This movie has a song by Schenck and Van that they do in the baseball team locker room. The vocal is by Gus Van (with vocal responses from locker room boys), and it rocks pretty good for 1930: "Ten Sweet Mamas" - check it out, the rest of their numbers are more typical vaudeville stuff, but this one is worth listening to.
13 Reviews
Some ball players want to have their hot dogs . . .
oscaralbert1 April 2020
Warning: Spoilers
. . . and eat them too, THEY LEARNED ABOUT WOMEN teaches viewers. Nefarious pitcher "Jack," a typical representative for the House of the Groaning Fat Cat's rogues' gallery of malingering miscreants, sweeps away and discards his long-time fiancee like so much dirt the minute a blonde floozy sets her sights upon his bank roll and stacks up better in his unwary eyes than Mary ever could. Gold-digging "Daisy," of course, will put most if not all of Today's viewers in mind of that wicked wench who stole the insidious Houston Astronaut's no-hit mounds-man away from his high school sweetheart. Just as "Justin" exemplifies as much loyalty as a bud-hopping honey bee, Jack displays the steadfastness of a rosin bag in a 12-11 game. Given that the title of this horridly hybrid flick is THEY LEARNED ABOUT WOMEN, it's reasonable to wonder what Jack's stalwart catcher "Jerry" discovered during his own extra innings. Perhaps Jerry's sordid story can be best summed up by that old baseball adage, "You can't live happily ever after UNLESS the fat lady sings!"
Bessie Love steals home...
drednm26 April 2003
in this ok 1930 film that stars Joe Schenck and Gus Van as baseball players who hit the vaudeville stage off season. While Schenck and Van were real vaudeville stars, their film careers never took off, and this film showcases their strengths as performers as well as their weaknesses. Their ethnic accent-oriented songs will strike many today as being VERY un-PC just as their songs now seem blah. Into this mix, however, comes the wonderful Bessie Love as their love interest. The always perky Love has only a few moments to shine in this film, but she makes it all worthwhile once hoisted atop a pinao, ukelele in hand, and sings "I've Got a Man of My Own." Love was at the height of her film career in the late 20s and early 30s, before she bailed from Hollywood and headed to London. Love's number in this film, her appearance in Hollywood Revue of 1929, and her Oscar-nominated starring turn in The Broadway Melody all show why she was popular with filmgoers. Worth a look. Co-stars Mary Doran, Benny Rubin, and Tom Dugan.
Lamentably poor musical
JohnSeal27 April 2003
The vaudeville team of Van and Schenck concluded their brief film career with this positively dreadful MGM musical, a surprisingly bad film considering it was co-directed by Jack Conway and Sam Wood. In a stretch, the two less than wry hams play a vaudeville team who double up as star players for the Blue Sox, a professional baseball team of no apparent fixed address. The film features some poor and forgettable songs, dreadful editing, and some of the most boring baseball footage ever committed to celluloid, including the climactic World Series battle between the Blue Sox (probably modeled on the Boston Red Sox) and the Bears (whose gothic 'B' implies they're standing in for the Detroit Tigers). The only interesting part of the film is the Harlem Madness sequence, featuring the magnetic Nina Mae McKinney as a chorus line singer.
Baseball Melody
lugonian17 May 2015
THEY LEARNED ABOUT WOMEN (Metro-Goldwyn-Mayer, 1930), directed by Jack Conway and Sam Wood, is another assortment of early sound musicals released during the 1929-30 season, one of many to feature either Broadway actors or vaudeville entertainers. Still capitalizing on the earlier success of its first Academy Award winning musical, "The Broadway Melody" (1929) starring Charles King and Bessie Love, THEY LEARNED ABOUT WOMEN could have become another King and Love union, as did CHASING RAINBOWS (1930), but instead, the studio paired Love with the vaudeville team of Joe Schenck (1891-1930), who somewhat resembles Charles King by the way, and Gus Van (1886-1968), in what turned out to be their one and only feature length musical following their few Vitaphone musical shorts released earlier (1928-29).
Not quite the one about students in an all boys high school attending sex education class (which wouldn't be the norm until the 1970s), THEY LEARNED ABOUT WOMEN is a story about two devoted pals, Jack Glennon (Joe Schenck) and Jerry Burke (Gus Van), vaudeville partners and baseball players ("baseball is their racket") for the Blue Sox. The story opens with Glennon and Burke on a train en route to Florida for spring training after completing their vaudeville tour. The plot development shows Jack's weakness for boozing, and Jerry a kind-hearted guy who looks after his partner of fifteen years. Jerry's engaged to Mary Collins (Bessie Love), whom he plans to marry at the end of the baseball season, yet, after falling victim to a girl he met on the train, Daisy Gebhardt (Mary Doran), a gold digger traveling with the Melody Blondes troupe, Jack strikes out with both Jerry and Mary, and begins to learn about women, especially the one responsible for breaking up his act and friends.
With new tunes by Jack Yellen and Milton Ager, the motion picture soundtrack includes: "He's That Kind of a Pal" (sung by Schenck and Van); "Ain't you, Baby?" (sung by Van); "When You Were Sweet Sixteen" (by Jack Thornton/ sung by Tom Dugan and Benny Rubin); "I'd Love a Man of My Own" (sung by Bessie Love); "Does Your Baby Love?" (Schenck and Van); "There Will Never Be Another Mary," "Ten Sweet Mammas" (sung by Gus Van, baseball players in locker room and showers); "Daugherty is the Name," "I'm an Old-Fashioned Guy" (Schenck and Van); "Harlem Madness" (Schenck and Van, sung/ danced by Nina Mae McKinney and ensemble); "He's That Kind of a Pal" and "There Will Never Be Another Mary."
Being a motion picture showcase for Schenck and Van (as they were billed), the dual steps aside for "Harlem Madness," the only production number in the entire movie, and one that the true highlights thanks to the vibrant McKinney, co-star of King Vidor's HALLELUJAH (1929), and the energetic dancing ensemble. Interesting that McKinney didn't receive any screen credit listed as a specialty dancer in the opening cast. And who was that little girl doing the tap dancing solo? Another time Schenck and Van step aside is for the comedy routines of Benny Rubin (Sam Goldberg) and Tom Dugan (Tim O'Connor), baseball players and vaudeville comics. Their jokes are bad, but one can gather the worse the jokes, the funnier the routine.
As technology in early talkies begin to improve by this point such as camera close-ups on dancing feet and camera zoom-ins. "Harlem Madness" does incorporate occasional close up shots on dancing principles as well as capturing audience reactions seated in the theater. There are some long pauses on subject matter when changing from one reel to another before next scene proceeds. Others seen in the cast include: J.C. Nugent (Mr. Strafford, owner of the baseball team); Eddie Gribbon (Brennan, the umpire); Francis X. Bushman Jr. ("Home-Run" Haskins); and Graham McCracken (Himself/the Baseball Commentator).
THEY LEARNED ABOUT WOMEN is typical melody and tears material quite common in early musicals that started it all with Al Jolson's THE JAZZ SINGER (Warner Brothers, 1927). The story it represents can be classified as a forerunner to MGM's Technicolor musical, TAKE ME OUT TO THE BALLGAME (1949) starring Frank Sinatra, Esther Williams and Gene Kelly. Though some sources claim the Sinatra-Kelly collaboration to be a remake to the earlier Schenck-Van film, it's actually not. The only similarity is its mixture of vaudeville routines and baseball games incorporated into the plot. Nothing more.
For the only feature on-screen partnership of Schenck and Van, it's fortunate the motion picture has survived intact (95 minutes), considering how many films from this period have disappeared and gone forever. For being a filmed record of their work, it's a wonder whether or not they might have continue in other films had it not been for Schenck's untimely death. Possibly NO considering how THEY LEARNED ABOUT WOMEN reportedly didn't hit any home runs at the box-office, with no critique reviews published in several major New York City newspapers.
Other vaudeville headliners as The Duncan Sisters (Rosetta and Vivian) had their very own MGM musical, IT'S A GREAT LIFE (1929) that came and went as did this Schenck and Van musical, becoming virtually forgotten through the passage of time. In 1988, THEY LEARNED ABOUT WOMEN was rediscovered when broadcast in the then new cable television station of Turner Network Television (TNT) before becoming a regular member of Turner Classic Movies since 1994. Because it's still a rare treat of a movie, especially when Schenck and Van are concerned, THEY LEARNED ABOUT WOMEN still remains a worthy rediscovery for historians interested in learning about early sound musicals such as this one. (**)
Not quite the one about students in an all boys high school attending sex education class (which wouldn't be the norm until the 1970s), THEY LEARNED ABOUT WOMEN is a story about two devoted pals, Jack Glennon (Joe Schenck) and Jerry Burke (Gus Van), vaudeville partners and baseball players ("baseball is their racket") for the Blue Sox. The story opens with Glennon and Burke on a train en route to Florida for spring training after completing their vaudeville tour. The plot development shows Jack's weakness for boozing, and Jerry a kind-hearted guy who looks after his partner of fifteen years. Jerry's engaged to Mary Collins (Bessie Love), whom he plans to marry at the end of the baseball season, yet, after falling victim to a girl he met on the train, Daisy Gebhardt (Mary Doran), a gold digger traveling with the Melody Blondes troupe, Jack strikes out with both Jerry and Mary, and begins to learn about women, especially the one responsible for breaking up his act and friends.
With new tunes by Jack Yellen and Milton Ager, the motion picture soundtrack includes: "He's That Kind of a Pal" (sung by Schenck and Van); "Ain't you, Baby?" (sung by Van); "When You Were Sweet Sixteen" (by Jack Thornton/ sung by Tom Dugan and Benny Rubin); "I'd Love a Man of My Own" (sung by Bessie Love); "Does Your Baby Love?" (Schenck and Van); "There Will Never Be Another Mary," "Ten Sweet Mammas" (sung by Gus Van, baseball players in locker room and showers); "Daugherty is the Name," "I'm an Old-Fashioned Guy" (Schenck and Van); "Harlem Madness" (Schenck and Van, sung/ danced by Nina Mae McKinney and ensemble); "He's That Kind of a Pal" and "There Will Never Be Another Mary."
Being a motion picture showcase for Schenck and Van (as they were billed), the dual steps aside for "Harlem Madness," the only production number in the entire movie, and one that the true highlights thanks to the vibrant McKinney, co-star of King Vidor's HALLELUJAH (1929), and the energetic dancing ensemble. Interesting that McKinney didn't receive any screen credit listed as a specialty dancer in the opening cast. And who was that little girl doing the tap dancing solo? Another time Schenck and Van step aside is for the comedy routines of Benny Rubin (Sam Goldberg) and Tom Dugan (Tim O'Connor), baseball players and vaudeville comics. Their jokes are bad, but one can gather the worse the jokes, the funnier the routine.
As technology in early talkies begin to improve by this point such as camera close-ups on dancing feet and camera zoom-ins. "Harlem Madness" does incorporate occasional close up shots on dancing principles as well as capturing audience reactions seated in the theater. There are some long pauses on subject matter when changing from one reel to another before next scene proceeds. Others seen in the cast include: J.C. Nugent (Mr. Strafford, owner of the baseball team); Eddie Gribbon (Brennan, the umpire); Francis X. Bushman Jr. ("Home-Run" Haskins); and Graham McCracken (Himself/the Baseball Commentator).
THEY LEARNED ABOUT WOMEN is typical melody and tears material quite common in early musicals that started it all with Al Jolson's THE JAZZ SINGER (Warner Brothers, 1927). The story it represents can be classified as a forerunner to MGM's Technicolor musical, TAKE ME OUT TO THE BALLGAME (1949) starring Frank Sinatra, Esther Williams and Gene Kelly. Though some sources claim the Sinatra-Kelly collaboration to be a remake to the earlier Schenck-Van film, it's actually not. The only similarity is its mixture of vaudeville routines and baseball games incorporated into the plot. Nothing more.
For the only feature on-screen partnership of Schenck and Van, it's fortunate the motion picture has survived intact (95 minutes), considering how many films from this period have disappeared and gone forever. For being a filmed record of their work, it's a wonder whether or not they might have continue in other films had it not been for Schenck's untimely death. Possibly NO considering how THEY LEARNED ABOUT WOMEN reportedly didn't hit any home runs at the box-office, with no critique reviews published in several major New York City newspapers.
Other vaudeville headliners as The Duncan Sisters (Rosetta and Vivian) had their very own MGM musical, IT'S A GREAT LIFE (1929) that came and went as did this Schenck and Van musical, becoming virtually forgotten through the passage of time. In 1988, THEY LEARNED ABOUT WOMEN was rediscovered when broadcast in the then new cable television station of Turner Network Television (TNT) before becoming a regular member of Turner Classic Movies since 1994. Because it's still a rare treat of a movie, especially when Schenck and Van are concerned, THEY LEARNED ABOUT WOMEN still remains a worthy rediscovery for historians interested in learning about early sound musicals such as this one. (**)
Watchable As A Curiosity...
xerses139 April 2009
Early sound musical THEY LEARNED ABOUT WOMEN (1930) M.G.M. combines BaseBall with the dying performance art of Vaudeville. Throw in some rather poor musical numbers and a romance spoiled by a Gold-Digger and that about sums up the plot. For some this film will be offensive in it's dated ethnic comedy. They should realize that is not the problem, it is just bad even by early sound standards.
The cast features real Vaudeville performers (Gus) VAN & (Joe) SCHENCK and M.G.M. Star BESSIE LOVE. LOVEs' career was winding down and did not translate well too the sound era. VAN & SCHENCK must be one (1) of the reasons of what killed Vaudeville. This film shows why the Hollywood Musical lost popularity until revived by WARNER BROTHERS and BUSBY BERKERLY in 1933.
Fast forward now nineteen (19) years and M.G.M. releases TAKE ME OUT TO THE BALL GAME (1949). Nothing gets thrown away in Hollywood so this concept was dusted off, rewritten and given TechniColor and the M.G.M. star power of GENE KELLY, ESTHER WILLIAMS, FRANK SINATRA & BETTY GARRETT. BUSBY BERKERLY directed and this film has at least enjoyable 'Song & Dance' routines. Our rating IMDB******(6).
A interesting note, long term Character Actor, TOM DUGAN appeared in both films. In T.L.A.W. (1930) he played TIM 'Timmy' O'CONNOR, in T.M.O.T.T.B.G. (1949) it was 'Slappy' BURKE.
The cast features real Vaudeville performers (Gus) VAN & (Joe) SCHENCK and M.G.M. Star BESSIE LOVE. LOVEs' career was winding down and did not translate well too the sound era. VAN & SCHENCK must be one (1) of the reasons of what killed Vaudeville. This film shows why the Hollywood Musical lost popularity until revived by WARNER BROTHERS and BUSBY BERKERLY in 1933.
Fast forward now nineteen (19) years and M.G.M. releases TAKE ME OUT TO THE BALL GAME (1949). Nothing gets thrown away in Hollywood so this concept was dusted off, rewritten and given TechniColor and the M.G.M. star power of GENE KELLY, ESTHER WILLIAMS, FRANK SINATRA & BETTY GARRETT. BUSBY BERKERLY directed and this film has at least enjoyable 'Song & Dance' routines. Our rating IMDB******(6).
A interesting note, long term Character Actor, TOM DUGAN appeared in both films. In T.L.A.W. (1930) he played TIM 'Timmy' O'CONNOR, in T.M.O.T.T.B.G. (1949) it was 'Slappy' BURKE.
Take Them Out to the Ballgame
bkoganbing31 March 2020
In vaudeville and on stage the team of Van&Schenck was one of the biggest
drawing acts. But vaudeville was dying a slow death in 1930 and their kind
of dialect humor could not carry a film aw is proven in They Learned About
Women.
This film is a baseball film about a vaudeville act that doubles in baseball. This was done so much better by Gene Kelly and Frank Sinatra in Take Me Out To The Ballgame. The film is a hodgepodge of their type of numbers written by Jack Yellen and Milton Ager.
There's a good girl Bessie Love and a bad girl Mary Doran in the film and a lot of newsreel baseball shots.
One of the worst baseball films ever. But at least Van&Schenck are preserved.
This film is a baseball film about a vaudeville act that doubles in baseball. This was done so much better by Gene Kelly and Frank Sinatra in Take Me Out To The Ballgame. The film is a hodgepodge of their type of numbers written by Jack Yellen and Milton Ager.
There's a good girl Bessie Love and a bad girl Mary Doran in the film and a lot of newsreel baseball shots.
One of the worst baseball films ever. But at least Van&Schenck are preserved.
This one bombed in 1930...and I can see why.
planktonrules1 April 2020
"They Learned About Women" is a film from MGM starring the Vaudeville/Broadway duo of Van & Schenck. While they were very popular on stage, on film they were a bit of a bust....and "They Learned About Women" was a box office loser. After seeing it, I can understand why it failed....they just weren't that funny and the film was creaky with age by the time it debuted in 1930.
Jerry (Gus Van) and Jack (Joe Schenck) are professional baseball players who, on the off-season, are Vaudeville performers. Unfortunately, their friendship and partnership are put in jeopardy when Jerry marries an awful woman. Jack and the other players can see her for who she is...but Jerry is hopelessly in love. What's to come of this?
This film features some of the worst singing I can recall having endured. Perhaps Van & Schenck sounded better on stage, but here they can barely carry a tune...and it's the same for the women singing in this one....with their high-pitched warbling. While the film is a bit better when they aren't singing, they sing a lot! And, the primitive sound system used by MGM sure didn't help!
Overall, an unfunny film filled with god-awful singing. Watching it's a bit of an endurance contest...it's THAT bad!
Jerry (Gus Van) and Jack (Joe Schenck) are professional baseball players who, on the off-season, are Vaudeville performers. Unfortunately, their friendship and partnership are put in jeopardy when Jerry marries an awful woman. Jack and the other players can see her for who she is...but Jerry is hopelessly in love. What's to come of this?
This film features some of the worst singing I can recall having endured. Perhaps Van & Schenck sounded better on stage, but here they can barely carry a tune...and it's the same for the women singing in this one....with their high-pitched warbling. While the film is a bit better when they aren't singing, they sing a lot! And, the primitive sound system used by MGM sure didn't help!
Overall, an unfunny film filled with god-awful singing. Watching it's a bit of an endurance contest...it's THAT bad!
Sometimes even obscure early musicals are worth seeking out...
AlsExGal27 February 2010
... and this is one of them. The early MGM musical comedies were thin on plot, but this thing is a real showcase of sound entertainment circa 1930. Plus you get to see how baseball was once played by just a bunch of average guys who were mechanics, plumbers, and - in the case of Van and Schenck's characters - vaudevillians From October to April. No wading in tens of millions they could never count for these guys.
The jist of the story is that vaudevillians Jerry Burke (Gus Van) and Jack Glennon (Joe Schenck) are singers half the year, baseball players with the Blue Sox the other half. Jerry is the partying type and Jack is the more level-headed one with a girl that he plans to marry soon, Mary (Bessie Love). Everything has been running smoothly until gold digging Daisy (Mary Doran) gets her eye on Jack and his earning potential.
Besides the baseball scenes from 80 years ago, the best part of this whole film is Nina Mae McKinney singing and dancing to Harlem Madness as well as a close look at two true vaudevillians - Gus and Schenck - in numbers that are pretty close to what they did on stage. Also, the fact is that, besides a couple of Vitaphone shorts, this is the only filmed record of their act or of their acting. Two songs in particular will probably seem jaw-droppingly politically incorrect to most modern viewers - "I'm an Old-Fashioned Guy" and "Dougherty Is the Name", but actually the sentiments in these songs do represent main-stream values of 80 years ago. The contrived comedy skits land with a bit of a thud, and it is a bit of a stretch to think of an entire baseball team breaking into barbershop style song in the shower after the game, but believe me you won't be bored.
One thing that cracked me up - and this is only a conjecture on my part - actress Mary Doran as the gold digger has a voice that is identical to the cheating wife-dog in the "All Barkies" Dogville short Hot Dog. Since she was under contract to MGM at the time, and MGM is the studio that produced the Dogville shorts, I wonder if that was her voice. It sure did sound like her.
At any rate, I do highly recommend this one.
The jist of the story is that vaudevillians Jerry Burke (Gus Van) and Jack Glennon (Joe Schenck) are singers half the year, baseball players with the Blue Sox the other half. Jerry is the partying type and Jack is the more level-headed one with a girl that he plans to marry soon, Mary (Bessie Love). Everything has been running smoothly until gold digging Daisy (Mary Doran) gets her eye on Jack and his earning potential.
Besides the baseball scenes from 80 years ago, the best part of this whole film is Nina Mae McKinney singing and dancing to Harlem Madness as well as a close look at two true vaudevillians - Gus and Schenck - in numbers that are pretty close to what they did on stage. Also, the fact is that, besides a couple of Vitaphone shorts, this is the only filmed record of their act or of their acting. Two songs in particular will probably seem jaw-droppingly politically incorrect to most modern viewers - "I'm an Old-Fashioned Guy" and "Dougherty Is the Name", but actually the sentiments in these songs do represent main-stream values of 80 years ago. The contrived comedy skits land with a bit of a thud, and it is a bit of a stretch to think of an entire baseball team breaking into barbershop style song in the shower after the game, but believe me you won't be bored.
One thing that cracked me up - and this is only a conjecture on my part - actress Mary Doran as the gold digger has a voice that is identical to the cheating wife-dog in the "All Barkies" Dogville short Hot Dog. Since she was under contract to MGM at the time, and MGM is the studio that produced the Dogville shorts, I wonder if that was her voice. It sure did sound like her.
At any rate, I do highly recommend this one.
A whole lotta' surprises
MikeMagi18 October 2014
"They Learned About Women" is full of surprises, mostly pleasant. The movie was obviously made to showcase vaudeville stars Van and Schenk, cast here as a pair of pro ball players who do a song-and-dance act during the off-season. What's surprising is what first-rate actors they turned out to be. Then there's Bessie Love, a silent screen stalwart, who surprisingly picks up a ukulele and belts out a torch song in bravura style. In fact the musical numbers are exceptionally well staged, a surprise of sorts less than two years after the advent of sound. Even the sub-plot, about a vamp who tricks Van into marriage, works in a dopey sort of way. As does a climactic World Series game, the outcome of which is -- in this case -- no surprise. Forgive a few un-PC song lyrics and enjoy a movie that's surprisingly better than you might expect.
Dated but wow, what a...
inframan10 April 2009
great piece of historical entertainment! Embodying the intersection of at least 3 critical eras of the show biz: Vaudeville, Baseball & Film (also sound movies & musicals).
Check out the Harlem Madness number for dynamite production of the period (1920s, really). Nothing since has even approached the electricity captured in that performance, but lots have tried with endless derivatives (ending but not limited to Moulin Rouge with Kidman & MacGregor).
Sure, the humor's creaky, the acting's stilted, the direction is confusing (although by two of the stalwarts of the golden age of film).
But hey, Washington's inaugural (or Lincoln's Gettysburg) address would look pretty dated now, wouldn't they? I'd still give anything to see them wouldn't you?
Check out the Harlem Madness number for dynamite production of the period (1920s, really). Nothing since has even approached the electricity captured in that performance, but lots have tried with endless derivatives (ending but not limited to Moulin Rouge with Kidman & MacGregor).
Sure, the humor's creaky, the acting's stilted, the direction is confusing (although by two of the stalwarts of the golden age of film).
But hey, Washington's inaugural (or Lincoln's Gettysburg) address would look pretty dated now, wouldn't they? I'd still give anything to see them wouldn't you?
The highlight of the obscure They Learned About Women was a dance number featuring Nina Mae McKinney
tavm3 February 2019
I only just found out about this obscure movie after looking at the filmography of Nina Mae McKinney on this site and then looking at the Google Videos list to find out where I could see it online. I'll just now say that Ms. McKinney does a great dance to the "Harlem Madness" number surrounded by lots of men and other women-presumably all of her race and not just people in burnt cork-as well as one girl-possibly a teen-whose name is presumably lost in the wind. The rest of the movie-about a couple of baseball player friends who moonlights in vaudeville during the off-season with one of them involved with a girl who goes to the other one after her previous one finds another and breaks up with her-is quite involving. So in summary, They Learned About Women was a fine drama with good music and some good comedy, as well!
***1/2
edwagreen5 August 2016
Warning: Spoilers
Baseball really took a backdrop in this 1930 film with 2 players doing vaudeville during the off season.
Jack and Jerry are quite a duo both off and on the field. Their 15 year friendship endures and Jack is engaged to the pert, kind Mary, played so affectionately by Bessie Love.
Along comes Daisy, first pretending to be the good girl, but her true self soon comes out and when Mary (Love) finds the two of them together, she breaks her engagement with Jack, who on the rebound weds Daisy.
Daisy brings Jack to ruin with her demands and total control ways of doing things. She dislikes Jerry and has Jack get rid of him. In the interim, Mary and Jerry become an item and after ditching Jack, Daisy runs off with his new partner and Jack returns to baseball.
The comedy routines might sound corny but the interfaith jokes are fun to listen to and the songs that the guys sing aren't all that bad.
Of course, it takes a beaning in the head for true love to conquer all at film's end.
Jack and Jerry are quite a duo both off and on the field. Their 15 year friendship endures and Jack is engaged to the pert, kind Mary, played so affectionately by Bessie Love.
Along comes Daisy, first pretending to be the good girl, but her true self soon comes out and when Mary (Love) finds the two of them together, she breaks her engagement with Jack, who on the rebound weds Daisy.
Daisy brings Jack to ruin with her demands and total control ways of doing things. She dislikes Jerry and has Jack get rid of him. In the interim, Mary and Jerry become an item and after ditching Jack, Daisy runs off with his new partner and Jack returns to baseball.
The comedy routines might sound corny but the interfaith jokes are fun to listen to and the songs that the guys sing aren't all that bad.
Of course, it takes a beaning in the head for true love to conquer all at film's end.
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