It Ain't Hay

Universal, 1943

Starring Bud Abbott, Lou Costello, Patsy O'Connor, and Grace McDonald

Directed by Erie C. Kenton

Music by Harry Revel; Lyrics by Paul Francis Webster

We celebrate the Kentucky Derby and Cinco Del Mayo this week with two lesser-known Abbott and Costello comedies. They were at the height of their popularity during and after the war years when they made these films. It Ain't Hay is pretty typical of their wartime output, which usually featured comedians and singers from Universal's B roster getting up in wacky homefront shenanigans. This one also has a slightly darker story than usual as the duo try to buy a horse for a girl and her father, aided and abetted by the colorful characters straight from Damon Runyon. How well do they handle the racetrack? Let's head to the streets of New York City, where 12-year-old Peggy "Princess" O'Hara (O'Connor) is driving her father King's (Cecil Kellaway) carriage, and find out...

The Story: Cab driver Wilbur Hoolihan (Costello) is friends with Princess and is especially fond of her father's horse Finnigan. He wouldn't hurt Finnegan for the world, but first he gives him candy without considering the animal's age. When Princess runs to Wilbur in tears, he gives him a medicine that seems to make the horse better, but actually kills him. With half of New York City calling Wilbur a murderer, he and his friend George (Abbott) set out to buy Princess a new horse. 

They do manage to raise the money, only for Wilbur to lose it to a con man (Richard Lane). Three racing touts claim an older horse can be found for free, so the duo set out to claim it...only to find they've somehow stolen champion race horse Tea Biscuit. The duo, their friends Kitty McGloin (McDonald) and Private Joe Collins (Leighton Noble) set out to Saratoga to stop King from driving there. They're followed by the touts who want the reward and Tea Biscuit's owner (Eugene Pallette) who had an earlier run-in with Wilbur, Wilbur ends up riding what he believes is Tea Biscuit in order to make the money, but the horse isn't what he - or anyone - thinks...

The Song and Dance: The colorful New York milieu gives this one an edge that many of Abbott and Costello's vehicles lack, especially given the two New Jersey natives were fairly familiar with it. It also gets into relatively dark territory for them. Even a horse dying is heavy stuff for their rough-and-tumble world, and it makes this a little more unique. We do get some really fun gags in the beginning when the guys are trying to get out of paying their restaurant bill and enlist Princess to help and in the wild horse race finale. Would love to find more movies with O'Connor - she has a lovely voice for a 12-year-old and can more than match Abbott and Costello in the laughs department. 

Favorite Number: We open with Princess driving Kitty and Joe through the park, singing about that "Sunbeam Serenade." She sadly performs "Old Timer" for Finnegan when he's sick in the stable. "Glory Be" is the enormous chorus number for almost everyone in the cast as the entire city of New York celebrates Finnegan's miraculous recovery. Even a group of grocery packers (The Four Step-Brothers) get in on the action with some truly amazing acrobatic tap dancing on and around the boxes and a truck. The Vagabonds get "Saratoga Cafe" after they drive up there. The movie ends with the military show Joe had been trying to bring together for the entire film as the Step-Brothers bring down the house with their flying feet to "Hang Your Troubles On a Rainbow."

Trivia: For years, this was the hardest-to-find Abbott and Costello movie, due to a legal battle with the Damon Runyon estate. The legal matters were settled in time for this to be released as part of Abbott and Costello: The Complete Universal Pictures Collection.

What I Don't Like: I understand that Universal wanted to get this out for eager Abbott and Costello fans, but maybe they should have restored it first. The copy at Tubi looks terrible, scratchy and washed out, especially compared with their movies that have been restored. Those who aren't fans of Abbott and Costello probably won't find much here unless they're also into Shemp Howard, who plays one of the race track touts. It gets awfully maudlin in spots, with the kid and her father needing a horse and all, and the middle that focuses on that does sag a bit. And frankly, not only is Noble a snore, but his big show is barely of consequence until the big finale. Even McDonald has (slightly) more to do than him. 

The Big Finale: Not Abbott and Costello's best movie, but it has enough funny moments to be worth a look if you love them, Howard, or 40's comedy or musicals. 

Home Media: Ironically, It Ain't Hay is now one of Abbott and Costello's easier movies to find. In addition to the Complete Collection, it was also released as part of the Universal Vault collection and can currently be found for free on Tubi. 

DVD - Universal Vault

DVD - Abbott and Costello: The Complete Universal Pictures Collection

Blu-Ray - Abbott and Costello: The Complete Universal Pictures Collection

Tubi

Seuss Short Subject Special - The Lorax (1972) & The Hoober Bloob Highway

Let's celebrate Earth Day and Arbor Day with these two classic Dr. Seuss specials from the 70's. The Lorax covers the importance of trees to us and the environment, while Hoober Bloob Highway looks at what it means to be human.  Are they worth checking out with your family? Let's follow a young boy as he makes his way across a desolate, ruined landscape to ask the Onceler (Bob Holt) how the land came to be this way and find out...

The Lorax

CBS, 1972

Voices of Bob Holt, Eddie Albert, Athena Lorde, and Helen Carraher

Directed by Hawley Pratt

Music by Dean Elliot; Lyrics by Dr. Seuss

The Story: When the Onceler originally came to the land, it was a paradise with acres of sweet-smelling, bright-colored Truffula Trees and the creatures that relied on them for food and shelter. He builds a small shop and chops down one tree to make a "Thneed," a multi-purpose pink fluffy object that he insists "everyone needs." The Lorax (Holt), the resident of the tree he cut down, objects to the destruction of the tree. Onceler insists he's just cutting down one tree, but after the Thneed sells quickly, one tree leads to mass-chopping every tree in the area to build them. 

He builds a huge factory to make the Thneeds, and while that may be good for his family and his personal finances, it's not good for the land and animals. As the trees dwindle, the bear-like Barba-Loots leave to find food elsewhere. The Swamee-Swans and Humming Fish can't handle the increased pollution caused by the factory and also depart. The Lorax keeps protesting and keeps pointing out the disaster in the making that the Onceler is causing. The Onceler claims to understand, but he only truly understands profits...until the trees run out, and he realizes that no resources, or profits, last forever.

The Animation: Like all of the Seuss specials of the 70's, it's bright, sketchy, and very reminiscent of the actual books. While we only see the Onceler's arms, they do manage to give the Lorax and the animals a fair amount of expression. We see those curving Seuss lines in the factory, the city, and in the gracefully waving Truffulas themselves. They really are lovely, which makes it all the more heartbreaking when they're depleted.

The Song and Dance: Along with The Butter Battle Book, this is the darkest Seuss special...and that alone makes it my favorite. There's no easy answers in this one. It does give us a spot of hope in the finale with the kid and the seed, but getting there is one of the saddest stories in the Seuss canon. Holt does very well, managing to make the Onceler and the Lorax such distinctly different characters, you'd never know they were voiced by the same man if you didn't check the cast list.

Favorite Number: We open with Eddie Albert, a real-life environmentalist, singing "Street of the Lifted Lorax" as he explains about the legend of the Lorax and the Onceler's ruined factory. "Under the Trees" takes us back in time to introduce the Truffula forest and the creatures it supports. "To the House of the Onceler" brings in the Onceler's relatives to work in his newly-built factory. Unfortunately, they also pollute the area with their cars and littering. 

"He's a Jolly Good Onceler" is the celebration song when the factory makes it's 1,000th Thneed. The Onceler does understand what he's done, as he admits in "Why are You a Onceler?" A brief reprise of "Under the Trees" shows the Barba-Loots departing to find more food. The Swamee Swans can't handle the smog and are "Going, Going, Gone" too. The longest number goes to the Humming Fish, who are "Fish Out of Water" when their river is too filled with gunk to survive.

Trivia: One of the Humming Fish claims "I hear things are just as bad in Lake Erie" in their song. Lake Erie was extremely polluted in the 70's. It has since been cleaned up, to the point where the line was removed from later versions of the book (though not the special). 

There are a few changes from the book. The boy had to pay for the Onceler's story, and the Onceler related it over a "Whisper-Ma-Phone." The Barba-Loots left before the sky was polluted, not after, and the Onceler never had the mild change of heart that we see after the "Good Old Onceler" number. 

What I Don't Like: Did I mention that "dark" thing? This might be a bit too dark for young children who would be interested in the cute animals and bouncy songs. It also pushes its environmental message very hard...maybe a bit too hard for those who prefer their Seuss on the lighter side or don't agree with what it's saying. 

The Big Finale: A sobering message with decent animation and voice acting for families with older kids who are starting to learn about the environment and how we can help save it. 

Home Media: Easily found on all formats, often for under $10. 

DVD - The Lorax Deluxe Edition

Blu-Ray

Amazon Prime (Buy Only) 

The Hoober-Bloob Highway

CBS, 1975

Voices of Bob Holt and Hal Smith

Directed by Alan Zaslove

Music by Dean Elliot; Lyrics by Dr. Seuss

The Story: Mr. Hoober-Bloob (Holt) and his mandolin assistant are "dispatchers" on an outer space platform who prepare newborn children for their life on the Earth. He's especially excited about his current charge, whom he has dubbed "Bub." We see Bub as a boy on Earth in various musical vignettes depicting him both in normal, everyday situations like enjoying summer vacation and doing chores and more unusual ones like trying to answer scrolling questions and figure out how to fix a schnorken. Mr. Hoober-Bloob isn't too sure about sending Bub, given how complicated and dull Earth can be, but Bub knows that life on Earth can be pretty exciting, too. 

The Animation: Same deal here. The Seuss specials were pretty much consistently similar over the decade or so most of them were made, thanks to them being all made by Friz Freling's DePatie-Freling Enterprises. The design here isn't quite as colorful, but it's even more creative. Check out all the truly unusual creatures Mr. Hoober-Bloob shows off in the "On the Other Hand" number!

The Song and Dance: This is by far the most unique of the Dr. Seuss specials, and possibly the simplest. They get a lot out of "Bub" and his dog, without them saying a word. In fact, other than Holt, Smith's brief narration, and the occasional bursts from the mandolin (which annoy Mr. Hoober-Bloob), this special is largely done in pantomime and music. It's more effective than you might think, thanks to Seuss' creative designs and the often hilarious expressions from "Bub" and his canine friend. Holt makes a warm and hilarious Mr. Hoober-Bloob, too, especially later when he's really getting caught up with what his charge's life could be like.

Favorite Number: We open with the chorus performing the title song that describes who Mr. Hoober-Bloob is and where he is. "And That's the Way It Is, Bub" he explains to his charge during the segment depicting different towns he could end up in. "West Watch-a-ka Tella" is a short segment with a singer admitting that Bub will be living in what is likely intended to be a typical suburb. The gentle "Among the Daisies" depicts the slower side of life on Earth, as Bub and his dog relax in a field. 

"That's Just the Beginning" and "Things You Have to Know" are chorus numbers as Bub finds himself in school, learning everything from dull math equations to odd history facts. Dr. Hoober-Bloob admits "I Know the Way You Feel, Bub." "On the Other Hand," Bub can be any kind of peculiar alien creature Seuss can come up with. 

"It's Fun to Be a Human" when you're enjoying summer vacation...but there are consequences of fun. Vacation ends all too soon, and the chorus asks Bub "What Do You Do?" when a machine breaks down. Mr. Hoober Bloob objects to all this as boring, but finally lets the film continue, as Bub has to "Answer Yes or No" on a fast-paced scroll. After Bub makes his decision, the chorus declares "You're a Human!"

Trivia: First of four Dr. Seuss specials written directly for television and not based on a previous book. It was also the last Seuss special with music by Dean Elliott and to air on CBS.

What I Don't Like: Honestly, this one can come off as a little too bizarre for some people. The vague theme about birth and being human and the very simplicity can seem dull or just beyond weird. It's also a lot more meandering than most Seuss specials and a lot less plot-focused. It has more in common with some of Seuss' more random word stories for the very young like If I Ran the Zoo or I Had Trouble Getting to Solla Sollew (and actually recycles a few gags from those books). 

The Big Finale: The weirdness is why this is another favorite Seuss special of mine. You won't find anything like Bub learning what makes us human anywhere else. Highly recommended for families who are beginning to discuss birth and life with their children. 

Home Media: Unlike The Lorax, The Hoober-Bloob Highway hasn't had a separate release since it came out on video in the 90's. It can currently be found on disc paired with the original Cat In the Hat and the later special Daisy-Head Maisie. 

DVD - The Cat In the Hat and Friends

Blu-Ray - The Cat In the Hat Deluxe Edition

YouTube

A Salute to TCM - Give a Girl a Break

MGM, 1953

Starring Marge & Gower Champion, Debbie Reynolds, and Bob Fosse

Directed by Stanley Donen

Music by Burton Lane; Lyrics by Ira Gershwin

Our second small-scale MGM musical didn't start out that way. Apparently, this was originally intended to be a big-budget showcase of some of the newer talent on the MGM lot, with names like Donen, Lane, Gershwin, and Reynolds attached. Somewhere along the line, it got pared down into a less elaborate story about three women who desperately hope to be chosen for the starring role in a big Broadway revue. Does this still wow 'em in the aisles nowadays, or should it be left behind? Let's begin at the Regal Theater in New York as hopeful go-fer Bob Dowdy (Fosse) brings the cast sandwiches and find out...

The Story: As it turns out, there may not be a show. Its demanding star, Janet Hallston (Donna Martell), has walked out. Director and choreographer Ted Sturgis (Gower Champion) puts out an ad for an open audition that draws thousands of hopeful dancers. Ted, Bob, and the revue's composer Leo Belney (Kurt Kaznar) finally whittle it down to three finalists. 

Ballerina Joanna Moss (Helen Wood) is excited for the opportunity, but her husband Burton Bradshaw (Richard Anderson) announces at the same time that he just got a professor job in Minnesota. Bob is enamored with bubbly tap dancer Suzy Doolittle (Reynolds), who has studied for years for a chance like this one. Ted's not happy when his ex-partner Madelyn Corlane (Marge Champion) returns to audition as well. She left him years ago for wealthy Anson Pritchett (William Ching). With each woman enormously talented and each man pushing a different lady, it's going to be hard to figure out which lady would work out best for the show...and in the men's lives.

The Song and Dance: "Dance" is the operative word here. There's some fabulous dance routines in this movie, many of them choreographed by Fosse. He and Reynolds have by far the most fun as the ebulent go-fer who falls hard for her and the vivacious girl who wants a life of her own and a chance to really shine. The gorgeous Technicolor, lovely songs, and nifty costumes bring far more life to this story than its bland Broadway setting does. I also like how most of the action unfolds in less than 24 hours. It really gives you a chance to know all three couples and why the guys fall for their ladies like they do.

Favorite Number: Our first number is the creative chorus routine to the title song. We see little vignettes of several of the ladies who hope to audition. Most of them are terrible dancers or strange singers...except the three who end up getting called back. Bob and Suzy sing how they're "In Our United State" during a charming dance routine in New York as he takes her home from dance practice. We see more of Fosse and Champion's embryonic talents as they remind Leo that "Nothing's Impossible," even reworking a Broadway revue in three weeks. Ted insists on seeing what Madelyn can do right before she's supposed to attend a masquerade party with Anson, resulting in the dynamic "Challenge Dance" on the apartment building roof.

The three men daydream about the kind of dances they want to do with their ladies in three elaborate sequences. Bob and Suzy do an amazing "Backwards Dance" through confetti that falls upwards and balloons that pop, then return to life. Bob tosses in a backwards flip here and in "In Our United State" that must be seen to be believed. "Puppet Master Dance" starts out as a classical ballet routine for Joanna and Leo with her in a pink tutu and him in sequins and tights...until she ends up in fringed trousers for a slinkier jazz version. The Champions get "It Happens Every Time" in a simpler world surrounded by bars to glide around. It ends in the theater, with Ted and the chosen lady singing their heart out to "Applause Applause" surrounded by a striking pink and black set.

Trivia: Wood eventually left MGM for stage work, including as a dancer at Radio City Music Hall. She later appeared in the infamous X-rated film Deep Throat under the name Dolly Sharp. 

What I Don't Like: First of all, the derivative plot feels like MGM just re-wrote and heavily updated it's 1941 hit Ziegfeld Girl and threw in a happier ending for one of the characters. This isn't anything you haven't seen before, going back to the dawn of sound. Second, while most of these people are wonderful dancers, Kaznar and Reynolds are the only ones who are really up to some of the histrionics later in the film when the women learn who makes it and who doesn't. The Champions are charming but not much more than that. You can understand why the failure of this movie ended any ideas MGM had of making them huge stars ala Fred Astaire and Ginger Rogers. 

The Big Finale: Dance aficionados and fans of Donen or any of the stars involved will want to check this one out for the delightful routines alone.

Home Media: The remastered Warner Archives DVD is currently out of print, but it can be found pretty easily on streaming and through used venues. 

DVD

Amazon Prime

A Salute to TCM - It Happened In Brooklyn

MGM, 1947

Starring Frank Sinatra, Peter Lawford, Jimmy Durante, and Kathryn Grayson

Directed by Richard Whorf

Music by Jules Styne; Lyrics by Sammy Cahn

Our first two reviews this week are in honor of cable channel Turner Classic Movies, who celebrate their 30th anniversary this month. TCM began as a way for Turner Broadcasting to show off its enormous catalog of vintage movies from MGM, Warner Bros, and RKO without commercial interruption. They became known for their unique interstile segments, their use of indie rock and jazz music in their station promotions, and for showing older films uncut and in widescreen before this was common on home media. 

They're also known for returning many lesser-known and neglected films to the public eye, including this small-scale musical from MGM. How does this sweet story of three talented friends in New York who search for fame while helping a teen in need look today? Let's begin in England, as Danny Miller (Sinatra) waits to go home to Brooklyn, and find out...

The Story: Danny does finally make it there, only to run headlong into the post-war housing shortage. Nick Lombardi, the kindly janitor for his old high school, gives him a room in the basement with him. He first meets music teacher Anne Fielding (Grayson) there. She doesn't share his positive outlook or his feelings about New York. She tried to become an opera singer, with no success, and ended up at the school instead. Also turning up at the school is Jamie Shellgrove (Lawford), a shy young Englishman whom Danny met before he left London. His grandfather thought Danny could show Jamie how to really live.

Jamie and Danny are too shy to try for a music career themselves. Danny initially ends up as a shipping clerk in a music shop, until Nick helps him to audition. He then adds words to Jamie's music, turning his funeral march into a lovely ballad. All three argue in favor of a teen in Anne's class (Billy Roy) for a music scholarship, but he's just a half-year too young. They end up getting him to give a concert in the music shop in order to show everyone in Brooklyn what he can do. Meanwhile, Danny is in love with Anne, but she's more interested in Jamie. He loves her, too, but doesn't want to hurt Danny's feelings.

The Song and Dance: I first saw this movie on TCM in college around 2001 and really enjoyed it. It's delightfully sweet and unpretentious for an MGM musical of the 40's and 50's. The black and white cinematography and Whorf's intimate direction gives it the feel of some of the better 50's sitcoms. It also has a surprisingly good score for one of MGM's smaller titles, including the standards "I Believe" and "Time After Time." 

While Sinatra and Lawford are adorable as the shy guys who try to work on breaking out of their shells, it's Durante who dances off with the movie. He's hilarious, whether explaining the post-war housing situation to Sinatra or joining Sinatra to help cheer up one of the kids at the school (Bobby Long). Sinatra even does a credible imitation of him in "Song's Gotta Come From the Heart." Look for Gloria Grahame in the beginning as a mouthy nurse who questions Danny being from Brooklyn. 

Favorite Number: We open with Danny briefly playing "Whose Baby are You?" in England on the piano. Jamie ends up having to encore the number at the music shop in Brooklyn for a group of swing-crazed teenagers. Sinatra sings "The Brooklyn Bridge" on the actual Brooklyn Bridge when he arrives home. He, Grayson, and her students turn a Bach song into "Invention Number 1" during a class. Danny and Nick encourage Johnny with "I Believe," as they remind him that there are many things we can't see, but still have faith in. Likewise, Nick encourages Danny to audition at the music shop by reminding him that "The Song's Got to Come From the Heart." Danny sings "It's the Same Old Dream" as a typical ballad...but teen singers the Starlighters aren't impressed and do their own swing version.

The big hit here was "Time After Time," which is first heard performed by Danny after he adds words to Jamie's music. Anne gets to do her own lovely rendition later when Danny announces that the music shop intends to publish it. Anne and Danny sing the opera duet "La Ci Darem La Mano" from Don Giovanni while out to dinner; Jamie accompanies them on piano. Near the end of the movie, Anne imagines herself performing the difficult "Bell Song" from Lakme in a fully-staged version of the opera. 

Trivia: That's a 17-year-old Andre Previn playing all of the piano solos in the film, including the one in the finale that cements that scholarship. 

Despite singing and dancing so well in "I Believe," Bobby Long apparently dropped out of show business shortly after the film's release and would join the Navy from 1951 to 1955.

What I Don't Like: First and foremost, this is not for those who prefer their musicals on the big, bold, and brassy side. It's small and quiet for a musical from this era. It's not even filmed in color. Grayson's first opera duet with Sinatra is cute, but her big fantasy "Bell Song" sequence late in the film comes totally out of left field and is never mentioned again. It was probably added to give Grayson more to do and show off her soprano. The producer was right that she can come off as a cold fish compared to the guys, even after she's supposedly thawed later in the movie. The story can come off as cutesy and trite, especially in the second half, when they're trying to help the teen get his scholarship. 

The Big Finale: If you're a fan of the four leads or are looking for a smaller-scale MGM musical, this is an underrated charmer that's worth buying the Brooklyn Bridge for. 

Home Media: On streaming and DVD, the latter currently from the Warner Archives.

DVD

Amazon Prime

Animation Celebration Saturday - Wish

Disney, 2023

Voices of Ariana DeBose, Chris Pine, Angelique Cabral, and Alan Tudyk

Directed by Chris Buck and Fawn Veeraunthorn

Music by Julia Michaels, Benjamin Rice, and JP Saxe; Lyrics by Julia Michaels

This was one of the most anticipated movies of 2023. Disney announced it in 2022, intending it to be a celebration of their 100th anniversary. It debuted in November and became one of Disney's biggest flops in a year riddled with them. Critics complained that the story had too much homage and not enough magic. Were they right, or is there more to this unique fantasy? To find out, we begin, as so many classic Disney fairy tales do, with a narrator telling us the story of how Magnifico (Pine) became king of the island of Rosas and protector of their wishes...

The Story: Asha (DeBose) is hoping to become Magnifico's assistant, so he'll grant her grandfather's (Victor Garber) wish on his 100th birthday. To her horror, she learns his real interest is in only granting the wishes he deems "worthy"...or not likely to challenge his rule of Rosas. He never intends to release anyone else's wishes, being too happy with his people worshipping him. 

Frustrated when her family won't listen to her about Magnifico, she makes a wish on a shooting star. That star promptly comes to Earth in the form of a cute little star sprite, whose glittering magic makes everything in the woods and her pet goat Valentino (Tudyk) able to talk. She gets the little creature to help her retrieve her grandfather's wish. When Magnifico arrests her family for stealing, she sends her mother and grandfather away, then enlists her friends at the castle and Magnifico's wife Queen Amaya (Angelique Cabral) to rescue the wishes and return them to the people.

The Animation: Though computer animated, Disney gives this a flat and almost sketchy look, rather like if their movies of the 60's and 70's had been made with a computer. It works with the throwback story, with its dark colors and adorable characters, especially the animals. The characters flow very well; some of the backdrops, in the woods and the castle, are especially well-done and detailed.

The Song and Dance: DeBose and Pine dominate this story of a girl who wants everyone to be able to have their dreams, and the ruler who worries that everyone having their dreams will mean he'll lose their love. I also liked Jennifer Kumiyama as Asha's best friend, a smart baker with a crush on Magnifico whose ability to plan proves useful later. In fact, I love how diverse both Asha's friends and Rosas in general are, with people of all kinds coming there to have their wishes granted.

If nothing else, I give Disney credit for going with an original story, for not shoehorning an unnecessary romance in, and for having a straightforward villain this time. Magnifico is probably their best bad guy since Ms. Bellwether in Zootopia. Pine has a blast playing him as he unravels from a sane, if slightly narcissistic, ruler to a magic-obsessed lunatic who wants total control over everything and everyone, wishes included.

Favorite Number: Our first song after the storybook opening is "Welcome to Rosas," as Asha introduces her seemingly perfect island home. "At All Costs" is her big duet with Magnifico. He insists that he's keeping everyone's wishes for their own good, but Asha thinks people should be able to live their own wishes. "This Wish" is Asha's hoping for help from that wishing star. Everyone in the forest, including Valentino, claim "I'm a Star" after the star comes to Earth and gives them the power of speech. 

Magnifico whines about how ungrateful his people are for wanting to make their wishes come true without his concent. "This Is the Thanks I Get?" he complains. Asha, Amaya, and Asha's friends are ready to do battle "Knowing What I Know Now" about Magnifico and his true intentions. Lyricist Julia Michaels performs the lovely ballad "A Dream Worth Making" over the credits. 

What I Don't Like: I can kind of see where the critics' carping came from. Disney focused so much on making a movie that would respect its history, they forgot to focus on things like character development. Neither Asha nor her friends really have all that much personality, besides being cute teenagers. Apparently, early concept art had the Star come to Rosas in the form of a human and Queen Amaya being evil like her husband. Both ideas would have enhanced the story and made things a lot more interesting. Amaya barely has anything to do besides change sides for barely-discussed reasons. The Star is darling, but not much more than that, and Valentino's ability to speak gets annoying fast.

The Big Finale: This isn't nearly as horrible as people claimed when it came out in November, but it isn't great, either...and for the movie capping Disney's 100th anniversary, I suspect what people wanted was to be blown away, not something that played it safe. It's still worth seeing for some decent performances and lovely music, especially if you're already a fan of Disney's animated films. 

Home Media: As one of the newest movies I've reviewed, this is easily found in all formats. It finally debuted on Disney Plus earlier this month. 

DVD

Blu-Ray

Disney Plus

Cult Flops - Sweet Kitty Bellairs

Warner Bros, 1930

Starring Claudia Dell, Walter Pidgeon, Ernest Torrence, and June Collyer

Directed by Alfred E. Green

Music by Walter O'Keefe; Lyrics by Robert Emmett Dolan

Operetta - historical musicals with more opera-like songs and romantic plots - were wildly popular during the lavish 20's as theatergoers reveled in lavish melodramas far removed from their lives. They were just starting to fall out of favor onstage during the early sound era as their creaky fairy tales were replaced by more modern stories and jazzier music. This extended to films as well. By the time this movie came out in August 1930, the public had seen way too many poorly made movies - operettas especially - and had begun to stay away. Were they right to avoid this one, or should this confection of a movie get a second chance to join the ball? Let's begin in a coach on the way to Bath, England in 1793 and find out...

The Story: Kitty Bellairs (Dell) is notorious in London for her forty affairs, and this situation doesn't seem much different when she goes to Bath. Even during the coach trip, shy nobleman Lord Varney (Walter Pidgeon) and a dashing highwayman who stops the coach and steals their valuables fall for her. Varney tries to defend Kitty when the highwayman offers to exchange their things for a kiss, but she gives it to the man anyway when he easily beats him. Kitty is totally in love with this bandit, especially after he slips a ring on her finger.

Varney still wishes to win Kitty's love. He claims he'll write her a poem, but his friend Colonel Villiers (Lionel Belmore) thinks there's more to winning the lady than pretty words. Kitty, for her part, is having a hard time choosing suitors. She met the dashing Captain O'Hara (Perry Ashkam) at a party and finds him just as attractive as Varney and the highwayman. She does better helping her best friend Lady Julia Standish (Collyer) make her neglectful husband Lord Jasper (Torrence) jealous. Kitty does too well. Standish thinks the lock of red hair and note left behind and suspects Varney of being his wife's lover. Kitty finally decides to step in and resolve matters, before she loses the one man who really does love her.

The Song and Dance: It's too bad more people don't know about this one. It's absolutely charming, with lovely period-appropriate songs and gorgeous costumes. Dell is the stand-out as the coquettish Kitty, who may flirt outrageously, but deep down is willing to help when she realizes all the trouble her teasing caused. And who knew Walter Pidgeon could make such an adorable bashful suitor? We even get some excellent outdoor shooting for the early sound era. Green keeps things moving at a fair pace, and it doesn't suffer from the stiffness and staginess that affected so many movies in the early 30's. 

Favorite Number: We open in that coach, with Kitty, her friend, Lord Varney, and Colonel Villiers "On the Road to Bath" as they reveal why they're there and how Varney has already fallen for Kitty. "The Highwayman's Song" brings in the mysterious bandit whose machismo captures Kitty's heart. "Song of the Town of Bath" is the number for the gossipy citizens as the carriage rolls in. The short "Drunk Song" is, as you can guess, the number for the men of the cast after spending time at the local tavern. "Peggy's Leg" is a similar number for the male leads. Varney claims "My Love, I'll Be Waiting For You" to Kitty early on; they duet on it near the end, when she begins to change her mind about him. "Pump Room Song" is Kitty's number with the chorus. "You, I Love But You" is Kitty's big ballad. She sings it three times in the film, the third with Pidgeon. 

Trivia: This was originally filmed in color, but survives in black and white.

What I Don't Like: What audience did Warners intend this for again? This would be a hard sell for a lot of people nowadays, let alone in the hardscrabble early 30's. Pidgeon's name is the only familiar one. The remaining cast is made up of stage actors and barely-remembered Warners character actors. They're not going for realism here. It's supposed to be set in England, but not a single British accent is to be heard. To say the plot is complicated would be like saying the Atlantic is wet. There's so much going on for such a short movie, you may need a notebook to keep track of it all. And obviously, if you don't go in for historical fiction, operetta, opera-style music, or swashbuckling action, this is absolutely not going to be for you. 

The Big Finale: If you're a fan of operetta or historical swashbucklers like me, you'll want to join Kitty on the road to Bath and give this dashing treat a second chance at romance. 

Home Media: DVD only as one of the earliest Warner Archive titles.

DVD

Honey (1930)

Paramount, 1930

Starring Nancy Carroll, Richard "Skeets" Gallagher, Stanley Smith, and Lillian Roth

Directed by Wesley Ruggles

Music by W. Franke Harling; Lyrics by Sam Coslow

Not all musicals from the early sound era were backstage spectacles or soppy melodramas. By 1930, Hollywood had begun to venture into creating musicals made just for the screen, either with original stories or based on non-musical plays, like our first review this week. Come Out of the Kitchen was originally a play in 1916. Having first filmed it in 1919, Paramount dusted it off again for sound and musical treatment and to showcase then-major stars Roth, Gallagher, and Carroll. How well did they do with this farce about impoverished siblings who rent out their home to a wealthy family and find love in the bargain? Let's begin at a southern plantation, where Olivia Dangerfield (Carroll) is preparing to move out of her room so the new renters can move in, and find out...

The Story: Olivia and her brother Charles (Gallagher) are moving downstairs because the cook and butler they hired ended up getting married instead. Desperate, they take over as the cook and butler, while Mayme (ZaSu Pitts) and her obnoxious daughter Doris (Mitzi Green) work upstairs. Mrs. Falkner (Jobyna Howland) arrives with her vivacious daughter Cora (Roth) and Cora's handsome fiancee Burton Crane (Smith) in tow.  Burton quickly falls for Olivia, who tries to hide her situation, while Cora pursues Charles and Mayme falls for Crane's friend J. William Burnstein (Harry Green), who is there to keep an eye on Mrs. Falkner's jewelry. Needless to say, Mrs. Falkner protests all of this, and Olivia is reluctant to tell Burton how far she's fallen.

The Song and Dance: The songs are pretty much the only things carrying this one. notably its sole standard "Sing You Sinners." Carroll is charming and lovely and Roth is adorable and plays well off the goofier Gallagher, but it's Howland who stomps away with the picture as the monstrous snob of a mother. Some of the costumes (that can be seen in the terrible copy currently at YouTube) aren't bad, either, especially during that amazing "Sing You Sinners" revival sequence. 

Favorite Number: We don't get a song until nearly a half-hour into a movie that's a little over an hour...and when we do, it's the slightly sappy ballad "In My Little Hope Chest." Olivia performs it to explain why she keeps up her hopes of finding the right person to Burton. Charles and Cora have more fun encouraging each other "Let's Be Domestic." Mayme and William are even funnier admitting this outside while doing the laundry. Charles claims "I Don't Need Atmosphere" to court Cora right before they head to the revival meeting.

That revival meeting provides the film's big chorus number and sole truly memorable sequence. Louise Beavers starts things off with a powerhouse rendition of "Sing You Sinners" with the black chorus. Mitzi Green takes over briefly, coming off as a lot more enjoyable than she ever was in the rest of the film. Roth gets even more into it with her own solo near the end. She has such a great time, writhing and shaking with abandon, that the song became something of a signature for her. The number is totally extraneous and is never mentioned again, but it's such an awesome moment, you don't mind at all.

Trivia: Lyricist Sam Coslow claimed in his autobiography that a young and unknown Bing Crosby was considered for the Burton Crane role.

"Sing You Sinners" actually was inspired by a real-life revival meeting Coslow attended with friends.

There would be at least two foreign language versions made in 1930 and 1931, the French Cherie and the German Every Woman Has Something. 

What I Don't Like: No wonder Carroll protested getting stuck in this. This is about the most typical piece of musical fluff you can think of. It's also badly dated in its condescending treatment of its black and female characters and silly story. Other than her part in "Let's Be Domestic," Pitts spends most of the movie whining and crying and is really annoying. Bratty Green is even harder to take. I'm surprised no one grabbed that kid and gave her a good, hard shake. 

They really should have used Crosby, who might have been able to make Burton at least slightly interesting. Smith is stiff as a board and about as much fun to watch. Ruggles is normally a good director, as we see in "Sing You Sinners," but most of the movie shows its stage origins too plainly in all the people standing around talking.

The Big Finale: Only for the most ardent fans of early sound film. All others would be advised to skip right to "Sing You Sinners" and pass on the rest of this.

Home Media: At press time, this can only be found - in a washed-out copy that's badly in need of restoration - at YouTube.

YouTube

Family Fun Saturday - Alice In Wonderland (1985)

CBS, 1985

Starring Natalie Gregory, Red Buttons, Jayne Meadows, and Ann Jillian

Directed by Harry Harris

Music and Lyrics by Steve Allen

I'm celebrating my birthday tomorrow with an old favorite of mine. This two-part miniseries used to show up a lot on cable in the 80's and 90's when I was little, and I always enjoyed seeing all of the familiar faces dressed as characters from one of my favorite stories. This would seem to be a bit of an oddity for producer Irwin Allen, who usually specialized in campy disaster dramas and science fiction. All-star programming, however, was up his alley. How does this star-studded version of the beloved children's fantasy novel look today? Let's begin with Alice (Natalie Gregory) and her mother (Sheila Allen) at home as Alice begs to be able to join her parents for tea and find out...

The Story: Alice wishes she were grown-up enough to sit at the tea table with her parents, but they insist she join her older sister (Sharee Gregory) outside instead. While talking to her sister, Alice sees a human-sized White Rabbit (Buttons) hurrying off into the woods. Alice follows him, only to fall down a rabbit hole and into Wonderland, a surreal world where the usual human logic and sense don't usually apply. Among the odd characters she meets are the mouthy Duchess (Martha Raye), the tea party-loving Mad Hatter (Anthony Newley) and March Hare (Roddy McDowell), the grinning Cheshire Cat (Telly Savalas), and the Queen of Hearts (Jayne Meadows), who loves nothing more than to order everyone's heads taken off.

Even after Alice escapes the Queen of Hearts' unfair trial for the Knave (James Joseph Galante), she ends up behind the mirror in Looking Glass Land. Here, everyone's minds work backwards, and things are the opposite of normal. The Red Queen (Ann Jillian) and White Queen (Carol Channing) give unwanted advice, but she has more fun with Tweedledee (Eydie Gorme) and Tweedledum (Steve Lawrence) and the kindly White Knight (Lloyd Bridges). The White Knight is ready to defend her when the Jabberwocky attacks, but thanks to the Owl (Jack Warden) reminding her to face her fears, Alice realizes that growing up means doing things we're afraid to do...like confronting monsters, or our own parents. 

The Song and Dance: The sprawling Alice lends itself well to the all-star treatment. I very much appreciate how close these get to the actual books, especially the first half in Wonderland. This is one of the more accurate TV adaptions of this story I've seen. In fact, maybe Alice should get the miniseries treatment more often. It gives more room for everyone to do their schtick, and for us to get to know Alice and why she's making her journey. Speaking of Alice, Natalie Gregory may be one of my favorite Alices on-screen. She nails the role, from her realistic reactions to all the goofballs around her to her genuine fear when she faces the Jabberwocky later. 

There's also Allen's lovely music. I forgot how good the music is in this. It really carries the story along, even when the series is at its most strange. Channing's "Jam Today" is a showstopper, and Jillian gets two gorgeous lullabies late in the second half.

Favorite Number: Sherman Hemsley makes the most of his short role as the Mouse revealing why "I Hate Dogs and Cats" after Alice climbs out of the Pool of Tears. The Caterpillar (Sammy Davis Jr.) and Alice sing "You are Old Father William" dressed as the characters. "There's Something to Be Said for Hatred" claims the Duchess and her cook (Imogene Coca). The Cheshire Cat agrees, and depresses Alice (and the audience) by telling her "There's No Way Home."  

The Mad Hatter perks things up considerably by reminding Alice to "Laugh" about her fears. Alice (dubbed by Lana Beeson) wonders "Why Do People?" behave the way they do after the disastrous tea party. The Queen of Hearts insists "Off With Their Heads!" while the Mock Turtle (Ringo Starr) reminds Alice about the importance of "Nonsense." Their Royal Highnesses are more annoyed than anything when the Hatter and Hare argue "I Didn't, You Did!" when they're called on at the trial.

Our first numbers in Looking Glass Land aren't until nearly 20 minutes in, but it's two from Gorme and Lawrence. They remind Alice to say "How Do You Do and Shake Hands" and tell her the story of "The Walrus and the Carpenter." The White Queen insists that it can only be "Jam Tomorrow," never today. The White King (Harvey Korman), his messenger (John Stamos), and Alice learn why "The Lion and the Unicorn" are fighting for the crown. "We are Dancing," the White Knight sings as he and Alice waltz sweetly together. 

The Red Queen and White Queen get a very funny patter number after Alice becomes queen, asking her "Can You Do Addition?" Jillian is absolutely gorgeous in two lovely lullabies, "Emotions" as she explains to Alice why she feels the way she does, and "Hush-a-Bye Lady" as she puts the White Queen - and herself - to sleep. The White Rabbit welcomes all of Alice's Wonderland friends "To the Looking Glass World" after she becomes queen. In the end, before Alice goes off to tea, her friends from both worlds sing about how they hope "Alice" won't forget them.

What I Don't Like: The music is still lovely, but the costumes and sets haven't dated well at all. They look like cheap rejects from one of Irwin's fantasy movies. Gregory's blonde wig is almost too big for her head. When the Jabberwock shows up, he looks more like the Godzilla-like puppet he is than anything scary, undercutting the second half. 

The attempt at the "face your fears" morals and the finale that replaces Alice finally getting tired of all the nonsense and throwing the table on everyone comes off as too dark for a light-hearted children's fantasy. Davis' "You are Old Father William" number is totally random - even for Wonderland - and seems shoehorned in to give him something to do other than sit there. And honestly, most of these people are unrecognizable in the costumes and many of them, especially those who don't sing, have even less to do than Davis. 

The Big Finale: Maybe it's because I grew up watching this, but for all the TV budget and obvious camp, this is still one of my favorite versions of this story. Attractive songs and Gregory's strong performance help overcome the budget limitations and odd costumes. Highly recommended for families with a spare three hours on hand, or who are able to split the episodes into several days' viewing.

Home Media: The DVD is pretty easily found anywhere, often for under $10. 

DVD

Rhythm on the River

Paramount, 1940

Starring Bing Crosby, Mary Martin, Basil Rathbone, and Oscar Levant

Directed by Victor Schertzinger

Music by James V. Monaco and Victor Schertzinger; Lyrics by Johnny Burke

We move from a western ranch to an upstate New York inn for our next Crosby vehicle. By this point, Crosby was one of the top box office draws in the world. His movies were among Paramount's biggest money-makers, and his concert tours sold out everywhere. He even had his own variety show on the radio, Kraft Music Hall. Martin, then just beginning her career as one of the most popular stars on the Broadway stage, was a frequent performer on Kraft Music Hall. How well do they work together in this story of a composer and lyricist who discover they have a lot more in common than they previously believed? Let's begin at a swank party honoring songwriter Oliver Courtney (Rathbone) and find out...

The Story: Despite everyone praising his work on a big Broadway show, Courtney is really a fraud. He hasn't written a song in years. He hires songwriters to do the work for him, including laid-back composer Bob Sommers (Bing Crosby). After his lyricist dies, he convinces Cherry Lane (Martin) to take over. Annoyed with the band that moved to the room next to hers, she goes to find somewhere quiet to work. She's not happy at first that she keeps running into Bob everywhere, including the old inn she ends up taking a room at. 

Turns out the inn belongs to his uncle and he's there for the same reason, to work on new songs. The duo discover they have a lot in common, including being songwriters. They go back to LA, only to learn that they both work for Courtney, and he's not about to let his walking moneybags go. They try to sell their own music, but everyone thinks their songs are Courtney's. 

Bob brings together the band that had made such a racket next-door to Cherry as a way to promote their music. They audition for a big nightclub, but the manager Mr. Westlake (William Frawley) is only interested in Cherry. Bob insists that she sing for him...but all she really wants is Bob and for them to be recognized for the talented songwriters they are.

The Song and Dance: Martin and Bing are definitely the thing here. They play off each other surprisingly well as the songwriters who don't know they're helping the same man. This is also a rare and enjoyable comedy performance from Rathbone, who usually plays villains in dramas and swashbucklers. Here he's also a villain, but one who ultimately learns his lesson. Levant gets his usual digs as Courtney's best friend and voice of reason Billy Starbuck, and crusty William Goodwin has fun as Bob's woman-and-work-hating uncle.

Favorite Number: We open with "What Would Shakespeare Have Said," a comedy number that Bob originally sings when he brings it to Courtney for his show. It's then performed by the show's leading lady Millie Starling (Lillian Cornell), during the party. Cherry initially sings the jaunty "That's for Me" for Courtney at his apartment, accompanied by Starbuck. She's shocked when Bob performs it for her at the inn, believing he stole it. 

The band joins Bob for "Tiger Rag" to show what they can do. "Ain't It a Shame About Mame" is her comedy number with the band later, when they're trying to write their own material. Bing sings "When the Moon Comes Over Madison Square" for producers, but they think they're imitating Courtney. "I Don't Want to Cry Anymore" is Cherry's heartbroken ballad when she's singing with the band, but would rather be writing. 

The hit here was the ballad "Only Forever." Bob initially sings it for Cherry at the inn as they discuss their music. It's reprised as a duet in the finale, when Courtney reveals who really wrote his songs.

Trivia: "Only Forever" was originally intended for If I Had My Way, but was cut from that film.  

What I Don't Like: First of all, while Martin and Crosby work well enough together, she could be given more to do than sing a few numbers and pine over him later at the club. I don't think Paramount ever really figured out what to do with her. Though the plot is slightly more interesting than Rhythm on the Range, it's still pretty goofy. It lacks Range's more colorful supporting cast and genuine location shooting. Other than "Only Forever," the songs aren't all that interesting, either. It's also not for those who like their musicals big and bold; Bing jamming with the band on "Tiger Rag" is big as it gets. 

The Big Finale: If you love Crosby or Martin, or are looking for a smaller-scale romance from the 40's, jump on the catfish boat and enjoy this jaunt down river. 

Home Media: Same deal as Rhythm on the Range. DVD only from the Universal Vault, as a double feature with Range, and as part of a larger Crosby collection. 

DVD - Universal Vault

DVD - Rhythm on the Range/Rhythm on the River

DVD - Bing Crosby: The Silver Screen Collection

Rhythm on the Range

Paramount, 1936

Starring Bing Crosby, Frances Farmer, Bob Burns, and Martha Raye

Directed by Norman Taurog

Music and Lyrics by various

We return to the laid-back world of crooner Bing Crosby with our first two reviews this week. It's not well-remembered nowadays, but Crosby had a strong influence on country music. Though this would be his only musical western, he frequently incorporated western music and country songs into his act, introducing it to audiences outside its usual rural demographics. He became one of the earliest singing cowboys in this entry, just as more authentic cowboy Gene Autry was becoming popular. How does this story of a runaway heiress who falls for a rodeo rider while fleeing out west look now? Let's start not on the range, but at a modern penthouse prepared for a wedding, and find out...

The Story: Doris Halliday (Farmer) is tired of settling for dull but wealthy men. Her Aunt Penelope (Lucile Gleason) wonders why she's marrying someone she doesn't love. Hoping to find a tougher breed of man, Doris stows away on a boxcar with cowboy Jeff Larrabee (Crosby) and his just-bought steer Cuddles. 

Neither Cuddles nor Jeff take to Doris at first, especially after Cuddles chases her in a red scarf and they end up stranded. Doris makes up for it by snaring a car and trailer to take them west. When they arrive, they learn that Jeff's partner Buck (Burns) is now engaged to the very aggressive Emma Mazda (Raye), whom he met on the train. He thinks Jeff should do the same with Doris, but Aunt Penelope worries that Jeff is a gold-digger. Doris knows what real gold-digging is like, and she's ready to tell Jeff she loves him for real.

The Song and Dance: This is really more of a musical than a western, but as such, it has a lot of good moments. Bing's not the most believable cowboy in the world. He does much better crooning "I'm an Old Cowhand" than dealing with the cows. Bob Burns looks and sounds more like a country sidekick. He's especially funny early-on in New York, putting one over on the city slickers. Raye makes a very funny debut as the noisy city gal who falls for Burns while looking for her brother out west. She has some of the best moments in the second half, including jumping around Burns near a freshly-dug well and her exuberant performance of "Mr. Paganini." We also get some rare outdoor shooting for the time at the Alabama Hills in the Sierra Nevada and in New York.

Favorite Number: Our first number is Jeff singing the ballad "Empty Saddles" during the Madison Square Garden rodeo, one of two standards to come from this film. We get many reactions from the touched cowboys around the arena as they remember their own friends they lost. He sings "Roundup Lullaby" to Doris in the boxcar and laments "I Can't Escape From You" after that car she stole busts a tire. He admonishes Cuddles to "Settle Down You Cattle."

The majority of the songs are performed after they've all arrived at the ranch during an engagement party for Buck and Emma. "Mr. Paganini" is Emma's energetic satire of opera, noisily comparing it to swing music. She also briefly gets "Love In Bloom." Jeff joins Russian cowboy Mischa (Leonard Kinsky) for the Russian drinking song "Drink It Down." Look for Louis Prima and Roy Rogers with the Sons of the Pioneers in this number, "One More Ride," and the other big hit from this movie, "I'm an Old Cowhand." 

Trivia: Film debut of Martha Raye; first major role for Bob Burns. We even get to see his famous "bazooka" home-made musical instrument when he's fleecing the cowboys at Madison Square Garden.

Though the arena sequences were filmed at Madison Square Garden in New York City, it's not the current Garden that hosts concerts, the Knicks, and the Rangers. This one was the third version, which was demolished in 1968 after the current arena was built. 

What I Don't Like: Even Rogers' 40's and 50's vehicles have more west in them than this. This is less a western than a cross between a Bing Crosby movie and the runaway heiress screwball comedies that were popular in the 30's. Troubled Farmer is at least a little bit more interesting than most of the women Bing crooned to in his movies, but other than stealing the car, she doesn't have that much to do. As is common for Bing's vehicles in the 30s, the film stops cold so Raye, Burns, Crosby, and the Sons of the Pioneers can do unrelated numbers. 

The Big Finale: Fun for fans of Bing, country music, or those wondering where all those singing cowboy films of the 30's, 40's, and 50's got their start. 

Home Media: Not officially online, but it can be easily found on DVD, on its own and as part of two Bing Crosby sets.

DVD - Universal Vault

DVD - Rhythm on the Range/Rhythm On the River

DVD - Bing Crosby: The Silver Screen Collection - The 30's

Animation Celebration Saturday - Trolls Band Together

Dreamworks/Universal, 2023

Voices of Anna Kendrick, Justin Timberlake, Kenan Thompson, and Eric Andre

Directed by Walt Dorhn

Music and Lyrics by various

After Trolls World Tour was a surprise hit online during the worst of the  2020 pandemic, Universal quickly gave a third movie the green light. Ideas had already been kicking around even before then, when Timberlake said he'd be willing to do another film. This time, they dive into Timberlake's past with a spoof of the boy band phenomenon of the late 80's and late 90's. How well does it do? Let's begin in the past with Branch's (Timberlake) memories of how his brothers' singing group Brozone broke up and see...

The Story: Branch's oldest brother John Dory (Andre) suddenly turns up at the wedding of Bergens Bridget (Zoey Deschanel) and Gristle (Christopher Mintz-Plasse) with a letter from their brother Floyd (Troye Sivan). Floyd was captured by Velvet (Amy Schumer) and Veneer (Andrew Rannells), who have sealed him in a diamond jar and are draining his essence in order to sing and become famous. The only way to free him is to perform the Perfect Family Harmony move that can shatter diamonds. 

Branch, Princess Poppy (Kendrick), and Tiny Diamond (Thompson) travel with John Dory to find their remaining brothers, Clay (Kid Cudi) and Spruce (Daveed Diggs) so they can do the move and rescue Floyd. On the way, they run across a colony of trolls living in a closed mini-golf course that's led by Poppy's long-lost sister Viva (Camila Cabello). They still fear Bergens, and though Viva's thrilled about discovering her sister, she won't leave her home. 

As it turns out, neither will Branch's brothers. They're still too caught up in their own egos and John Dory's need for perfection to stay together. Branch, Poppy, and Tiny go after the treacherous Velvet and Veneer alone...and learn that real "perfect family harmony" comes from acknowledging siblings for what they are, warts and all.

The Animation: Bright and tactile, some of the best Dreamworks has done. Everything is so soft, you feel like you can reach out and touch the fluffy hair and every bit of glitter on Tiny. We even have two wild psychedelic 2-D animated sequences reminiscent of Yellow Submarine. Veneer and Velvet's more plastic looks seem to be based on Betty Spaghetty, a toy line from the late 90's consisting of rubberly dolls with stringy arms and hair. Their manufactured, bouncy moves make for a nice contrast to the Trolls and cements them as phonies.

The Song and Dance: I think this might be my favorite Trolls movie yet, and I've never been a fan of boy bands. Timberlake puts in his best performance as troubled Branch and Kendrick is still an adorable Poppy.  Of the newcomers, Schumer does the best as the scheming Velvet, who is so determined to be in the spotlight that she'll steal someone else's talent to become famous. I also like Cabello's vivacious Viva, who is like her sister in many ways...except opening her heart to Bergens. 

Favorite Number: Our first actual number is "Perfect" at the BroZone concert. Baby Branch and his brothers try so hard to achieve Perfect Family Harmony, but they can't make it in the end. The first of many medleys is "Let's Get Married," as everyone prepares for Bridget and Gristle's wedding. "Watch Me Work" is Velvet and Veneer's first number as we see their stolen act. "Vacay Island" is a groovy medley performed by the laid-back residents of that resort. 

"BroZone's Back" brings Poppy in with Diggs, Timberlake, and Andre as they try to reach that Perfect Family Harmony. Floyd laments "Lonely People" when he's shut up in  his diamond prison. The classic instrumental disco number "The Hustle" underscores that nutty 2-D animated number, with wild colors and strange designs everywhere. "It Takes Two" is Poppy and Viva's number as they bond at the mini golf course. Crimp (Zosia Mamet), Velvet and Veneer's hairdresser, throws in her own lament about working for them "9 to 5." Velvet and Veneer have their concert at "Mount Rageous," but it ends with BroZone reforming to "We are Family." We end with Branch joining his other boy band Kismet - aka the members of Timberlake's real-life boy band NSYNC* - for the original "Better Place." 

What I Don't Like: After the darker World Tour, this one gets back into slightly cutesy territory, what with the goofy boy band characters and some of the stranger numbers. If you can't handle tons of fluff and tons of singing, this series isn't for you. It's also not for those who can't handle it being based after two toy lines. While some of the covers are still a lot of fun ("The Hustle" in particular is something to see), I didn't like the original numbers as much as the ones from the previous films. 

The Big Finale: Worth checking out for fans of the series or the boy bands of the 80's and 90's this is parodying.

Home Media: As a brand new release, this can be easily found on every format.

DVD

Blu-Ray

4K

Amazon Prime

At the Circus

MGM, 1939

Starring The Marx Brothers (Groucho, Chico, and Harpo), Kenny Baker, Florence Rice, and Margaret Dumont

Directed by Edward Buzzell

Music by Harold Arlen; Lyrics by E.Y Harburg

A Day at the Races was a hit in 1937, but things had changed at MGM in the two years between the making of that film and this one. Producer Irving Thalberg passed away a few months before the release of Races. He was one of the people who was instrumental in bringing the Marxes from Paramount and had been their biggest supporter at MGM. Louis B. Mayer, who took over as head of the studio, was far less receptive to the Marxes' wacky brand of comedy. How do the Marxes manage to get involved with a circus that's on the verge of going under, a gorilla carrying a club, and an amorous trapeze artist? To find out, let's begin backstage at the Wilson Circus and see what's going on behind the scenes...

The Story: Jeff Wilson (Baker) owes $10,000 on his circus to John Carter (James Burke), who intends to use it as a front for his gangster activities. Jeff's hidden the money in the cage of Gibraltar, their star gorilla (Charles Gemora). Carter's men Goliath the strongman (Nat Pendleton) and little man Professor Atom (Jerry Maren) knock him out and steal the money. If Jeff can't make the circus a success, he won't be able to marry his horse trainer fiancee Julie Randall (Rice).  

Fortunately, Jeff has help in the form of circus employee Tony Pirelli (Chico) and Goliath's assistant Punchy (Harpo). Tony called lawyer J. Cheever Loophole (Groucho) to figure out who wants the money and why. Loophole tries to get the money off of Burke's trapeze artist girlfriend Peerless Pauline (Eve Arden), but she outsmarts him. Tony and Punchy don't do any better searching Goliath's room. Loophole finally goes to Jeff's wealthy Aunt Suzanna Dukesbury (Dumont) to convince her that the circus would be perfect for her big Newport party. Carter, however, is ready to do anything, even burn the circus down, to keep that money from being found.

The Song and Dance: The Marxes do manage to get a few genuinely good gags and sequences here. Chico and Harpo have a great time searching Goliath's room as they destroy his pillows and let the feathers fly. Arden has her own fun being one of the very few people who ever managed to put one over on Groucho. Dumont doesn't come in until more than half-way through the movie, but she does get shot out of a cannon in the finale. Even some of the music comes across. Groucho gets one of his best numbers from any of the movies with the hilarious "Lydia the Tattooed Lady"; Chico's version of "Beer Barrel Polka" is pretty nifty, too.

Favorite Number: We open and close with the big circus number "Step Up and Take a Bow." Julie sings it to her horses in the first few minutes; Jeff performs it during the show in the end. Julie and Jeff sing the nursery rhyme-inspired ballad "Two Blind Loves" twice. It's originally heard as a duet over a cup of coffee while they wait for the circus train to leave. Jeff sings it alone later, when they're worried the circus may close. Harpo does the bizarre chorus number "Swingali" with big Dudley Dickerson and a group of black children on the circus grounds. He plays several different instruments for them, ending with his harp performance of "Blue Moon." Chico amuses the circus people with "Beer Barrel Polka" on the piano during the train trip.

The number for the books is Groucho's "Lydia the Tattooed Lady." Groucho follows "Beer Barrel Polka" with this wild rendition of Harburg's hilarious comic ditty about the infamous tattoo artist who has just about everything in history you can imagine drawn on her shapely chest. Groucho really throws himself into the song, shaking and swinging with abandon, and Chico has fun accompanying him. It's by far the film's best moment.

Trivia: Buster Keaton was supposed to supply gags for this film, but his lengthy and stylized sequences didn't mix well with the Marxes' looser form of comedy. When the Marxes complained, Keaton basically said he was doing what he'd been paid to do.

What I Don't Like: Actually, no matter what the Marxes thought, Keaton's longer comedy sequences aren't the problem here. While the songs generally fit in better than the ones in A Day at the Races did, other than "Lydia" and the harp and piano performances, they still seem a bit off. "Three Blind Loves" is especially bad, with a sing-song melody and drippy lyrics that are far from Harburg or Arlen's best work. There's way too much emphasis on the cliche "save the circus" story, too.  Baker and Rice are horribly bland, and we see far too much of them. Frankly, I would have rather seen more of the fairly funny Arlen or brought Dumont in earlier to play off Groucho. 

The Big Finale: Marx Brothers fans will want this one for "Lydia the Tattooed Lady" and some great gags near the beginning and end. Everyone else is better off starting with Night at the Opera or Day at the Races for a taste of the Marxes at MGM. 

Home Media: Easily found on streaming and DVD, the latter from the Warner Archives.

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DVD - The Marx Brothers Collection

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Animal Crackers

Paramount, 1930

Starring The Marx Brothers (Groucho, Chico, Harpo, and Zeppo), Margaret Dumont, Lillian Roth, and Louis Sorin

Directed by Victor Heerman

Music by Bert Kalmar; Lyrics by Harry Ruby

Let's laugh our way into the spring with two semi-musicals featuring one of Hollywood's favorite comedy teams. After The Coconuts was a hit, Paramount brought the Marxes back to their Astoria Studios in New York to film their third Broadway show. Nowadays, this is probably best-known for the two opening songs that continued to be associated with Groucho for the rest of his life, It was little-seen from the 50's through the 1970's; its restoration and re-release in 1974 brought it back into the public eye and revealed how sharp and funny this is. Is it just as hilarious now, or should it be knocked out? Let's begin at the Long Island home of wealthy Mrs. Rittenhouse (Dumont) and her daughter Arabella (Roth) as they prepare for a party and find out...

The Story: The guest of honor is Captain Jeffery Spaulding (Groucho), who claims he just came from exploring Africa. With him come Signor Ravelli (Chico) and The Professor (Harpo), who were hired to provide music for the party. Spaulding almost leaves right away before he starts in on flirting with Mrs. Rittenhouse. Arabella is more interested in showing off her artist boyfriend John's (Hal Thompson) work to art collector Roscoe W. Chandler (Sorin). He painted an exact copy of a priceless artwork Chandler recently acquired and intends to show off at the party. She encourages John to replace the real artwork with his to show how good it is. 

Party guest Grace Carpenter (Kathryn Reece) also copied the painting as a student and decides to replace the real one with hers to humiliate Mrs. Rittenhouse. Arabella gets Ravelli and the Professor to take the real one and put up John's...but then the paintings get switched. When the police are called in, Grace decides things have gone too far...but the Professor seems to have vanished with all the paintings...

The Song and Dance: This may be my favorite of the Paramount Marx Brothers movies. I fell in love with it after it turned up at a local video store in the 90's and my family rented it several times. No wonder it was a big hit in the 30's and again in the 70's. Groucho's "Hello, I Must Be Going" says more about his snarky character than any dialogue ever could. He gets some of his most famous lines here, including his delightfully absurd African safari story and his mock-deadpan "strange interlude" asides with Mrs. Whitehead (Margaret Irving) and Mrs. Rittenhouse. Adorable Roth and Thompson fit far better with the Marxes and their brand of comedy than the stiffer lovers in The Coconuts, too. Chico and Harpo get to have fun with a wacky bridge game and with their attempt to switch the paintings.

Favorite Number: We open with the butler Hives (Robert Greig) instructing six footmen (The Music Masters) as how to handle Spaulding. After all, "He's One of Those Men." Spaulding's secretary Horatio Jamison (Zeppo) announces "I Represent the Captain" to Mrs. Rittenhouse and her anxious guests. Spaulding finally arrives on a litter borne by four men, prompting "Hooray for Captain Spaulding" from the delighted guests. Spaulding is not delighted. He'd rather be anywhere else, as he admits in "Hello, I Must Be Going." Later on after the paintings are switched, 

Arabella and John wonder "Why am I So Romantic?" and why they're so crazy about each other. Chico performs his own charming instrumental "I'm Daffy Over You" on piano later during the party, while Harpo gets the lovely antique standard "Silver Threads Among the Gold" on the harp. The Marxes turn up triumphantly with Harpo and the paintings after a prolonged chase while singing "My Old Kentucky Home." 

Trivia: The Marxes filmed The Coconuts while appearing in Animal Crackers on Broadway. It ran for six months from October 1929 through April 1930, not bad for the time. It finally got a brief run in the West End in 1999. The show does turn up occasionally on regional stages, usually with other Kalmar-Ruby songs of the 20's and 30's padding the score.  

"Hooray for Captain Spaulding" was so associated with Groucho, it later became the theme song of his game show You Bet Your Life. 

Though many songs were deleted from the movie version, it also added "Why am I So Romantic?" 

The Marxes, Dumont, Craig, Irving, and Sorin repeat their Broadway roles. 

Strange Interlude was a wildly popular and influential nine-act experimental play written by Eugene O'Neil that ran in New York at the same time as Animal Crackers. Characters make asides to explain their thoughts in the middle of soliloquies as Groucho does. 

Several minutes of especially spicy dialogue was deleted for a reissue in 1936. The original version was thought lost until 2016, when a full copy was found in England and released on Blu-Ray.

What I Don't Like: This is very clearly an early sound film. Most of the movie is extremely stagey, with everyone standing around and talking or singing. When you hear thunder, it's clearly a sound effects man rattling tin offstage. Though it largely avoids the dull chorus numbers from The Coconuts, it also doesn't have much music besides Groucho's two iconic songs. Some of the jokes, like the "strange interludes" mentioned above, may not land with those who don't know the Marxes or the time period.

The Big Finale: If you want to find out how the Marxes started out, this is a far better introduction to them than The Coconuts. Highly recommended for fans of early sound comedy or those who just want to find out more about the Marxes and their brand of madness.

Home Media: Easily found on disc and streaming. The Blu-Ray is the 2016 restored version.

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DVD - The Marx Brothers Silver Screen Collection

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