Reviews (4)

The Girl on the Piano with the Big Voice
The Helen Morgan Story is a formula biopic with equal parts soap, song and gin. The thing that makes it stand out are three very good performances and a wonderful parade of vintage 1920's hits voiced for the star by Gogi Grant.
From the moment the film begins to unreel with its Broadway marquee titles you know you are in for a good old-fashioned tearstained campy drama. Loosely based on the life of Helen Morgan, who is most famous today for creating the role of Julie in the groundbreaking "Show Boat" in the 20's. The film centers on her rise and fall as well as her unrequited love for gangster Larry Maddux.
Playing the title role is Ann Blyth who does her best to give Helen all the pathos, drama and tragedy required in such a story. She does a fine job but one can't help but recall her best work as Veda in Mildred Pierce. Some years earlier.
The real stars of the show are comedian Alan King, TV star Cara Williams and a new guy to pictures by the name of Paul Newman. These three pros take a filmland formula and mix it until it explodes.
Alan King is quite a fine actor as well as a gifted comedian. He imbues the character of Benny Weaver, Larry's partner with life and humor. As Helen's best friend and Benny's moll Cara Williams shines.
But the best performance is given by a very young Paul Newman who shows us just what he could do with the good for nothing huckster role. He soars in the role and gives us a preview of some of the better roles he will fill out in the future from Fast Eddie to Hud.
The black and white cinematography by Ted D. McCord is stunning as are the sets and costumes. And the Warner Brothers orchestra makes the mono soundtrack burst its boundaries to near stereophonic sound. The dirction by Michael Curtiz who had been making films since 1912 is solid and dependable.
One hopes that there may be a DVD release of this film in the future.

musical melodrama supreme
Ann Blyth stars as ill-fated torch singer Helen Morgan in the musical biography THE HELEN MORGAN STORY.

Ann Blyth (ROSE MARIE, KISMET), and Paul Newman (CAT ON A HOT TIN ROOF, TORN CURTAIN) make for an electrifying screen couple. The story of Helen Morgan is given a reverent re-telling with an intelligent if overly-sentimental script. Helen Morgan is perhaps best-known for creating the role of Julie LaVerne in the original Ziegfeld production of "Show Boat".

Ann Blyth's vocals were dubbed here by Gogi Grant. The supporting cast includes Richard Carlson, Gene Evans, Alan King and Cara Williams.

Directed by Michael Curtiz.

Excellent Movie
I happened to be in the video store and was looking through my favorite section (classical movies) when I decided this looked interesting. I had no idea I would be so pleased! Paul Newman gives a wonderful performance of a man set to achieve his ambitions by using the woman he loves, never realizing how his actions are working to destroy them both. The songs are great and Blyth is also wonderful. I will be buying my own VHS of the movie soon.

GOOD GUY BAD GUY???
I FIRST VEIWED THE HELEN MORGAN STORY WHEN I WAS ABOUT 11 0R 12 SINCE THAN IT HAS BEEN MY FAVORITE MOVIE AND THATS WHEN I FELL IN LOVE WITH PAUL NEMAN. IT TOUCHED ALL EMOTIONS ..THE MUSIC WAS WONDERFUL.GOGI GRANT'S VOICE WAS GREAT. ANN BLYH WAS PERFECT FOR THAT BABY GRAND PIANO,SHE COULDN'T HAVE GIVEN A MORE BELIEVABLE PERFORMANCE AS THE TINY LITLLE GIRL WITH THE GREAT BIG VOICE..IT WAS FULL OF GLAMOUR AND GAYIETY. IT BROUGHT TEARS TO MY EYES .PAUL NEWMAN WAS A GREAT GOOD GUY BAD GUY,NOBODAY COULD HAVE PLAYED THE PART OF LARRY MADDUX BETTER CARA WILLIAMS AND ALAN KING ADDED A GREAT TOUCH OF ROARING 20'S HUMOUR ..IF ANYONE WANTS TO HAVE AN EVENING OF MUSIC,HUMOR AND ALOT OF TEARS, I WOULD HIGHLY RECOMMEND THIS MOVIE DONNA. ... Read more

Reviews (10)

Above average Elvis vehicle
This picture is a great improvement over the movies of the previous three years (especially when compared to EASY COME, EASY GO and CLAMBAKE).

In this more adult-oriented comedy, Elvis plays a photographer who gets stalked by a rather eccentric woman, who gets him fired from his job and moves him out of his own home. How does she do it? I can't tell you, you have to buy the picture. He, he.

Anyway, you'll have fun watching Elvis juggle between two jobs, and the songs in this picture are actually GOOD (especially "Edge of Reality" and "A Little Less Conversation"). The "Edge of Reality" sequence is actually pretty psychedelic, an Elvis film highlight, indeed.

Finally, Elvis was getting more quality scripts in this period. Unfortunately, his movie contract was almost up, so that's probably the reason for it.

Buy this picture, you'll be glad you did.

No Cookie Cutter Elvis vehicle.
By '68 the 1930's approach to Presley movie-making was finally over. Although Mr. Taurog did some nice work with Elvis, it seems that his work with Bing Crosby somehow became his main reference point in presenting "The King of Rock and Roll". (Indeed, even in this progressive entry, another '20-'30s icon, Mr. Rudy Vallee, has a part). Anyhow, this picture tried to be mod, hip, current, whatever. and missed the mark. Not that it doesn't have some entertaining sections, with our man dealin' with an inscrutable bohemian lass. All the songs are good, especially "Edge of Reality", presented in a well-choreographed waking dream sequence. Another contemporary song, "A Little Less Conversation" was also well-presented. (Alright, Elvis historians, how about my idea that the later-recorded "Let's Forget About The Stars" was possibly the original tune for that scene involving the lady deep into astrology - it doesn't make sense that it was cut for "Charro"...). Since several of my friends at that time who were not Elvis fans told me that picture was okay, I'll rate it a 2-PLUS. A true "oddball" in the Presley film collection. (By the way, why didn't someone insist that two of the biggest names in American music history, Elvis Presley and Rudy Vallee, do a duet, or something?). [Low Embarrassment Factor of 2].

Downright depressing.
I purchased this film with the knowledge that it features Elvis singing "A Little Less Conversation." I love that song, so I figured, no matter how bad the movie was, I would still be glad to own it.

This movie came very close to proving me very, very wrong.

Let's start with Elvis. His hair, normally his crowning glory, is dyed inky blue-black and is poorly cut. His foundation, which I suppose was applied to make him look healthy and tanned, only makes him look orange. He somnambulates his way through the film. I watched this immediately after _Jailhouse Rock_ and it is saddening to see the light and fire completely extinguished from his eyes. The only times Elvis seems to come to life in _LaL,LaL_ are when his character is pursuing a woman. In these moments, a wolfish intensity animates his face, reminding me a bit of his performance in the '68 Comeback Special.

That said, I can hardly blame Elvis for a less-than-fully-committed performance here. The script is shockingly bad. Nothing happens for minutes at a time. The movie is an hour and a half long, but one imagines the story ought not to have taken more than twenty minutes to tell. The editing is miserable, but one can hardly blame the folks in the cutting room--they had to include lots of boring, extraneous footage just to get this movie to feature-film length.

Also remember that the movie was made in 1969, and it was his 28th film. By that time, Elvis had absolutely zero desire to be making movies. Even if he weren't so obviously pained during this film, it would be sad to watch, knowing that Elvis was trapped in his studio contracts and that was the sole reason for his doing the movie.

Still and all, "The Edge of Reality" and "A Little Less Conversation" are both very cool songs, and the production numbers are enjoyable. The video only costs ten bucks, so Elvis fans may still want to make this a part of their collections. Casual fans should stick to Elvis's earliest films, like _Jailhouse Rock_ and the brilliant _King Creole_. Elvis's acting in the latter movie is particularly good.

Becoming more and more psychadelic.
"Live A Little, Love A Little" is as close to '60s themed as it can get. This picture finds Elvis juggling between two magzine photographer jobs, and it looks sort of compliacted. He takes his leisure time out especially later for girls and Michele Cary. This film is a little cautionary to younger viewers. "Live A Little, Love A Little" focuses more on sex and tries to keep up with the ever-changing times. "Live A Little, Love A Little" features the low "Edge Of Reality" sequence which is very psychadelic in a sense, and "A Little Less Conversation" which became a hit this summer. By the way, pick up "ELV1S 30 #1 Hits", too. Suprising, this film can be enjoyable in some ways.

Mad COOL
This film is not only weird, but mad cool. The direction of the film, by Norman Taurog, is great. Don't believe me? Watch the fight in the newspaper plant. Jackie Chan has used the SAME gags in his film, and this was 1968, when Jackie was still at opera school. It is short, but very well done for an old fight scene.
Then, there is the EVER SHY GORGEOUS Michele Carey. My oh My, this girl is sooooooooo beautiful in this film, and her voice is to die for. (she does not sing, i am talking her speaking voice here!)
The party scene, where they use the song popular again today, A LITTLE LESS CONVERSATION, has great panning Hero shots of Elvis, in a mod blue suit, strutting though a party, hunting and catching his prey, a blonde bombshell. This vignette, is awesome, and worth watching the film alone.
Finally, there is the TRUTH. Can't tell you more, cause it would ruin the film.
Lots of hot chicks, weird cool 60's dialogue, parties, and events, and Elvis being the coolest mofo on the planet.
Watch it!
AS soon as it is on DVD, it is MINE! ... Read more

Amazon.com essential video

This high point in the 1940s vogue for movies about family life at the turn of the century was directed by George Stevens (Shane), and stars Irene Dunne as the matriarch of a Norwegian family that faces hard knocks with grace in 1910 (or so) San Francisco. Based on John Van Druten's hit play (derived from Kathryn Forbes's autobiographical memoir), the film is gorgeously rendered and quite moving as an act of memory. The sterling cast of character actors--Edgar Bergen, Rudy Vallee, Oscar Homolka, Barbara Bel Geddes, Ellen Corby, Cedric Hardwicke--add great texture and a depth of experience that make the film feel quite lived-in. Hardwicke's turn as a penniless boarder who "pays" his rent by reciting from classic literature is a special highlight. --Tom Keogh ... Read more

Reviews (20)

Mama as Memory
Few films can tug at the heart strings as well as I REMEMBER MAMA. Adapted from the John Van Druten play, which was itself taken from the Kathryn Forbes novel, I REMEMBER MAMA captures indelibly slices of time in the life of a Norwegian family living in San Francisco at the turn of the 19th century. Narrated by a grown up Katrin (Barbara Bel Geddes), the film combines the problems of adapting to life in the United States with solutions that seem unworkable to those still steeped in the ways of the Old Country. At the center is Mama(Irene Dunne), who orchestrates the lives of her large extended family. Irene Dunne is superb with her profound understanding of human nature. She shows in scene after scene that a matriarch must be flexible enough to account for and guide the divergent personalities of her family. For her sisters, Mama makes it clear that she will not permit them to bully her vulnerable children. For her children, she extends praise when it is needed and stoicism when that is needed too. And for the boarder who skips town without paying his owed rent, she resigns herself that he has paid in a different coin, that of reading the classics to her children, thus inculcating in them a love of words. Surrounding Irene Dunne is a group of superb supporting actors, all of whom add flavor to a film that is linked only by the memories of Katrin. Perhaps the most outstanding job is the one done by the non-paying boarder, Mr.Hyde (Cedric Hardwicke), who nightly regales the family with timeless tales narrated in his booming voice, the sum total of which is to create a story within a story with each passing tale. Although the years pass, no one seems to age, and that is all right since the segue from scene to scene is accomplished so seamlessly that the audience scarcely notices. Oscar Homolka as Uncle Chris hits just the right note as the blustery yet kindly man who hides his kindness beneath a pushy attitude. Interspersed through key scenes in the movie are the appearances of Katrin, who interrupts the narrative to talk directly to the audience, commenting like a subdued omniscient narrator on the plot. Again, rather than putting off the audience with a style of narration that in another film would surely be seen as intrusive, in I REMEMBER MAMA, Katrin's comments, as well as all the various strands of the film, are seen instead as welcome threads that unite what could have been an aimless, disjointed movie into a chronicle of a family that rings true with each passing scene. Not many movies can come close to accomplishing this. Homolka, Bel Gedddes, and Dunne were all nominated for Academy Awards. This is truly one of the most heart-warming films of all time.

A families common goal
I enjoyed watching this film. Irene Dunn, who plays "Mama", does an excellent job holding this family together. She, also, does a great job of establishing and holding onto the treasures that makes this family blend together. What good memories I will have of this movie when I drink a cup of coffee. The movie is narrated by Barbara Bel Geddes. She brings the love this family has for each other by her presentation of the story. How many families do we know today who would share all aspects of the ups and downs a family faces, especially financial? Nothing was held back from anyone in the family which allowed them all to work towards one common goal.

they don't make them like this any more
it will make you cry and laugh a truley wonderful and memorable movie

dvd please
This is a magnificent performance by a wonderful artist, Irene Dunne, PLEASE....DVD!!!!!!!!!!!!!!!!!!!!!! Great Movie...see it!

A Hilarious, Touching Family Movie
Our whole family (ages 1-44) watched this movie together and every one of us (except the 1 yr old) laughed and cried throughout the whole thing. Dunne is an amazing actress for her day and plays "Mama" beautifully. Uncle Chris is a brilliant character that adds much color to this black-and-white film. The family- Mama's husband and children- are delightful to watch mature and grow up. The aunts are a load of fun! From beginning to end, this movie grabs your attention-and you will most certainly laugh! I also suggest reading the book "Mama's Bank Account" before or after watching the film. What a great movie! WONDERFUL! ... Read more

Reviews (1)

Very Pleasant , Light Football Comedy!!
Fred MacMurray stars as Football Coach dealing with the trials and tribulations of both football and family life also co-starring Maureen O'Hara and Jim Backus.It's a very pleasant,light football comedy that's well worth watching!! ... Read more

Reviews (10)

As gruesome as it is funny!
Rex Harrison plotting murder! I never would have believed it! And to try to murder such a sweet girl as Linda Darnell seems utterly ridiculous! This movie was an absolute classic! I found it really interesting that he plotted out how to deal with his wife's infedelity while he conducted an orchestra. The things he plotted, though, were somewhat gruesome to watch, I must say. However, I have to say that the scenes in which Rex's character was trying to carry out his terrible scheme were very funny, and delightful to watch. I laughed until I cried when he was dealing with the irksome cane-bottom chairs. It isn't any wonder why his wife was so bewildered. I have to say that this is one of the funniest Rex Harrison movies I have ever seen and can readily suggest it to anyone who is up to a good laugh.

Nobody handles Handel the way you handle Handel!
Praise from a flatfoot detective towards conductor Rex Harrison. Nope I won't tell you which scene, they're ALL great. From Harrison's blowup at his brother in law Rudy Vallee to his growing jelousy towards his wife, which culminate in a series of hysterically funny revenge fantaies. This film is laugh out loud all the way. It's Preston Sturges at his best. The comic genius that brought us Mad Wednesday, Hail The Conquering Hero , Sullivan's Travels, etc.

No director has ever surpassed him. Lubitsch and Wilder matched him. As did Chaplin and Woody Allen, who also starred in their own films. But for sheer wit and nuttyness of plot combined with spectaular dialogue Preston is it. Try topping the last line of the film which a repentant Harrison delivers to his wife ashe takes her in his arms: 'A thousand poets dreamt for a thousand years--and you were born. . . my love'

Enjoy.

My Biggest Surprise!
So there I lay, wide awake, listening to the sound of my wife breathing, unable to sleep, flipping through the channels when I finally land on a movie. It's black and white, but it's better than watchinginfomercials.

And in five minutes I am laughing as hard as I have ever laughed in my life at a movie! The scene where Harrison attempts to record a message (I won't tell you about what) on an old-fashioned vinyl record...this scene alone deserves to be up with some of the best classics of comedy like the Who's On First routine!

Harrison, a highly lauded composer and conductor, discovers that his wife, the equally lauded singer, is cheating on him. He visualizes the perfect crime of passion, but his bungling attempts to execute it are what set your sides to aching as you laugh yourself to death!

As it turns out I was watching a film classics channel on which the host informs me that this film didn't do well at the box office because Harrison had left his first wife for a girlfriend just prior to it's release and the puritan values of the time left many fans cold. More's the pity, because this is a comedy classic gem that might be enjoying the status of pure clasic today that it deserves!

Buy it and watch it over and over! You won't regret it!

One of the funniest movies I've ever seen.
There is no choice which version, (1984 or 1948), of this film is the best! The 1948 Rex Harrison version wins hands down. This film not only made me laugh hysterically while watching it, but gave me fits of laughter just thinking about certain scenes later. The pacing is wonderful. The film is funny all the way through. And if you're a romantic at heart, you'll love the sweet little scenes between Harrison and Darnell which are obviously intentionally a touch saccharine at times. (It is a comedy afterall!) Rudy Vallee is perfect, as Harrison's bumbling, tight-wad brother-in-law, who sets the whole plot in motion with his terrible mistake!

One of Sturges' very best
Only The Lady Eve forces me to edge this movie out of number-one spot among Preston Sturges' comedies. The dialogue is snappy as ever (Doltish husband: "Too much temperament! Give me the simple viewpoint!" His wisecracking wife: "You've got it, kid. You don't have to yearn for it.") but the slapstick of the finale is cleverer by far than any in his other movies. The use of music is inspired, both in Harrison's concert revenge-fantasies and in his later attempts to put them into action, when the music is spiked with comic effects. A little slow to get started, this movie soon enough develops a quirky, unpredictable, and completely fascinating story line. Don't deprive yourself of seeing this! ... Read more

Amazon.com essential video

Among the earliest writers to set his sights on the director's chair, Preston Sturges brought a frank, unsentimental view of the war between the sexes to his mid-'40s features that exemplify his style, as demonstrated in this prescient 1942 gem. Architect Tom Jeffers (Joel McCrea) and his wife, Gerry (Claudette Colbert), further refine the archetypal Sturges couple--the male embodying strength, idealism, and a certain naivete, the female ultimately stronger, smarter, and (as revealed early on in an astonishing speech by Colbert) clearer-eyed and more pragmatic about the subtext of sex. This giddy shaggy-dog story follows the couple's split, and Gerry's subsequent flight to Palm Beach. This head-snapping frolic is paced by double-entendres and lampooning looks at the very rich, with standout performances by the predatory Princess Centimillia (the delicious Mary Astor), who's more than ready to comfort Tom, and the wealthy, dim-witted John D. Hackensacker III (Rudy Vallee, staking out a new career, post-crooner, as comic foil), Gerry's new suitor. Even the predictable reunion of the star-crossed lovers is achieved with an antic surrealism. Sturges's strength in building strong character ensembles is matched by his affection for coupling screwball dialogue with physical slapstick, seldom to better effect than in the drunken target practice of the Ale and Quail Club, who make Colbert's train ride to Florida a different kind of shoot-'em-up. --Sam Sutherland ... Read more

Reviews (16)

One of Sturges's greatest comedies
This is an absolutely stunning comedy, with one comic shock and delight after another, and hilarious performances by a bevy of some of the best character actors in the history of Hollywood.

Highpoints include a trip on the railroad with the Ale and Quail Club; an introduction to The Weenie King, on of the funniest characters I know of in any film; Rudy Valee's unexpectedly delightful portrayal of a Rockefeller-like multi-millionaire; Mary Astor's excellent performance as Rudy Valee's sister; and a gentleman of unspecified ethnic origin known simply as "Toto."

The opening credits of the movie are among the most fascinating of the thirties or forties. While the credits are running, we see onscreen an entire prequel somehow involving two sets of identical twins (one set played by Joel McCrea and the other by Claudette Colbert).

Preston Sturges is not the best director the United States has ever produced, but he unquestionably enjoyed the finest five year period of any director we have ever seen. From 1940 until 1945, Preston Sturges enjoyed a run of amazingly crafted comedy masterpieces that by themselves place him on any list of the essential directors. In the late 1930s, Sturges built a name for himself by penning a number of first rate comedy scripts, including the classic EASY LIVING as well as REMEMBER THE NIGHT. Paramount gave him a shot at directing, and he responded with films like THE GREAT McGINTY, CHRISTMAS IN JULY, the great THE LADY EVE, SULLIVAN'S TRAVELS, THE PALM BEACH STORY, THE MIRACLE OF MORGAN'S CREEK, and HAIL THE CONQUERING HERO. But then, suddenly and without warning, his genius deserted him.

But this is one of the best of his best. Just sit back, get yourself pleasant to drink, and have a good time.

1942 STURGES CLASSIC
Preston Sturges, as a director, had a strong fancy for trains. In SULLIVAN'S TRAVELS, he had a great railroad yard sequence in which an old tramp was killed by a streamliner, and later Joel McCrea and Veronica Lake spent much time in freightcars. Here, Sturges again picked out a railroad car - a private Pullman to Florida - for a wild and slapstick farce. Claudette Colbert, fleeing from her husband in New York, finds herself in Pennsylvania Station without a cent. Here she is taken in tow by the millionaire members of the Ale & Quail Club - who are going south for their annual shoot-'em up and drink-em'-down vacation. What happens on the train is one of the funniest scenes in vintage comedy. Rudy Vallee plays the world's richest man who believes that it's un-American to give more than a 10-cent tip; he was praised by the critics for this performance because he showed he could do more than croon the Maine STEIN SONG, and act ineptly as he did in his early talkies. As John D. Hackensacker III, Vallee (playing straight comedy) rescues Claudette from the pyrotechnics of the Ale & Quail Club and takes her to Palm Beach on his yacht. Mary Astor and Joel McCrea also serve this classic film well.

Buy This Film!
This is a classy, sexy, side-splitting comedy. So why is it not out on DVD?!
Buy it, Please! Maybe if enough copies are sold someone will release this gem on DVD.
Criterion, are you listening?

Is that McGloo or McGrew?--Preston Sturges forever!
THE first Hollywood auteur--i.e., writer-director--Preston Sturges here gives us one of his all-time classics that, for my money, is better than Sullivan's Travels and easily the equal of The Lady Eve. It's pretty amazing to see not one but TWO smart, sophisticated women on the make--Claudette Colbert as a wife fed up with her husband's penury, and Mary Astor as the sister of the goofy millionaire Colbert meets and is, you should pardon the expression, wooed by.

Rudy Vallee, as the mllionaire, also has his not-as-wealthy doppelganger in Joel McCrea, Colbert's somewhat bumbling designer husband who's trying to get a $99,000 project off the ground (actually, onto the ground--it's a huge, ridiculous metal-net for airplanes to land on). Just as both women have tongues sharper than stainless steel razors honed with eager whetstones, so too do both men have brains that can't quite follow the women's spitfire patter and instead of paying close attention, resort to what Sturges' men usually do--follow instead their male instincts, which means say what they gotta say and do what they gotta do.

Sturges' forte is the uncanny ability to juxtapose selfishness with so much whimsy and foible-ridden thinking it's impossible not to laugh. Women are selfish in one way, men in another. But both of them ARE selfish, and therein lies the rub (as it were)--that is, the famous battle of the sexes. Colbert (Gerry Jeffers) wants a divorce from McCrea (Tom Jeffers) because of his inability to bring in the bacon and doesn't mind it at all when millionaire Vallee (John Hackensacker--gee, I wonder where that name came from...) buys her all kinds of clothes and stuff.

Obviously one of the major inspirations for, among many others, the Coen brothers (e.g., The Hudsucker Proxy), Sturges was a genius for his time, so far ahead of anybody else it boggles the mind. Listen to Colbert deliver a jaw-dropping speech on sex--meaning, not the physical act, but the power of a woman to divert a man. The use of the word "sex" to mean that--in fact, the use of the word itself--was without question a milestone (or is that millstone) for 1942, the year of this film.

Gerry calls Tom Captain McGloo when she's introducing him to Hackensacker to assure the latter that Tom is not really her husband at all but her brother. Mr. H. introduces Tom to her sister Centimilia (Mary Astor) so the foursome--a real brother and sister, and a fake duo of the same "persuasion"--gaily tramp off together to the nearest hotel.

The amazing scene on the train with the Ale and Quail Club has be seen to be believed, again so far ahead of its time it's almsot a shock.

How to fuse satire, wit, and superior intelligence in a single film? Preston Sturges FOREVER!

Preston Sturges Screwball Classic Delight
Rarely have I enjoyed a screw ball comedy more than Preston Sturges's classic look at the lives of the idle rich and those that aspire to be that way in 1942's "The Palm Beach Story". Taking over the reins as both writer and director here Sturges has produced a gem which came hot on the heels of his classic "The Lady Eve" of the previous year.

This gem of a feature boasts total excellence in all areas, sparkling performances from a top notch cast, superb writing, delicious one liners delivered with relish, rapid fire direction and a beautiful overall look to the proceedings. Indeed so rapid is the pace of this film that it almost requires repeated viewings to be able to fully appreciate the genius of the comic situations and dialogue.

To describle the plotline as being involved and complex is a definite understatement. Convoluted in an endearing way is the best way to describe it. It tells the story of young married couple Tom and Geraldine "Gerry" Jefferswho are struggling financially as Tom is an inventor who has difficulty in getting his original ideas to sell. Gerry being of a harder nature is fed up with being poor and when they are in danger of being evicted from their apartment Gerry decides to do the only thing that a girl like her knows; divorce Tom and find herself a rich husband who can keep her in the style she would like to become used to, while also helping Tom to obtain the financing for his new airport project. What develops from this point onwards adds up to one crazy comic situation after another. Gerry firstly encounters the unforgettable "Wienie King" (Robert Dudley in an absolutely scene stealing performance) an elderly gentleman who is hard of hearing and who gives Gerry a stack of money to get her out of her troubles because he likes her. Gerry heads for Palm Beach as that is "the second best place to get a divorce" according to the Taxi driver! What happens along the way is what classic comedies are made of as Gerry finds herself firstly "adapted" by the crazy members of a hunting club, the Ale and Quail Club that are travelling on the same train and who in a drunken state proceed to take over the train causing complete chaos for all concerned including the terrified barman who sees his whole workplace demolished around him. To escape them Gerry then slips into the sleeping compartment area where she then encounters John D. Hackensacker 111 (Rudy Vallee in a non crooner role) who just turns out to be one of the richest men in America and predictably falls instantly for Gerry. Once in Palm Beach pursued by an angry Tom Gerry is thrown into a whirlwind of deception and comic misunderstandings as she encounters the amazingly eccentric Countess Centimillia (Mary Astor in one of her most hilarious roles ever) John's man hungry, much married sister who takes an instant shine to Tom who is introduced to her as Gerry's brother Captain McGlue!! The comic goings one between the 4 main leads are a sight to behold and eventually end up with each person pairing off with the most suitable partner, Gerry with Tom, the Countess with Tom's identical brother and John with Gerry's twin sister!! Total madness indeed but so delightfully done that it almost takes on a logic of it's own!

Rarely have the cast here been in finer form. Under Sturges's sure direction each of them are outstanding. Claudette Colbert, a favourite actress of mine has rarely been better than here and she can say more with a sideways glance or a twinkle of her eyethan most actresses could do with 5 pages of dialogue. Her Geraldine is both calculating and refreshingly practical and cool headed in the bizzare situations she finds herself. Her scenes with the Ale and Quail club members are brilliant and real rib ticklers as her normally refined way of performing is put to the test with these loud and over the top performers. Joel McCrea has never been better than in his playing here as the harried husband who goes on a mad chase to reclaim his wife. His reactions to be dubbed "Captain McGlue" are priceless and his entanglement with the man hungry Countess who quickly earmarks him as her next husband will make you laugh out loud. Mary Astor, always an interesting actress literally steals the show as the Countess with her rapid hundred words to the minute type of delivery. Some of the most hilarious lines in the film belong to her and she delivers them with relish for example in a retort to Tom about the length of all her marriages she states "nothing is forever....except Roosevelt!!" In her memoirs Astor stated how she did not enjoy working for Preston Sturges in "The Palm Beach Story" and felt she never really got her characterisation right in this film. Interesting really as I think she has never been better than here and is the comic centre of the whole crazy proceedings with her playing. Rudy Vallee as the hapless millionaire is also a revelation in his playing of the fumbling man besotted with the much more world wise Geraldine. His different style of playing contrasts beautifully with the more over the top playing of Mary Astor. His scenes on the train with Colbert are classic where she continues to break his sets of glasses as he tries to give her a boost up into the top bunk of the sleeping compartment.

"The Palm Beach Story" is what classic screwball comedy is all about.The pace of the film is like a rocket and the one liners which hold many perceptive views on the rich and on our money consious society are a clever reflection of societies values at the time. Like all Sturges vechicles under the comic nonsense there is actually alot being said that can be applied to any age or time. Enjoy "The Palm Beach Story" and definately treat yourself to repeat viewings of this 1942 masterpiece as you will, like me, find new things to admire, laugh at, and reflect on with each visit. ... Read more

Reviews (4)

DELIGHTFUL SPOOF OF GONE WITH THE WIND
This is fun indeed. Sonja is surrounded by toptalent such as Irving Berlin(but not his best score), Tyrone Power, Rudy Vallee and Edna May Oliver. Unfortunately she is not given much to do outside her numbers, but it is apparent that she was on her way to become warm in front of the cameras as an actress. Edna May Oliver stands out as a warm and cynic aunt Phoebe. Sonja`s solo on ice is terrific; u can see she is in great pain because of her heart-aches and how she`s feeling better and throws off her sorrows through her work-out on ice. That`s an actress on ice. They say that no one has ever controlled an audience on ice the way Sonja Henie did it.

Her tango was initially edited, but Sonja demanded it back as a whole and she was the only star to contradict Darryl F. Zanuck. Her temperament and clashes with Zanuck are part of Hollywood-legend. Milton Berle once declared: "I wouldn`t say she controlled - but she had the wip!" hehehe...

A delightful little spoof for the year it was made
I find this little film utterly charming. It is very much of its time as it was made and released in that Golden Hollywood year of 1939 when so many wonderful classics were released. In particular this film homes in on the exhaustive search that David O. Selznick undertook to find the perfect Scarlett O'Hara in "Gone With the Wind" as the source for its own storyline of the search for just the right girl to star in a fictional movie called "Girl of the North".

At this time Sonja Henie despite a limited range as an actress had very quickly become a top Box Office attraction and was one of the great stars at Twentieth Century Fox just behind Shirley Temple. She combined supreme skating talents with a sweet persona that won audiences over and made her films for Fox huge money makers.
Sonja was often teamed with the biggest leading men at Fox like Don Ameche, Richard Greene and of course as here, the wonderful Tyrone Power. The two had already had a great success together in 1937 in "Thin Ice" and the two not only looked splendid together on screen but also had a really great screen chemistry.
In "Second Fiddle" they play antagonists who of course eventually fall in love. Being of the time of course no expense was spared on the production which even now has a special glow about it. The production numbers are lavish, and while the Irving Berlin score is not the most memorable it still compliments the overraul production.
Tyrone Power is as always a delight as the male lead showing the right combination of cheekiness and charm as the press agent trying to get Henie's school teacher character to come to Hollwood with him. The always excellent Edna May Oliver lends her usual great presence to this film as Henie's no nonsense aunt and she has a surprisingly wonderful screen rapport with Tyrone and some of the most delightful scenes in the film are when these two "square off' against each other.
If you enjoy musicals from this golden era of Hollywood or are a big fan of Tyrone Power or Sonja Henie like I am you will enjoy "Second Fiddle' Not the greatest musical of this era but an enjoyable hour and a half nevertheless.

Weak Irving Berlin score, but fine cast and production
If you're looking for typical Irving Berlin song hits, skip this one ("The Song of the Metronome" is one of the deathless ditties here). But if you're in the mood for an agreeable musical show, there are engaging vocals by Mary Healy and The King Sisters, and Sonja Henie's skating is impressive. The plot parodies Hollywood's "search for Scarlett O'Hara," with schoolteacher Henie brought to the movie capital by press agent Tyrone Power. Good supporting cast, especially Edna May Oliver as Henie's maiden aunt. The picture and sound quality are excellent.

Spoof search for THE GIRL OF THE NORTH - GREAT FUN
This is propably Sonja Henie`s best film. In this, her skating is at its best. The music by Irving Berlin however is not on par of what we are used to from that composer, but the lines,c costumes, set decorations, photography and supporting cast(TYRONE POWER, RUDY VALEE and EDNA MAY OLIVER) makes this one of the best 20th Century-Fox musicals of the 30s. ... Read more

Reviews (26)

Success!
This is one of the best transfers of a hit Broadway musical to movie musical. Everyone is superb! From Michelle Lee
to Robert Morse to Rudy Vallee to Ruth Kobart--all re-creating their Broadway Roles! Robert Morse's brilliant performance alone is worth the price of the dvd. Maureen Arthur's sexpot defines the word and is hilarious. Okay you can gripe that a few numbers from the Broadway Musical were left out--but overall this is a major success.

Concerns a window washer who reads a book "How to Succeed in Business" and within about a week, goes from
mail room clerk to Chairman of the Board . And he get's the girl in the end.

Fosse's Broadway choreography was recreated by an assistant for the film. Frank Loesser's Score is classic and singable.

And it shows how using the original Broadway Cast can make a film work incredibly well. (Take note those people who cast Lucille Ball in Mame and Peter O Toole in Man of La Mancha to terrible outcomes)

I don't think this film was a huge hit when it came out but it surely deserved to be. I watch it over and over. I sing the songs. It's a keeper.

It's Good! It's Very Good!
I haven't seen the Broadway play, so I can't make any comparisons in that regard. What I can say of the movie is: WELL DONE!! This is by far one of my favorite movies in the musical genre. What can I say? The cast is outstanding; every character is unique, expressive and played to virtual comedic perfection. I won't take time to list all the actresses and actors, or all the songs, as I'm sure others have done a good job of that in their reviews. Well, ok, I'll mention Robert Morse: he plays J.P. Finch without flaw. Innocent, sincere, devious, ambitious and lucky, Morse combines all these traits into an entertaining character. I instantly became a Robert Morse fan. I went out and rented all the Robert Morse movies I could find. Unfortunately, strangely, in all Morse's other starring roles he displays nary a hint of the comedic originality or aptitude he does in this film, ah well.

As might be expected, I have a number of favorite parts, here are two: 1) Morse as he "walks the dance" down a New York street--real life, good stuff, wish it were a longer scene. 2) I have to laugh when, during the song "Brotherhood of Man," Mr. Biggley's secretary suddenly rises up on the desk behind the men and starts belting it out. These are not particularly significant scenes in terms of the whole story, nor do they tell you anything at all about the plot, but they are, perhaps, representative of the lively and light-hearted humor this movie serves up so well. Highly recommended!

Wonderful Re-creation of the Musical
This musical transcends time. What was true in the 1960s - and before - is still true today. That is why this musical is a true mockery of the corporate world, which is in turn why it made my musical-mocking husband laugh out loud and physically turn away from the computer to watch.

Before I bought the DVD version of How to $ucceed, I had seen it performed live. I loved it and subsequently purchased the soundtrack featuring Matthew Broderick.

So, as you can see, it was with an already deep affection for (and prejudiced mind) that I bought the movie version. It surprised me greatly that this vision of How to $ucceed met up to my already high standards. Only a few songs from the musical were not included. But the movie is 2 hours long, so it was necessary to do some cutting.

If you like musicals, if you like big business, if you like to make fun of big business, this movie will make you laugh.

As far as the DVD goes, there were not a lot of special features, which is to be expected from an older film. It did include the trailer, which was amusing in its retro-style, and it's nice to be able to go back and play the scene of a particular song I liked here and there. The widescreen version really enhanced the film for me, especially when my cats decided to nap lazily on the television and dangle their limbs about while I was watching.

Good movie!

A great musical saved by letterbox
Oh, wow! This is a marvelous production that I saw as a one-day-only offering in a theater eons ago when I was a college student (in West Texas of all places). I loved it then, and other feedback does a decent job of saying "why."

All I can add is this outstanding Broadway musical translated to the big movie screen extremely well, and then it almost disappeared from broadcast/cable TV -- and for reason. To much theatrical action and choreography was lost through cropping for the TV screen, and the magic was lost. (I only saw it listed once for TV before letterbox, and it was a mega disappointment).

Even if you've never heard of it before, please consider this late 1960s-era musical comedy if you want to enjoy some solid entertainment.

It's Not What You Know, But How Well You Brownnose
The 1967 musical comedy "How To Succeed In Business Without Really Trying" is based upon a 1962 Broadway musical of the same name, as well as the similarly titled novel that was written by Shepherd Mead. The story begins with J. Pierpont Finch (Robert Morse) who works as a skyscraper window washer. He finds and begins to read a self-help book entitled "How To Succeed In Business Without Really Trying". Following advice from the book and while washing windows outside, he sneaks into of an office of the World Wide Wicket Corporation (WWWC). Quickly stripping out of his orange window-washing coveralls, Finch wears a smart business suit beneath and quickly endears himself to the company's president, J.B. Biggley (Rudy Vallee), one of the secretaries, Rosemary Pilkington (Michelle Lee), as well as a host of yes-men vice presidents. Impressed, J.B. sends Finch to the personnel office to be promptly hired to work in the company's mailroom. There, Finch meets J.B.'s nephew, Bud Frump (Anthony Teague), who also works for WWWC in the mailroom. Continuing to follow advice from the self-help book, Finch finagles and brownnoses his way up the corporate ladder in record speed and develops a love interest with Rosemary, but not everyone is happy with Finch's rise within the company. J.B. also hires a very attractive 'friend', Hedy LaRue (Maureen Arthur), who has little experience working in an office, but has a lot of experience with men.

The engaging, original music in the film, which was written by Frank Loesser, includes the songs:

* "How To" (sung by Robert Morse).
* "The Company Way" (sung by Robert Morse).
* "A Secretary Is Not A Toy" (sung by company employees).
* "Been A Long Day" (sung by company employees).
* "Rosemary" (sung by Robert Morse).
* "Grand Old Ivy" (sung by Robert Morse and Rudy Vallee).
* "I Believe In You" (sung by Michelle Lee).
* "Brotherhood Of Man" (sung by company employees).

Though some of the activities shown in "How To Succeed in Business Without Really Trying" are dated and chauvinistic by today's business standards (and discouraged by the Labor Department and the EEOC), the basic message of the story regarding nepotism, brownnosing, favoritism, scapegoating, affairs between employees, people hired for their appearance, backstabbing and mismanagement within corporations is just as relevant today as it was over 40 years ago. Creative employees are summarily fired for their ideas, others with more corporate clout get those same ideas approved by management. People who went to the right schools or joined the right clubs move up quickly, as well as people who easily agree with superiors and/or dress as well as possible. It's not what you know, but who you know, how well you brownnose, how good of an appearance you make and how well you avoid trouble that makes one successful in the corporate world.

Robert Morse is hilarious in the film, as are Rudy Vallee, Maureen Arthur and Michelle Lee. The film was well scripted and the sets are appropriate for a late 1960's office building. It is likely that the film inspired Michael J. Fox's 1987 film, "The Secret of My Succe$s". Overall, I rate the film with 5 out of 5 stars. So sit back, get a bowl of popcorn and see whether you want to do things the company way. ... Read more

Amazon.com essential video

"You remind me of a man." "What man?" "The man with the power...." Ah,so you remember the lovely nonsense of The Bachelor and the Bobby-Soxer.This lighter-than-air comedy puts playboy writer Cary Grant in company with17-year-old schoolgirl Shirley Temple, although he's more interested in oldersister Myrna Loy. (She's as sober as a judge, and indeed is one.) The Oscar®- winning script by future bestselling novelist Sidney Sheldon boasts fun '40sslang, but the main draw is Grant's willingness to play the fool. His gift forslapstick shines when his aging bachelor decides to act like an inane teenagerin an effort to burst Shirley's fanciful image of him. As usual, Grant seems toconspire with the audience (watch his double takes in the background) in makinga somewhat standard movie into a giddy experience. Toss in deadpan Rudy Valleeas a sappy third wheel, and you've got a near-classic. --Robert Horton ... Read more

Reviews (15)

Funny, 40's Screwball Comedy
The Bachelor & The Bobby Soxer is an amusing, feather-light comedy about a playboy artist (Cary Grant) who to avoid jail is commended by a judge (Myrna Loy) to date her seventeen year old sister (Shirley Temple) who has a major crush on him. The move is made to curb the playboy excesses of Mr. Grant and to help get him out of Ms. Temple's system. Mr. Grant shows off all his comedic skills as he plays up the part by dressing like a teenager, adopts the slang of the day and makes a fool of himself in athletic events. For those use to seeing Ms. Temple as a preteen, will be surprised to see her as almost an adult. Ms. Loy is a bit too icy and stern in her role, but she's such a good actress, you can look past that. The film won an Academy Award for Best Original Screenplay for Sidney Sheldon who would go on to create I Dream Of Jeannie and become a best-selling novelist.

"The Power of Whoo-doo!"
I rented this movie and watched it last night--hadn't seen it in close to thirty years since I was a little girl--and nearly freaked from the deja-vous experience of hearing the "You remind of a man/what man?/the man with the power/what power?/ the power of whoo-doo". And my older sister knowingly said, "Yes, TutorGal, this is where that comes from." I used to chant and chant that as a kid! So much for memory lane; now down to business about "The Bachelor and the Bobby Soxer." The movie has a bit of a slow start, with pretty static direction, up until the point when high school student Shirley Temple sees ladykiller artist Cary Grant at high school assembly delivering a lecture. Pow! she sees him as a knight in shining armor and is off to corral him. She doesn't know of course that big sis judge Myrna Loy has just had him in her courtroom and has formed a low opinion of his reputed womanizing. Shirley even finds a way to gain access to the unknowing Cary's apartment, where he then unjustly gets slammed with a jailbait charge. Hey, where's this going? Well, Myrna and her assistant DA beau Rudy Vallee decide that the only way for Shirley to get over Cary is for him to date her and probably bore her with his adult ways. And of course, nothing works out like anyone has planned, least of all smug Myrna. As I wrote above, the movie really picks up after about 15-20 minutes and then becomes quite hilarious, with Rudy Vallee particularly good as an eccentric WASP, the sort of thing he does so well . Cary appears to be genuinely enjoying himself, and Shirley has certainly grown to be a real cutie. Myrna's okay, but nothing spectacular this time around. Make a date to watch "The Bachelor and the Bobby Soxer" and see the whoo-doo first hand!

Witty and Fun
I simply adore this movie. It's pure silliness and you'll want to watch it with a friend so that you can occasionally tell them "You remind me of a man..." Pick it up to see a teenage Shirley Temple and to laugh out loud at the wit and ridiculousness of it all. A guaranteed smile. :0) If you like this, you'll want to watch "I was a Male War Bride" as well.

Amiable, Slight
A rather uninspired but harmless enough movie that goes around the world and back again to establish its goofy premise. Cary Grant gets many chances to show off his flair for physical comedy, Shirley Temple is no less grating as a young adult than she was as a child, and Myrna Loy (who I watched this for) is in the movie a lot, but never given very much to do.

Grant fans will probably enjoy this one, but fans of Loy can find vehicles that better display her talents.

Grade: B-

1940's Revealed
Want some insight into what titillated movie-goers in the post-war 1940's? This 1947 RKO production is a good place to start. There's the marquee value of a seductively handsome Cary Grant coupled with that spunky symbol of all-American innocence Shirley Temple, enough at the time to draw in ticket-buying throngs with its naughty innuendo of daring departure and forbidden pleasure. In fact, the underage subtext lingers beneath much of the movie's plot and humorous settings, but in a totally innocent manner, proving that this is not yet the more permissive 1960's. One slip, however, and this light-hearted souffle could easily have become burnt-toast of the most tasteless variety. Fortunately, there are no slips.

Once the pace picks up, this comedy sparkles as brightly as any other Cary Grant madcap, which is to say, about as good as comedy gets. The night club scene is an absolute triumph of timing, staging, and scripting. The laughs build as the party table becomes more and more chaotic, interrupted by one petty annoyance after another, finally reducing the worldly Grant to speechless exasperation. This is the type of soaring comedic architecture that requires real artistry, but has been sadly replaced in contemporary film by a dumbed- down world of bathroom jokes, insult gags, and other cheap forms of humor that appeal mainly to juveniles. The movie itself, directed by an unheralded Irving Reis, is literally brimful of bounce and charm, leaving no one in doubt that the big war is over and America is ready for the future even if its libido is showing. With: a slyly endearing Ray Collins, a bemusedly prim Myrna Loy, a pompously befuddled Rudy Vallee, and a well-deserved Oscar for writer Sidney Sheldon, along with a final scene that could not be more apt. Despite the shift in public mores, audiences now as then should find this a highly entertaining ninety minutes of expert movie-making. ... Read more

Reviews (26)

Success!
This is one of the best transfers of a hit Broadway musical to movie musical. Everyone is superb! From Michelle Lee
to Robert Morse to Rudy Vallee to Ruth Kobart--all re-creating their Broadway Roles! Robert Morse's brilliant performance alone is worth the price of the dvd. Maureen Arthur's sexpot defines the word and is hilarious. Okay you can gripe that a few numbers from the Broadway Musical were left out--but overall this is a major success.

Concerns a window washer who reads a book "How to Succeed in Business" and within about a week, goes from
mail room clerk to Chairman of the Board . And he get's the girl in the end.

Fosse's Broadway choreography was recreated by an assistant for the film. Frank Loesser's Score is classic and singable.

And it shows how using the original Broadway Cast can make a film work incredibly well. (Take note those people who cast Lucille Ball in Mame and Peter O Toole in Man of La Mancha to terrible outcomes)

I don't think this film was a huge hit when it came out but it surely deserved to be. I watch it over and over. I sing the songs. It's a keeper.

It's Good! It's Very Good!
I haven't seen the Broadway play, so I can't make any comparisons in that regard. What I can say of the movie is: WELL DONE!! This is by far one of my favorite movies in the musical genre. What can I say? The cast is outstanding; every character is unique, expressive and played to virtual comedic perfection. I won't take time to list all the actresses and actors, or all the songs, as I'm sure others have done a good job of that in their reviews. Well, ok, I'll mention Robert Morse: he plays J.P. Finch without flaw. Innocent, sincere, devious, ambitious and lucky, Morse combines all these traits into an entertaining character. I instantly became a Robert Morse fan. I went out and rented all the Robert Morse movies I could find. Unfortunately, strangely, in all Morse's other starring roles he displays nary a hint of the comedic originality or aptitude he does in this film, ah well.

As might be expected, I have a number of favorite parts, here are two: 1) Morse as he "walks the dance" down a New York street--real life, good stuff, wish it were a longer scene. 2) I have to laugh when, during the song "Brotherhood of Man," Mr. Biggley's secretary suddenly rises up on the desk behind the men and starts belting it out. These are not particularly significant scenes in terms of the whole story, nor do they tell you anything at all about the plot, but they are, perhaps, representative of the lively and light-hearted humor this movie serves up so well. Highly recommended!

Wonderful Re-creation of the Musical
This musical transcends time. What was true in the 1960s - and before - is still true today. That is why this musical is a true mockery of the corporate world, which is in turn why it made my musical-mocking husband laugh out loud and physically turn away from the computer to watch.

Before I bought the DVD version of How to $ucceed, I had seen it performed live. I loved it and subsequently purchased the soundtrack featuring Matthew Broderick.

So, as you can see, it was with an already deep affection for (and prejudiced mind) that I bought the movie version. It surprised me greatly that this vision of How to $ucceed met up to my already high standards. Only a few songs from the musical were not included. But the movie is 2 hours long, so it was necessary to do some cutting.

If you like musicals, if you like big business, if you like to make fun of big business, this movie will make you laugh.

As far as the DVD goes, there were not a lot of special features, which is to be expected from an older film. It did include the trailer, which was amusing in its retro-style, and it's nice to be able to go back and play the scene of a particular song I liked here and there. The widescreen version really enhanced the film for me, especially when my cats decided to nap lazily on the television and dangle their limbs about while I was watching.

Good movie!

A great musical saved by letterbox
Oh, wow! This is a marvelous production that I saw as a one-day-only offering in a theater eons ago when I was a college student (in West Texas of all places). I loved it then, and other feedback does a decent job of saying "why."

All I can add is this outstanding Broadway musical translated to the big movie screen extremely well, and then it almost disappeared from broadcast/cable TV -- and for reason. To much theatrical action and choreography was lost through cropping for the TV screen, and the magic was lost. (I only saw it listed once for TV before letterbox, and it was a mega disappointment).

Even if you've never heard of it before, please consider this late 1960s-era musical comedy if you want to enjoy some solid entertainment.

It's Not What You Know, But How Well You Brownnose
The 1967 musical comedy "How To Succeed In Business Without Really Trying" is based upon a 1962 Broadway musical of the same name, as well as the similarly titled novel that was written by Shepherd Mead. The story begins with J. Pierpont Finch (Robert Morse) who works as a skyscraper window washer. He finds and begins to read a self-help book entitled "How To Succeed In Business Without Really Trying". Following advice from the book and while washing windows outside, he sneaks into of an office of the World Wide Wicket Corporation (WWWC). Quickly stripping out of his orange window-washing coveralls, Finch wears a smart business suit beneath and quickly endears himself to the company's president, J.B. Biggley (Rudy Vallee), one of the secretaries, Rosemary Pilkington (Michelle Lee), as well as a host of yes-men vice presidents. Impressed, J.B. sends Finch to the personnel office to be promptly hired to work in the company's mailroom. There, Finch meets J.B.'s nephew, Bud Frump (Anthony Teague), who also works for WWWC in the mailroom. Continuing to follow advice from the self-help book, Finch finagles and brownnoses his way up the corporate ladder in record speed and develops a love interest with Rosemary, but not everyone is happy with Finch's rise within the company. J.B. also hires a very attractive 'friend', Hedy LaRue (Maureen Arthur), who has little experience working in an office, but has a lot of experience with men.

The engaging, original music in the film, which was written by Frank Loesser, includes the songs:

* "How To" (sung by Robert Morse).
* "The Company Way" (sung by Robert Morse).
* "A Secretary Is Not A Toy" (sung by company employees).
* "Been A Long Day" (sung by company employees).
* "Rosemary" (sung by Robert Morse).
* "Grand Old Ivy" (sung by Robert Morse and Rudy Vallee).
* "I Believe In You" (sung by Michelle Lee).
* "Brotherhood Of Man" (sung by company employees).

Though some of the activities shown in "How To Succeed in Business Without Really Trying" are dated and chauvinistic by today's business standards (and discouraged by the Labor Department and the EEOC), the basic message of the story regarding nepotism, brownnosing, favoritism, scapegoating, affairs between employees, people hired for their appearance, backstabbing and mismanagement within corporations is just as relevant today as it was over 40 years ago. Creative employees are summarily fired for their ideas, others with more corporate clout get those same ideas approved by management. People who went to the right schools or joined the right clubs move up quickly, as well as people who easily agree with superiors and/or dress as well as possible. It's not what you know, but who you know, how well you brownnose, how good of an appearance you make and how well you avoid trouble that makes one successful in the corporate world.

Robert Morse is hilarious in the film, as are Rudy Vallee, Maureen Arthur and Michelle Lee. The film was well scripted and the sets are appropriate for a late 1960's office building. It is likely that the film inspired Michael J. Fox's 1987 film, "The Secret of My Succe$s". Overall, I rate the film with 5 out of 5 stars. So sit back, get a bowl of popcorn and see whether you want to do things the company way. ... Read more

Amazon.com

Also known as The Sin of Harold Diddlebock, this collaboration between silent comedy star Harold Lloyd and screwball comedy genius Preston Sturges was meant to be a splashy comeback for both. Unfortunately, it sank at the box office. It's not surprising, because the movie's story line is a wayward tangle, and every scene is a strange mini-movie of its own--but that's exactly why it's worth watching today. Mad Wednesday starts with footage from Lloyd's 1925 classic The Freshman. Because of his success on the football field, Harold Diddlebock (Lloyd, who seems to have hardly changed in 22 years) is offered a job. Full of hope and promise, the former gridiron champ finds himself in a bookkeeping position that consumes the next 30 to 40 years ofhis life, until he's abruptly fired. Stunned, Diddlebock takes his first drink; when he awakes two days later, he has no idea what he's spent the last 48 hours doing. It turns out he's bought a circus and... well, you get the idea. Every scene is its own little gem of delirium, including one in which an artistic bartender invents the drink that launches Diddlebock into his drunken spree. But the scene in which Diddlebock explains to a lovely coworker how he fell in love not only with her, but with her six or seven older sisters before her, is almost as delightful. Lloyd isn't always adept with Sturges's madcap dialogue, but the sterling supporting cast of character actors makes that language spin like a top, including Rudy Vallee, Franklin Pangborn, Lionel Stander, and Margaret Hamilton (better known as the Wicked Witch of the West from The Wizard of Oz). --Bret Fetzer ... Read more

Reviews (9)

Another great Preston Sturges film..
The idea of former silent comedy star Harold Lloyd teaming with the great Hollywood auteur Preston Sturges was truly inspired and the result, this film, is proof.

Embedded in the same job for 22 years, Harold Diddlebock (Lloyd) goes nowhere fast, forever, until he's let go by his supercilious, unctuous boss (throw in any other similar adjective and it would fit).

Harold loves adages, epigrams, and saws, and for the entire span of his working life, has the wall next to his desk plastered with them. When he's let go, he removes every last one of them and takes them with him, so as not to forget the truth of what life is all about. Or at least those parts of life for which these adages apply.

Thus, our hero is a rather, shall we say, by the book kinda guy. So when he goes on an unintentional bender, this radical restructuring of his brain molecules brings about some decidedly unexpected results. He buys a plaid suit loud enough to wake people living on the other side of the world. He buys a cowboy hat big enough to double as a doghouse for a Doberman pinscher (or however you spell that darn dog's name). And he buys a circus, too.

Yep, a circus--one of the main attractions of which is Jackie the lion. Jackie means well, but her bark (roar, is more like it) is definitely worse than her bite. In fact, her bite never happens, but the bark/roar is there a lot of the time. This gets Harold into big trouble, and therein lies the rub.

One of the best screwball comedies of the 40s (made in 1947), The Sin of Harold Diddlebock should not be missed by fans of great comedy. Well folks, we now have Sullivan's Travels, The Sin of Harold Diddlebock, and The Lady Eve on DVD. There's talk of Palm Beach Story following in the relatively near future--hopefully true, since that is a pure gem. Now how about Unfaithfully Yours, The Miracle of Morgan's Creek, and even more?

Preston Sturges forever!!

Very Underrated
This film is generally reviewed as a failed Sturges movie. However, anyone who loves the insanity of movies like "The Miracle of Morgan Creek" will probably love this one too. This film stands up to repeated viewings. It would be great to see a DVD with both "Mad Wednesday" and the slightly different cut "The Sin of Harold Diddlebock."

You Arouse the Artist in Me.
Is how the bartender responds to Harold Diddlebock (Harold Lloyd) when told that he's about to have the first drink of his life.

Harold gets talked into it by 'Wormy' a deliciously street-wise octagenerian urchin that asks him for a loan of a couple of bucks. Harold complies, despite the fact that he's just been fired from his job.

The inspired bartender concurs with Wormy that Harold needs a drink to ease his troubles and---in a scene only Preston Sturges could have written---creates a "Diddlebock" in his honor.

Originally entitled 'The Sin of Harold Diddlebock', the real sin is in being unable to rent it in most video stores. This has got to be one of the top comedies ever made.

Lloyd came out of retirement to make this film after meeting and befriending kindred maniac, Preston Sturges.

In "Mad Wednesday" Lloyd performs some of the funniest sight gags ever captured on celluloid, employing his trademark high-risk stunts. (Ever see 'Safety Last'?) Houdini would have been proud.

In all his movies Lloyd played a hopelessly naive gung-ho optimist who triumphed against the world despite his childlike sweetness.

But here the formula takes a twist, thanks to Sturges.

Lloyd is now a middle aged failure who has been stuck in a menial job for the last twenty years, a weary, disillusioned man who is pathetically in love with his co-worker, an impossibly beautiful ingenue (There's always an impossibly beautiful ingenue in a Sturges film ). And then he gets fired. . .

Neddless to say, all will end well, and he will triumph and get the girl in the end.

But not before going berserk on "The Diddlebock" which transforms him from a meek innocent into a lunatic gambler and high roller with a taste for um... somewhat loud attire.

Poor Harold wakes up sober two days later to find himself the owner of a circus, replete with strongmen and bearded ladies who are owed back pay and hungry lions that need to be fed.

It's all silly fluff of course but the genius of Preston Sturges's writing makes us cheerfully suspend our disbelief and go along for the ride.

Only Lubitsch and Billy Wilder came close to Sturges in the ability to give the audience superbly witty dialogue while maintaining a believable world of madcap lunacy where events move at breakneck speed.

An great farce, starring a comic legend, written and and directed by the best.

Enjoy.

Harold Diddlebock it would be a sin to not see it
This was so funny. Made me think of the Bringing up Baby, and Philadelphia Story and some of Lucille Ball's antics. Sight gags and rapid funny dialogue. First few minutes kind of slow but once it gets going it was hilarious. I loved the bartender scene. As a fan of movies made before 1960, I cannot understand why I have not heard about this movie before. I can only say it is funny and you will enjoy it. I would let my grandchildren watch this movie.

Overreader

Harold Lloyd's last film, made with Preston Sturges
Harold Lloyd came out of his unofficial retirement for one last film with writer/director Preston Sturges. This sounded like a wonderful pairing, but the two comic geniuses had totally different approaches to the material. The result is really two films: "The Sin of Harold Diddlebock," the original version was released by United Artists in 1947, with the re-edited version (ordered by Howard Hughes), now titled "Mad Wednesday," released by RKO in 1950. The film went from 89 to 76 minutes in length, but in addition to things being cut there were also some outtakes put back into the film.

Both films open with the famous football finale from Lloyd's silent classic, "The Freshman." Because of his success, young Harold Diddlebock (Lloyd) is offered a job when he graduates college. An enthusiastic Harold looks at a 1923 calendar adorned with the stern visage of President Harding. The next thing we know it is 1945 and Harold is still at the same desk, with President Truman looking on disapprovingly from the calendar. When he is dismissed from his job, Harold goes on a drinking spree and when he blows $1000 on a racehorse, it comes in at 15-to-1. When Thursday morning comes Harold does not remember a thing about the day before (i.e., Mad Wednesday) and discovers he owns a circus. His brain finally turned on again, Harold heads for Wall Street in the company of a lion, determined to make his fortune at long last. Of course, Harold ends up on the ledge of a building as the master daredevil comedian of the silent era does one last grand stunt. "Mad Wednesday" certainly has holes in it, but then there are scenes that redeem the film, at least as far as I am concerned. More than either Chaplin or Keaton, Lloyd proved himself adept at SOUND comedy, mainly because he had the advantage of dialogue written by Sturges. Neither version is a great film, but both include great comic moments. If you can find both of them, a double-feature with "The Freshman" and "Mad Wednesday" makes perfect sense. ... Read more

Reviews (6)

Complete Mayhem!
With regard to the review of Nov 19 2001, it sounds like the reviewer obtained an incomplete copy of the film. My VHS has the scenes he states were deleted on his copy, and the video quality is great on mine! I wonder if he obtained a 'third party' video?

I've loved this film since I was a child and know almost all the lines by heart. It is still fun to watch every so often just to see everyone ham it up!

W.C. Fields was masterful in his role, having been done before alcohol took its toll on him. Peggy Hopkins Joyce, who was so well-known then and so little-known now, fills her role (and her gowns) with professional ease. Burns and Allen are a pleasure, as always, as the doctor and nurse at the hotel. This is a rare opportunity to see Bela Lugosi in a comedy part, and it makes me regret once more that he was so typecast as Dracula. Franklin Pangborn camps it up as usual as the hotel manager. Yes, there is a dated cultural ethnocentricity as one would expect with a film from this era, but nothing really offensive.

Not a bad moment in this film. If you receive a cassette with the scenes missing as reviewed below, return it. Get the whole movie, it's worth it!

FUNNY!
If you aren't the kind of person that likes comedy, then this film is not for you. You have to have a pulse and a funny bone to view this crazy side splitting 1933 comedy. I had never knew W.C Fields was so down to earth with his jokes. When Rudy Valee was singing a rather bizarre ballad, W.C. Fields made a rude remark about his singing. There's another scene in the movie where W.C. Fields drove his car down the outside stairs of the hotel. As crazy as it may seem, it was really funny. (Yoohoo!) This is the word you'll hear when Mr. Fields asks from his helicoptor "What city is this?" (PRICELESS!)

If you want to see this film in all its glory...
DO NOT buy the video, but wait until it is shown on television.

This is one of our favourite films, and we all know it very well. Seeing that it was up for sale on amazon.com, I immediately bought it. I have just sat through 70 minutes of the worst editing I have ever seen.

A number of continuity scenes were deleted -- relatively minor offenses, but these scenes had assisted in setting the general ambience.

Worst of all was the loss of a crucial plot point -- Petronovich contrives to have the hotel quarantined so that he, and not Thomas Nash, will obtain the rights to Dr. Wong's machine. We hear that the quarantine is to be lifted, but the command "Open the doors!" and the ensuing mayhem are deleted -- it goes straight into Quail's driving his car into the elevator. These cuts are jarring, confusing and unnecessary. In addition, the entire lavish "China Teacup" production is gone! I'm astonished they left Cab Calloway in there.

In addition, the quality of the print is murky.

I'm returning the film, and asking for my money back. Don't buy this film until it's completely restored. Watch it on Turner or AMC. It is our hope that with so many films being committed to DVD now, we may see a digitally restored, UNCUT version of this and W.C.'s other classics soon.

[EDITED 8-23-03: I understand that I may have gotten hold of a cheap knockoff; other people are reporting that full copies are available. Make sure you get a complete one! Also, the complete Fields oeuvre needs to come out on DVD along with Mae West and the Mark Brothers. I'll say that as often as I need to. Thank you.]

They don't make 'em like this anymore.
I've always liked movies where lots of unassociated stuff happens. Movies like this, which are little more than showcases for popular acts of the time they were made, are among my favorites. ("Stormy Weather" is another good example.)

You won't find a better example of this than "International House." The plot, such as it is, involves a Chinese guy who has invented something called a "radio scope" which, even though they didn't know it at the time, basically predicted the concept of satellite television. All kinds of bidders are flying to China from all over the world to bid on the contraption, including an Eastern Eurpopean Millionaire (Bela Lugosi, in one of his few non-horror roles; he's actually pretty good here), an American Ingenue with a capital "I" (Peggy Hopkins Joyce, who apparently really WAS an American ingenue) and other sorts. Tossed into the mix is of course WC Fields, who manages to land a bizarre flying contraption in the lobby of the hotel (you need to see this at least once before you die. It's pretty funny)!

The acts on TV (and in the hotel, in the case of Burns and Allen) are really what the movie is all about. Cab Calloway's "Reefer Man" is a stand out, as is Rose Marie, all of about eight years old at the time singing a song that Sophie Tucker might have sung, given the chance.

Fields is simply excellent here, as is his perennial movie nemesis, Franklin Pangborn (as the head clerk at the hotel desk--but why is this guy running a hotel in CHINA?)

This is definitely a film you can watch many times, either all the way through or just for the parts you like best. Recommended!

BIZARRE FUN FROM 1933
A totally unhinged comedy which makes up for exuberance what it lacks in sense. Moviegoers in 1933 relished this comedy fricassee, garnished with songs and handsomely served by director Eddie Sutherland. This picture is a real curio, and a unique one at that! Where else can you see Baby Rose Marie belt out a song (yes, this is the same Rose Marie who played Sally Rogers on THE DICK VAN DYKE SHOW). Cab Calloway doing his famous REEFER MAN number among other assorted novelties. It all takes place in China at the International House hotel where an "advanced" version of television (called a radioscope) is being shown. Top this: W.C. as an sir pilot and professor; George Burns and Gracie Allen as a dotty doctor and nurse; Stuart Irwin breaking out in a rash whenever he proposes to luscious Sari Maritza; the much-married Peggy Hopkins-Joyce luring Fields to her boudoir................ ... Read more

Reviews (3)

"ahhh, if it isn't Mrs. Nussbaum..."
this is a funny movie, though under-rated. this and what i call the companion movie called "It's a Joke, Son!" starring Kenny Delmar as 'Senator Claghorne' are must-have films for Fred Allen fans (even though Fred isn't in the second film with Delmar, it's based on a character created by Fred all the same.) On this "It's in the Bag" film, the one and only Fred Allen stars as Fred Floogle, a flea circus showman. The film is about a guy who has a wealthy relative who passes away. Fred follows human nature and starts buying expensive things and puts money on stocks. Fred thinks he's inherited his uncle's $12 million fortune but all he gets is 12 chairs after the will is read. angry, Fred has his son sell the chairs. It's only later that a vinyl record surfaces with Fred's uncle instructing him to claim the $300,000 he hid in one of the chairs! Too late...they've been sold to countless people all across town. this causes Fred to go on a wild goose chase tracking down the 12 chairs. This is where the film starts to pick up speed. An array of '40s radio stars make cameo appearances: Rudy Vallee, Don Ameche, William Bendix, and the immortal Jack Benny. Bendix spoofs his "tough-guy" build by being a cowardly leader of a gang of muggers. Ameche and Vallee hit the stage in a night-club but the bass singer is missing. Fred joins them on stage as an imposter who sings a terrible bass section {by this time in the film he's running from the police because they think Fred is workin