4.9/10
353
16 user 6 critic

Li'l Abner (1940)

Passed | | Comedy | 9 November 1940 (USA)
The goings-on in the rural Southern community of Dogpatch, USA.

Director:

Albert S. Rogell

Writers:

Charles Kerr (screenplay), Tyler Johnson (screenplay) | 2 more credits »
Reviews

On Disc

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Photos

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Cast

Cast overview, first billed only:
Jeff York ... Li'l Abner Yokum (as Granville Owen)
Martha O'Driscoll ... Daisy Mae Scragg
Mona Ray ... Pansy 'Mammy' Yokum
Johnnie Morris Johnnie Morris ... Lucifer 'Pappy' Yokum
Buster Keaton ... Lonesome Polecat
Billie Seward ... Cousin Delightful
Kay Sutton ... Wendy Wilecat
Maude Eburne ... Granny Scragg
Johnny Arthur ... Montague
Walter Catlett ... Barber
Edgar Kennedy ... Cornelius Cornpone
Lucien Littlefield ... The Sheriff / Mr. Oldtimer
Charles A. Post ... Earthquake McGoon
Bud Jamison ... Hairless Joe
Frank Wilder Frank Wilder ... Abijah Gooch
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Storyline

The goings-on in the rural Southern community of Dogpatch, USA.

Plot Summary | Add Synopsis

Taglines:

ALIVE On The Screen...Based on the United Feature Comic by AL CAPP See more »

Genres:

Comedy

Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

9 November 1940 (USA) See more »

Also Known As:

Bange for piger See more »

Company Credits

Production Co:

Vogue Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

This is the movie that Allie and Noah watched in the movie "The Notebook ". See more »

Quotes

[first lines]
Granny Scraggs: Daisy Mae! Come on, Daisy Mae. It's gettin' up time.
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Soundtracks

Li'l Abner
Written by Ben Oakland, Milton Drake and Milton Berle
Sung by "Martha O'Driscoll'
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Frequently Asked Questions

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User Reviews

Kettle, Pot
13 October 2006 | by tedgSee all my reviews

Every urban culture has a myth about some primitive people that is essential to their identity. Often of course it is the original people that were displaced, and that's the most natural. The Nordic countries do it in this way. But that slot is filled in strange ways across the world. Brazil fills the spot in several ways, with natives, slaves, and the now relatively backwards Portugal being juggled.

In the US, we do something similar, though we handle our native Americans differently. We handle our guilt by overly romanticizing them, a role they eagerly accept. (Indeed, they have reinvented their history around this notion of nobility.) But we do have what everyone else has in this myth of a simple people. You can see this in movies, naturally, as movies are where we as a society mainly maintain our persistent myths these days.

So we have two types of movies that fit this. Blacks aren't allowed in this category. We handle them differently. Immigrants before the recent Hispanic wave of the 60s are particularly represented. The biggest recent example was "Big Fat Greek Wedding," which follows the rather strict model of embracing a sort of innocent stupidity while laughing at it. Its a sort of being in and being out at the same time.

And we have slight variant on this, something I'll call the hillbilly movie. This usually IS hillbillies, Clampets, or Ma and Pa Kettles. The purest form has them puzzled by shoes or plumbing fixtures. This movie is in that tradition.

Its a strange experience if you know the comic strip. That strip was highly political. It and "Pogo" were often the most intelligent things in US newspapers for decades. Al Capp was in a way the political opposite of Gary Trudeau who today does "Doonesbury," perhaps not as clever in narrative but very influential. The strip inspired the famous Lockheed skunkworks, which made secret spy stuff, the inspiration both in name and attitude.

If you know the history and the strip, you'd come to this expecting a deeply political and introspective thing. Instead, this snaps to the hillbilly model, except the characters have prosthetics and histories that resemble their drawn forms.

You might only want to watch this to see how easily movies embrace some of our cultural legacies and at the same time find it difficult to be insightful in useful ways.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.


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