The Great Film Discussion

[ymymeatemup]

RADIO BUGS (1944)

Things I like:
Pretty Much Nothing. The closest thing to something positive in this film is the Red Skelton radio program - which clearly is not the real thing, but a mock-up made especially for this film. It gives us a nice glimpse into what it would have been like to sit at home listening to the radio in the '40s, but it's also a testament to this film's overall lameness that even the scene with Red Skelton isn't particularly funny.

Things I don't like:
The Kids. Never have these kids concentrated their combined skills towards such a level of obnoxiousness. They show up at a dentist's office to do a comedy routine that doesn't get any laughs. Then they perform a tragedy in front of three morticians, only to wind up being uproariously funny. Or at least that was what the script called for. To this day, only the three morticians have ever laughed at this scene - and they were being paid to do it.
The Snob. I don't know what's worse - the old Shakespearian actor dismissing comedy as universally lowbrow, as though spending your life taking yourself too seriously has ever been a good idea - or the nodding heads of the Gang as they pretend that The Bard's metaphoric style of writing isn't going straight over their heads. And what's with the inscrutable face of the guy who runs the book store? Does he think the kids are making a mistake, or is he glad they've taken up Shakespeare as a hobby? Judging by his face, I can only surmise that he's wondering who this guy Shakespeare is.

Grade: F

[tboneator64]

Feb 10, 2016 23:35:08 GMT -5 ymymeatemup said:

RADIO BUGS (1944)

Things I like:
Pretty Much Nothing. The closest thing to something positive in this film is the Red Skelton radio program - which clearly is not the real thing, but a mock-up made especially for this film. It gives us a nice glimpse into what it would have been like to sit at home listening to the radio in the '40s, but it's also a testament to this film's overall lameness that even the scene with Red Skelton isn't particularly funny.

Things I don't like:
The Kids. Never have these kids concentrated their combined skills towards such a level of obnoxiousness. They show up at a dentist's office to do a comedy routine that doesn't get any laughs. Then they perform a tragedy in front of three morticians, only to wind up being uproariously funny. Or at least that was what the script called for. To this day, only the three morticians have ever laughed at this scene - and they were being paid to do it.
The Snob. I don't know what's worse - the old Shakespearian actor dismissing comedy as universally lowbrow, as though spending your life taking yourself too seriously has ever been a good idea - or the nodding heads of the Gang as they pretend that The Bard's metaphoric style of writing isn't going straight over their heads. And what's with the inscrutable face of the guy who runs the book store? Does he think the kids are making a mistake, or is he glad they've taken up Shakespeare as a hobby? Judging by his face, I can only surmise that he's wondering who this guy Shakespeare is.

Grade: F

Some additional thoughts about this short:

RADIO BUGS strikes me as a sort of reverse morality play, in that Red Skelton's "Bonds or Bondage" line is delivered very early in the film, with the rest of it consisting of the 'Our Gang' kids trying to be famous. While as a viewer, I appreciate that at least there was some effort towards humor in this very late 'Our Gang' era short, it pretty much fails on all cylinders.  I can't help but wonder whether Froggy's mispronunciation of Red's last name as Skeleton was done intentionally to generate some laughs, or if he just kept unintentionally mucking it up and it was left in.  Regarding Red's "Radio Dialogue" being a mock up, I had assumed it was taken from an actual Broadcast.  However, as Mr. Skelton did work at MGM, the mock up is certainly a possibility. Either way, I agree that it isn't particularly funny, and in my opinion, Red Skelton was a very funny man!  Couldn't show up the rest of the film, I suppose.

CHEERS!

[RJH]

Radio Bugs (1944) - Froggy listens to a Red Skelton radio show and then dreams of becoming rich. He enlists the gang's help, and they try to find a sponsor who will pay them, hopefully thousands of dollars. They get a dentist joke book from a bookstore, and try out the jokes on dental patients who are not amused. Going back to the bookstore, they are convinced by a strange man to try drama instead of comedy, so they attempt Shakespeare. They perform for the Grimbles, probably brothers, owners of a mortuary. The Grimbles find the gang's performance hilarious, the opposite reaction the gang was hoping for. Outside, they come across a radio show broadcasting and a reporter asks them what the crying need for radio today is, and in unison they shout, "A sponsor!"

This film is very short on humor. One indication is that I found one of the funniest things to be Froggy going to bed with his glasses on. My impression is that Froggy says "Red Skeleton" on purpose, and that's what I thought the comedian's name was when I first heard it. The scene with the gang tormenting all the patients already in agony in the dentist's office just isn't funny. Mickey tries a one-man band which could have been worthwhile in a different setting, but the dentist's office is a terrible location for it. The bookstore owner barely interacts with anyone and it is unreasonable for the gang to be so completely swayed by the guy spouting Shakespeare. The mortuary scene is a little better; there is some action with the kids stabbing each other with swords and Froggy having trouble with a skull attached to a spring. The Grimbles' laughter is a big overreaction, though. Buckwheat does get much more than his usual share of dialogue, but doesn't say anything very profound. The final gag about needing a sponsor is not very compelling. This film is one notch above all those moralizing and support-the-troops MGM films, but that's it, below just about everything else.

Shivering Spooks (1926) - Most of the gang is playing baseball when their ball interrupts a séance being conducted by the crooked Professor Fleece. The gang is chased into their cave hideout, which promptly caves in on them. They break through a wall which happens to lead to Fleece's house, where there is an elaborate setup to create special effects to convince Fleece's clients, or suckers, that he is legitimate. The gang's actions and words disrupt Fleece's performance, scaring the suckers away. Fleece and his cronies decide to scare the gang for good, with ghost costumes and the special effects. This works for several minutes, but then the gang, on a balcony, sees and hears the ghost for what they really are, and conk them on the heads with urns. The bad guys are sufficiently dazed for the detective to arrest them.

This has several good features and some that aren't helpful. This starts with Farina and Skooter caught in a ridiculous gunfight, with the detective and Fleece alternately shooting and chasing each other and Farina and Skooter running between them instead of off to the side. The gang's hideout is excellent, with a mechanism for opening and closing doors covered with branches that works great in hiding the entrance. It's a great place for telling ghost stories, and then the cave-in lends some excitement. Mary's explanation about ghosts always being white isn't so bad, but what is bad is Farina being scared white once inside Fleece's house. There is a continuing gag about Skooter pulling Joe's pants down every time Skooter gets scared, and this part ends when Joe ties Skooter's hands behind his back with his sweater sleeves. This seems a bit overdone to me. Then Farina takes over, ripping Joe's sleeves off and part of his shirt, and Mary actually gets in on this when one grab pulls the rest of Joe's shirt. Fortunately he has an undershirt on. The crooks chasing and scaring the kids is decent. Farina and Joe get the most attention by far, and I'd prefer it if the rest of the gang was treated more equally. The ending is pretty good, with the gang finally learning the truth and helping subdue the bad guys.

[tboneator64]

RAILROADIN' (1929) - I'm choosing to "Willie K. Ever" this one!

My first impression when I viewed this early 'Our Gang' Talkie for the first time in the spring of 2012, was one of fascination over the vast outdoor setting, what with being treated to the sights and sounds of the chugging Locomotive right from the beginning of their second sound film!

Regarding the bit about a crazy man starting a locomotive, I have two observations. First, this is a Hal Roach comedy, so logic is secondary, at best! Second, hopefully without spoiling the ending, I'll state that the manner in which this early gem of a two reel talkie ends, cancels it out in my opinion, anyway!

RAILROADIN' is certainly much less awkward than the often creaky inaugural 'Our Gang' Talkie, SMALL TALK! How and why that short was made into a three reeler is something that I find a bit mind boggling!

We're most fortunate to be able to enjoy RAILROADIN's soundtrack, which had been missing until the early 1980's! For me, this is easily the Gang's best Talking Picture of 1929!

CHEERS!

[RJH]

Railroadin' (1929) - The gang is hanging around the trainyard where Joe's dad (I think) is an engineer. After some horsing around by Joe and Harry, Joe's father warns Chubby about what could happen. tic Then we see a crazy man start the train with Joe and Harry on board. The lunatic jumps off, leaving the duo on the train they can't control. Farina gets his foot stuck in the tracks and gets run over several times because Joe and Harry somehow can shift the train into reverse but not stop it. Farina finally frees himself and is forced to climb onto the train from the front. Eventually the train couples with a car Wheezer, Mary Ann, and Jean are playing on. The train smashes a grocery truck stuck on the tracks and almost hits another train, and then somehow it stops - if it really happened.

It is hard to understand almost everything the kids say on my print, as they are drowned out by background noise including the trains. This feels like a remake of "The Sun Down Limited" with sound, but I found the former a lot more enjoyable. Here the emphasis is on the scenery, the trainyard, especially at the beginning with Farina and Harry on the turntable, and the landscape passing by at frightening speeds. Wheezer likes the fast ride, and he and the girls wish they hit a better vehicle like an ice cream or candy truck. It looks like the bit where Farina gets loose from the track is film played backwards of him falling off the front of the train which itself is moving backwards. Also, he is certainly old enough to figure out all he had to do was turn his foot sideways to get out. The crazy guy starting the train is far-fetched; I don't know why Joe or Harry couldn't have started it accidentally. I don't care for Farina getting hit by the eggs at the end. Still this is quite impressive for a very talkie with all the new problems to deal with.

[ymymeatemup]

SHIVERING SPOOKS (1926)

Things I like:
George French & Those Confounded Kids. It would appear that this short provided the basic template for every episode of "Scooby Doo, Where Are You," but with far better results than that particular series could ever hope to accomplish. French is terrific as the phony spiritualist, and the variety of tricks that he and his band of ripoff artists rig up for the old house is quite impressive. Add to this some shots done in negative exposure and we're left with the best Our Gang "spook footage" this side of "Shootin' Injuns."
The Opening Scene. There's something absurdly amusing about the way Farina and Scooter run back and forth between the two men shooting at each other.
The Sucker Crop. The scenes featuring the gullible customers of the phony psychic are consistently funny, though Beanie Walker deserves most of the credit.
Story Time. Possibly the best use of racial humor in the entire series. Mary's way of explaining why there aren't any 'colored ghosts' is perfectly in keeping with the non-malicious way young kids deal with the subject of skin color.
Most Everything Else. Considering this series had just lost Mickey Daniels - the best actor in the troupe during the silent era - it's heartening to know that the studio could still turn out one of their best episodes. Almost everything works well in this short, not least of which is the pacing, which ensures a lack of dull stretches.

Things I don't like:
Joe's Pants. My least favorite thing about the silent era episodes is the overuse of slow motion, but second to this would probably be the frequent pulling down of Joe's pants by some frightened younger member of the troupe. If there's anything positive to be said about this unfunny business, it's that Scooter Lowry does some pretty impressive backwards somersaults (for his age, anyway) every time Joe pushes him away.

Grade: A

[ymymeatemup]

RAILROADIN' (1929)

Things I like:
The Runaway Train. Through some combination of authentic locations, a vintage locomotive and constant motion, the 'wild ride' that dominates this short is quite satisfying. Of particular note is the way the train barrels through a wagon loaded with groceries - the single biggest highlight in the film. It's also worth noting that this short doesn't tend to suffer from the lack of soundtrack music the way the other earliest talkies do. The roar of static normally heard in other shorts is largely smothered by train sounds, which helps keep this film from feeling stagnant.
The Railroad Yard. It's quite a treat to see so much of the Santa Fe railroad yards, particularly when we find ourselves situated right on the turntable as it's being operated.
The Opening Titles. Superimposing the titles over footage of the locomotive works so well that I find myself wishing they had done this more often.

Things I don't like:
The Acting. As is typical with the earliest talkies, everybody - whether child or adult - shouts their dialogue, which inevitably results in generally bad acting.
"I Faw Down An' Go Boom." As if the acting wasn't problematic enough, we're treated to Mary Ann's virtually unlistenable rendition of this song. It appears that the studio thought putting some music into these early talkies was a good idea - until it became obvious that it wasn't. It would take a few years before the troupe had enough musically-inclined members to warrant any further efforts in this direction.
The Moral. Just remember, kids: You should never play on a locomotive because a crazy man might start the engine up and leave you careening down the tracks to certain death. But of course, if there's no crazy man around, you should be perfectly fine.
The Final Gag. A bit similar to the closing gag in "Boxing Gloves," the egg-in-the-face bit doesn't get any funnier when it's repeated ten seconds later, and Farina's closing dialogue is about on a par with those wonderfully witty Froggyisms of the MGM era.

Grade: B

[mtw12055]

Several weeks late, but RE: PAY AS YOU EXT, the instrumental tune heard during Spankys "old act" is called "He Peddled His Bristles to Women," a song sung by Charley Chase in his 1934 short IT HAPPENED ONE DAY.

According to ymymeatemup's The Lucky Corner website, the tune was written by Marvin Hatley, with lyrics by Walter Weems. The song was used as Charley is recounts a previous love life of his to Betty Mack. According to James L. Neibaur, the song also went another the title "This Salesman Is So Gay."

Here are the lyrics, if anyone is curious.


I'm feeling despondent, unhappy, and sad
Indeed, I am just an unfortunate lad
My skies are as gray as the scales on a shad
Because of a snake in the grass

I was carefree in love and quite happy
With a girl I would soon make my wife
When a handsome brush salesman a sample gave her
Then deliberately blighted my life

This salesman so gay
With the girls had away
His bristles he peddled to women who'd pay
My love feared this villain
But what could she say?
He hypnotized her like a snake

He showed her his various brushes, the fop
This silver-tongued liar she just couldn't stop
He showed her a long one with dodads on top
And it knocked by poor girl for a loop

His eyes were big, black, and magnetic
His hair was done in a marcelle
He reaked of a perfume that made him smell grand
And having no willpower, she fell

This salesman so gay
With the girls had a way
He peddled his brushes to women who'd pay
He loved her and left her on that fatal day
With a brush as the price of her shame

This wasn't the only time a song from another Roach series popped up in an Our Gang film. SHRIMPS FOR A DAY featured "Here Comes the Ice Cream Man" from Chase's I'LL TAKE VANILLA, while "Good Morning Children," from the Roach All-Star comedy MIXED NUTS popped up in both OUR GANG FOLLIES OF 1936 and THE PINCH SINGER. "Honalulu, Baby," from Laurel and Hardy's SONS OF THE DESERT, popped up a few times in the series, as well.

Here are the lyrics for "Good, Morning Children." The tune was sung between four teachers (Douglas Wakefield, Billy Nelson, Don [Honky-Donkey] Barcaly, and Jack Barty) of an all-girl school to a group of chorus girls.

Good morning, children, children, dear
Vo-de-do-de-de-do-dow

Good morning, teacher, teacher dear
Vo-de-do-de-de-do-dow

Do you know your lesson, children, dear?
Vo-de-do-de-de-do-dow

Yeah! We know our lesson, teacher, dear
Vo-de-do-de-de-do-dow

If you don't know your lesson, it's no disgrace
You'll get by on your fallen face
Just in case you don't forget, we'll have a test

And always remember what you taught us best

So, you know your lesson, children, dear
Vo-de-do-de-de-do-dow

Yeah! We know your lesson, teacher, dear
Vo-de-do-de-de-do-dow

I'll post the full lyrics to the "Ice Cream Man" song (the original version was longer, and slightly different) once we get around to SHRIMPS FOR A DAY.

[RJH]

Readin' and Writin' (1932) - It's the first day of school, and Brisbane is not enthusiastic. On the way he visits the blacksmith who tells Brisbane to study hard like he did. Brisbane insults the man for becoming only a "punk blacksmith," whereupon the blacksmith tells Brisbane about a kid who got expelled for playing pranks. This gives Brisbane the idea to enlist new students Dorothy, Stymie, and Wheezer to unwittingly participate. Eventually he gets a mule inside the classroom and gets his wish to be expelled by Miss Crabtree. However, he quickly gets bored because all the other kids are in school. He has to recite Sherwood's sappy poem to be readmitted, and gets laughed at by the rest of the class.

There is a lot to like about this film. The scenery stands out, with the kids walking to school and Brisbane trying to entertain himself from fishing to the clubhouse. The club has a great name, the Secret Order of the Winking Eye, complete with props, but of course no other club members present. I had forgotten the similarities with "School's Out" with a few ridiculous answers by the class to Miss Crabtree's questions. The multitude of pranks work, including tacks on seats, rigging a horn, gluing pages of books, and finally the mule. Brisbane's mother and the blacksmith are played very well. But one thing I really like about this is how so many characters get significant roles. Of course Brisbane is the lead role in this, but Dorothy, Stymie, Wheezer, Sherwood, and Donald Haines all have significant moments. Big parts for all of them except Stymie would become rare over the rest of their tenures with the gang. The film closes with a skunk gag, which seems to be a bit overused as a closing device when the writers couldn't think of another way of ending this. Overall, quite enjoyable, and Brisbane learning his lesson was handled so much better here than in the later MGM attempts.

Shootin' Injuns (1925) - The gang has an elaborate hideout in a backyard with a secret tunnel entrance that Farina can't find. The others plot a trip to shoot wild Indians, but Mary throws a monkey wrench into the plan by insisting on coming or her and Johnnie's father will tear the shack down. The boys plot to run away that night, and Farina manages to stow aboard the wagon driven by Gene. After several frights, they get moving, but stop for shelter when it starts to rain. They happen to stop at a "magnetic house" prototype for amusement parks. A bolt of lightning trips a switch opening a door, and then the boys are locked inside. They experience a myriad of frightening effects for a prolonged time. Eventually their parents come, and get caught in the effects, with some getting hit by bottles thrown by Mickey. The film ends without a real resolution, with Farina getting scared again in another room.

Getting past some political incorrectness, this film features one of the gang's best hideouts, with the secret tunnel entrance and communication system. Unfortunately Mary can eavesdrop just by listening outside the shack. There is something comical about the way the boys so studiously pore over their treasure map, and their poor sense of geography on how to reach their destination. A lot of detail went into its construction. As if often the case with the silents, there are many clever title cards, several of them here describing the gang's nicknames. Then comes Richard Daniels explaining his magnetic house to some developers who agree to finance it. Maybe the house of horrors in "Hide and Shriek" was an offshoot of it. The bolt of lightning allowing the gang entrance and then locking into the house is a nice touch, even though that sounds like a fire hazard. The creators went all out to create a large number of effects, and trick photography is used repeatedly, most notably with Farina running out of a still image of him, and then backing up to become whole again. Besides failing at jumping through two windows only painted on a wall, Gene falls through a trap door. Just about all the boys fall down a slide that forms out of a set of stairs. Naturally there are lots of skeletons and scary clown-like figures. The one thing that seems off is that it doesn't have much of an ending. The gang, mainly Mickey, throws stuff at and knocks down the invaders who turn out to be their fathers. Farina and Gene's mother does not look the part and is not a flattering character. Instead of the parents coming at all, I would have ended it by the gang being finally ejected from the house say by a slide (or a catapult?) and landing in a mud puddle outside.

[ymymeatemup]

READIN' AND WRITIN' (1932)

Things I like:
Sherwood's Poem. The single funniest thing about this episode is the amazingly insipid piece of drivel Sherwood recites in front of the class. Brisbane's repulsion is perfectly understandable.
The Pranks. Many of these are typically unimaginative, such as thumb tacks on the chairs, or gluing the books shut, but some of them are a bit more inspired, such as the car horn hidden in the wastepaper basket (though this gets old really fast) or the idea of both Dorothy "Six Years Of Old Age" DeBorba and Miss Crabtree being hard of hearing.
The Music. As was the norm for this period, the catchy Leroy Shield tunes are ever-present in this film. It's particularly effective when Pete enters the classroom to the strains of "Dog Song."
Donald's Trip. On the list of seemingly unintentional gags, this one ranks at the top of the list for this series.
Kendall McComas. I have to admit that I've never been that big of a Brisbane fan. In recent years, it's been revealed that he was a teenager during his stint with the Gang, and while this was initially surprising to me, I now find that it does a lot to explain why I never found him appealing. Little people dressed as children, whether we're talking about the Brasnos, Jerry Maren, Major Mite, or in this case, Breezy Brisbane, always strike me as somewhat unnerving. They might look like kids from a distance, but once the camera moves in a little closer, their faces reveal them for the adults they actually are. Of course, McComas is a teenager here and not an adult, but I still get that same uneasy feeling. Nevertheless, he does a nice job of acting in this short, and can rightfully claim to take most of the credit for its success. I particularly like the scene with the blacksmith.

Things I don't like:
Not Much. The main thing that comes to mind is the casting of the boy that Wheezer hands the ball over to in the schoolyard. His response of "that's alright" is about as deadpan as I've ever encountered in my years of movie-watching. But that's a minor quibble over a brief moment in the film. Otherwise, while I don't rank this episode as a big favorite, it's still got a pleasingly nostalgic vibe.

Grade: B

[RJH]

Reunion in Rhythm (1937) - There isn't much more to say. I would have liked to see more former gangsters in attendance; there was certainly room. Did Farina and Jackie Condon ever graduate from grammar school? And Mary Ann, Wheezer, Jean, Harry, Jay R., etc. It was fun to see Pete eating at the table. Other than Mickey, the old-timers got to do very little. Of the kids' shows I like the first one with Darla and Porky as toys the best. That could well be the best interaction between those two. I also liked Buckwheat standing up to Spanky and getting his poem in. Then there was the trick of dragging him offstage by pulling the carpet on which he was standing, an idea used in "Stage Fright" against a more inept reciter. Alfalfa puts on one of his best singing performances. A pleasant performance all around.

[ymymeatemup]

SHOOTIN' INJUNS (1925)

Things I like:
The Magnetic House. This is the whole reason to watch the short. The folks at Roach wasted no effort in putting together the most elaborate spook house in series history. It's difficult to even describe what goes on in this sequence, as there's a seemingly endless stream of bizarre tricks and effects on display, but I will give special mention to the dancing stovepipe, the tongue (actually an arm) coming out of the mouth of the portrait, and the skeletons on the stairway banister (created through some terrific photographic effects). And, of course, we have the obligatory gravity-defying pigtails standing on Farina's head, an oft-used gag that never fails to amuse.

Things I don't like:
The "Mammy." Or shall I say the white guy passed off as Farina's and Gene's mother? It's bad enough when actual black people behave in such a grotesquely stereotypical fashion in these old films, but this is just pathetic.
Not Much Else. The opening sequence involving the kids in cowboy outfits planning to "shoot injuns" is mildly amusing (in spite of the obviously distasteful subject matter), but isn't exactly standout material. The secret entrance provides a bit of novelty, but it's mainly Beanie Walker's titles that carry us through this part before the real fun starts.

Grade: A-

[tboneator64]

Mar 20, 2016 20:41:26 GMT -5 ymymeatemup said:

SHOOTIN' INJUNS (1925)

Things I like:
The Magnetic House. This is the whole reason to watch the short. The folks at Roach wasted no effort in putting together the most elaborate spook house in series history. It's difficult to even describe what goes on in this sequence, as there's a seemingly endless stream of bizarre tricks and effects on display, but I will give special mention to the dancing stovepipe, the tongue (actually an arm) coming out of the mouth of the portrait, and the skeletons on the stairway banister (created through some terrific photographic effects). And, of course, we have the obligatory gravity-defying pigtails standing on Farina's head, an oft-used gag that never fails to amuse.

Things I don't like:
The "Mammy." Or shall I say the white guy passed off as Farina's and Gene's mother? It's bad enough when actual black people behave in such a grotesquely stereotypical fashion in these old films, but this is just pathetic.
Not Much Else. The opening sequence involving the kids in cowboy outfits planning to "shoot injuns" is mildly amusing (in spite of the obviously distasteful subject matter), but isn't exactly standout material. The secret entrance provides a bit of novelty, but it's mainly Beanie Walker's titles that carry us through this part before the real fun starts.

Grade: A-

Your review actually prompted me to view this gem, and I agree with everything that you stated above!  That the repetitive, often inappropriately placed background music didn't put me to sleep this time around speaks volumes of this two reeler's merits!  This one has a lot of great special effects, and I especially liked the slow motion/double exposure effect that was applied with Farina's footage, plus some others that I won't mention here! 

That was about the worst example of Blackface that I recall ever seeing, certainly the most unconvincing!  It's too bad they couldn't/didn't use Farina's real mother this time around!

For me, the Magnetic House sequence has elements that were later used in the 'Our Gang' Talkies HIDE AND SHRIEK (1938) and MOAN & GROAN, INC. (1929).  

Highly Recommended! 

[ymymeatemup]

REUNION IN RHYTHM (1937)

Things I like:
"Hopeless Love." After a powerhouse vocal performance from Georgia Jean LaRue, Alfalfa turns in the last of his 'innocent' attempts at crooning. In other words, the seriousness with which he sings would, from now on, be permanently replaced by various accompanying gimmicks and a self-awareness that these performances were being done strictly for laughs. His reliance on falsetto adds more humor to the situation than could ever happen from soap bubbles coming out of his mouth or a burning candle under his derriere, and the rooster's backing vocal puts the icing on the cake.
"The Toy Shop At Midnight." I'm going to go out on a limb and just assume that Miss Lawrence put this show together, since the amateurish quality of "Follies of 1936" or "Pay As You Exit" are nowhere to be seen in this short. That being said, the songs are still catchy, and in the case of Darla's big number, genuinely endearing and cleverly staged.
"The Gay White Way." Again, the level of production is over the top, but there's a lot of fun in watching the kids simulate a busy New York street, and Spanky quite capably handles his vocal duties.

Things I don't like:
The Reunion. There had already been problems with the results of the earlier reunion (in "Fish Hooky"), but that was "Citizen Kane" compared to the reunion in this film. Only Mickey Daniels is given any dialogue, and considering the results, they might as well not have bothered.

Grade: B+

[RJH]

Roamin' Holiday (1937) - Spanky and Alfalfa are sick of caring for their little brothers on Saturday, and when Darla informs them they'll have to take dancing lessons, they decide to run away. Buckwheat and Porky have nothing better to do so they tag along. Starving when they arrive in the nearby town of Jenksville, they see the owners of a bakery feeding a dog. Spanky and Alfalfa try to get food by saying Pete is hungry, but all they get is a bag of dog biscuits. Buckwheat and Porky take the idea further by dragging a nearby dog into the shop, and telling the proprietors, the Jenkses to whom this dog actually belongs, that this dog likes pie, cake, cream puffs, and chewing gum. They share the goodies with the older two who don't care for the dog biscuits. The Jenkses overhear that the boys ran away from home, and the constable decides to teach them a lesson when they can't pay for the food. He gets them to wear prisoner outfits and hammer rather feebly at a rock pile. When he leaves to get his car, the boys make a run for it, hiding in a barn, tangling with some animals, and finally getting chased away by a swarm of bees.

My favorite part is the scene where Buckwheat and Porky claim "their dog" likes all the desserts, with the Jenkses playing along. It's great to see the younger two succeed where Spanky and Alfalfa fail. The older two have great expressions while they're eating the dog biscuits. There is that theme of the adults teaching the kids a lesson, but it isn't annoying due to the Jenkses' charm. The kid-size prisoner suits may be far-fetched but are appropriate. There are some good moments during the escape, where another dog objects to Buckwheat and Porky occupying his doghouse, and a chicken tussling with Alfalfa's cowlick through the bottom of an overturned basket and escaping with his personality, as he puts it. Fortunately we see the constable's rifle fall apart and know it can't fire, but the kids think it's real when they hear the car backfire. I have a fondness for cars that start with a crank. Or in this case, not start after several efforts. It is a shame there was very little use for Darla in this film. Still, I can't help but like this since it is among those in which the Buckwheat-Porky team gets to shine the most.

The Smile Wins (1928) - Farina and Mango help with their mother's laundry business, but the mother is ill and can't do any work to earn enough to pay a $200 note on their house. Farina is an optimist, but the gang thinks he is laughing at them and treats him horribly. Harry is particularly evil as he pours muddy water on the laundry Farina and Mango are delivering to a customer who takes back her money when she finds out. This sends Farina past his breaking point and he cries. Joe, the leader, develops a conscience before the rest of the gang and finds out what is going on. When they all visit the bedridden mother, they realize what jerks they have been and decide to help out. The gang steals food from several pantries, and then makes an oil well. Amazingly they strike oil just before the landlord comes by. He offers the mother $50,000 for the whole place, and this immediately cures her of all her ailments. Then it is discovered that the gang merely punctured an oil pipeline, but the sale stands and the films end with Farina nattily dressed in his new chauffeur-driven car.

Thanks go to Reelclassicdvd for making this available. This is quite a unique entry in the series, being more of a drama than a comedy. Farina and Mango aren't part of the gang initially, and their treatment by the gang is exceptionally cruel. Dirtying the laundry is despicable, and it isn't pleasant to watch Jackie take a swing at Farina, now in their 64th film together. Fortunately Farina ducks and Jackie hits Jay instead. There are some nice contraptions. Farina and Mango operate a mule-powered device that helps with the wash, and the gang has improvised a merry-go-round, but the oil well takes the cake. It's very impressive that the gang got it operational within two days. This may be the only film where Mango gets any lines, but all she says is that's she's hungry. As for comedy, the sequence where Mango, Pete, and the mule are affected by chloroform was supposed to be humorous but I don't care for any of those slow-motion scenes. The gang does play a game where they load a cannon-like piece of equipment with melons and try to catch them, and Jay gets hit in the but when he isn't looking. The film takes on a much more cheerful tone when Joe gets the gang to rally for Farina's family, and has a feel-good ending, especially when Pete knocks a bucket of oil onto the landlord.


Regarding Farina and Gene's mother in "Shootin' Injuns," if that character was going to be such an undignified part I'm glad Florence Hoskins didn't portray her.