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The Beautiful Blonde from Bashful Bend (1949)

Approved | | Comedy, Western | June 1949 (USA)
Temperamental saloon singer Freddie Jones, jealously shoots at her cheating boyfriend Blackie but mistakenly hits Judge Alfalfa J. O'Toole's honorable behind, forcing her to skip town under the guise of a schoolteacher.

Director:

Preston Sturges

Writers:

Earl Felton (screenplay), Earl Felton (story) | 1 more credit »
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Cast

Cast overview, first billed only:
Betty Grable ... Winifred (Freddie) Jones
Cesar Romero ... Blackie Jobero
Rudy Vallee ... Charles Hingleman
Olga San Juan ... Conchita
Porter Hall ... Judge Alfalfa J. O'Toole
Hugh Herbert ... Doctor
Al Bridge ... Sheriff Ambrose (as Alan Bridge)
El Brendel ... Mr. Jorgensen
Sterling Holloway ... Basserman Boy
Dan Jackson Dan Jackson ... Basserman Boy (as Danny Jackson)
Emory Parnell ... Julius Hingleman
Margaret Hamilton ... Mrs. O'Toole
Pati Behrs Pati Behrs ... Roulette
Chris-Pin Martin ... Joe
J. Farrell MacDonald ... Sheriff Sweetser
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Storyline

Saloon-bar singer Freddie gets very angry whenever boyfriend Blackie seems to be playing around. She always packs a six-shooter, so this is bad news for anything that happens to be in the way. As this is usually the local judge's rear-end, Freddie and friend Conchita are soon hiding out teaching school in the middle of nowhere. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Taglines:

She had the biggest Six-Shooters in the West!

Genres:

Comedy | Western

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

June 1949 (USA) See more »

Also Known As:

Teacher's Pet See more »

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Box Office

Budget:

$2,260,000 (estimated)

Gross USA:

$1,489,000
See more on IMDbPro »

Company Credits

Production Co:

Twentieth Century Fox See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Color:

Color (Technicolor)

Aspect Ratio:

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

Trivia

Betty Grable campaigned for Gregory Peck as her leading man. See more »

Goofs

Despite being a Technicolor film, this picture contains process and insert shots which are in black-and-white. In particular, though Charles and Winifred are photographed in color on their buggy ride to the church, the background and the church exterior itself are in black-and-white. See more »

Quotes

Winifred Jones: Do tell. You must show me your gold mine someday.
Charles Hingleman: If you don't mind going down in a bucket.
Winifred Jones: How is that again?
Charles Hingleman: Well, you see, a gold mine having no stairs, you have to be lowered in a bucket.
Winifred Jones: Like the girl from Nantucket. Excuse me.
Charles Hingleman: How is that?
Winifred Jones: Oh, oh... just a poem.
See more »

Connections

Edited into Histoire(s) du cinéma: Une vague nouvelle (1999) See more »

Soundtracks

The Beautiful Blonde from Bashful Bend
(uncredited)
Music by Lionel Newman
Lyrics by Don George
Sung by a chorus during the opening credits and at the end
See more »

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User Reviews

 
A Colorful Farce With Grable Having Some Nutty Fun
28 May 2017 | by museumofdaveSee all my reviews

I came onto this film as one of a large purchased collection, and after reading a batch of reviews on various film sites didn't expect much from it; there were numerous citings that it was perhaps Grable's worst film, that it wasn't vintage Sturges, that it was loud farce devoid of virtues except for an expert use of full Technicolor.

And color it has, And it is a loud farce. But although it completely lacks the soft focus turn of the century costumer that Grable so often appeared it, and barely gives the viewer time to absorb the nutty humor, Beautiful Blonde, from it's initial scenes with Grandpa Russell Simpson teaching his little curly-haired granddaughter to reduce bottles to smithereens with a careful aim to the last mad gunfight, a loud and vulgar and often screamingly funny parody of dozens of final shoot-outs in hundreds of western hero epics, this film exudes a sense of madness, of a cast nearly out of control in the spirit of farce.

One critic mentions how often Olga San Juan as "Conchita" the dark- skinned servant, is insulted—but failed to remark on her hilarious comebacks, a few surely cut off mid-sentence by censorship concerns. If a careful viewer listens carefully (often hard to do in this raucous unendingly noisy film), there are ample double-entendres as well as the beginnings of a limerick that rhymes with "Nantucket." Surely most alert viewers will fill in the blank. This film demands your attention, and if you do not have the patience for noise and chaos as part of your experience, you may actively dislike it.

Grable seems to be having a great time, especially as the substitute teacher with a golden gun, confronted by a pair of demented youths out of some clueless Beavis-world, one an off-the-wall Sterling Holloway. And the film is certainly worth watching just to see so many familiar character actors taking full advantage of their few lines—whether it's Margaret Hamilton, Hugh Herbert or for a brief moment, Marie Windsor in full-on scarlet feather drag—the film is so short, so fast-paced, that co-star Cesar Romero almost seems insignificant, and seems to be plot window-dressing. Which he is!

Of course this is no Palm Beach Story, that brilliant farce about romance and love and money: nor has it the zany coherence of The Miracle of Morgan's Creek. But it reflects the scattershot, nutty world that Sturges created so often, and seems like his final party before the silence descended--and you are invited.


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