason this film should be seen, to hear one of the great jazz bands of the last century.
The premise they bring Ellington in is in itself ridiculous. Remember this film is made in 1930 and while Ellington played at Harlem's Cotton Club he didn't get too many bookings at Westchester society parties. But that's what this film would have you believe. That crowd would have more likely hired Leo Reisman or Ray Noble. And of course the band gets there via The Fresh Air Taxi Company.
Singing with the band are The Rhythm Boys, recently detached from Paul Whiteman's Orchestra which included their lead singer Bing Crosby. According to Gary Giddins recent biography of Crosby, Ellington was dissatisfied with the vocal group he had and had RKO hire the Rhythm Boys to sing offstage while three black performers lipsynched. That is one ironic twist of fate. Later on Bing and his partners, Al Rinker and Harry Barris recorded their song from this film Three Little Words with Duke Ellington's orchestra which was a mega hit back in the day.
Even with a hit song coming from this film, Check and Doublecheck created no big demand for Amos and Andy films. Freeman Gosden and Charles Correll stayed on radio for another 25 years with their characters. Maybe just as well they only made one more film appearance in the all star Big Broadcast of 1936.
Did you know
- TriviaBoth actors who played Amos and Andy were white in what was known as "blackface" makeup at the time. Blackface had been mostly abandoned by mainstream American films by 1930, unless it was diegetic (i.e. characters are performers who wear blackface as part of their act). It was decided that all African-American speaking roles in this film would, for aesthetic continuity, be played by white actors in blackface; the only exceptions were Duke Ellington and his orchestra appearing in the party scene, and the occasional non-speaking extra in scenes set in Harlem.
- Quotes
Lodge secretary: At da las' meetin' which was for da purpose of COLLECTIN' DA LODGE DUES, der was NOBODY PRESENT! Dat, gen'lemen, was da minutes of da last meetin'.
- ConnectionsFeatured in Amos 'n' Andy: Anatomy of a Controversy (1983)
- SoundtracksThree Little Words
(1930) (uncredited)
Music by Harry Ruby
Lyrics by Bert Kalmar
Performed by Bing Crosby, Harry Barris and Al Rinker with the Duke Ellington Orchestra
Details
- Runtime1 hour 17 minutes
- Color
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