Reviews (3)

Count Your Blessings
The First sound version of " The Count of Monte Cristo" scores well because of its veteran cast.

Donat is fine in the title role in a Muni type performance. Imprisoned with the Abby( O.P. Heggie ) Dantes gets a big start in life and thus persues his revenge on Baron Danglers et all.

Louis Calhern , an under appreciated actor and Sidney Blackmer are fine in thier roles as antagonist and there is a certain 30,s sweep to the narrative that makes it a bit hokey but well done.

CP

Count of Monte Cristo VHS ~ Robert Donat
Accidentally left bad feedback. Would like to change it.
Please help.

Old Sometimes Better
Several years ago I owned a copy of the 1934 version of the Count of Monte Cristo. I appreciated the fact that the older movie stayed closer to the author's original story line, carefully woven in. Some of the acting is a little corny, overdone a bit (similar to silent films), but that is easily forgiven. Our copy was damaged and we no longer have it to watch again, but I was reminded of it when we rented the new version. The new version is OK, but I found myself enjoying the older version better. ... Read more

Reviews (10)

Sweethearts forever, MacDonald/Eddy.......
Sweeping lyrical scores, brilliant technicolor and staccato pace set the backdrop for this love story between wife Gwen(Jeanette) and husband Ernest Lane(Nelson). As wildly popular stage performers, they live a perpetual honeymoon, on stage and off - a touch syrupy for some but delightful for romantics. That the movie lacks a story line is unimportant - the scores and lavish productions more than compensate in this opulent Victor Herbert musical. Outstanding is the couple's poignant harmony singing "My Little Grey Home in the West". In that sequence especially, Nelson projects a fiery affinity for Jeanette that is actually palpable. This movie is well named.

Reel and Real Sweethearts Forever
Sweeping lyrical scores, brilliant technicolor and staccato pace set the backdrop for this love story between wife Gwen (Jeanette) and husband Ernest Lane(Nelson). As wildly popular stage performers, they live a perpetual honeymoon, on stage and off - a touch syrupy for some but delightful for romantics. That the movie lacks a story line is unimportant - the scores and lavish productions more than compensate in this opulent Victor Herbert musical. Outstanding is the couple's poignantly rendered harmony with "My Little Grey Home of the West". In that sequence, Nelson Eddy vividly projects a fiery affinity for Jeanette MacDonald that is actually palpable. The movie is well named.

Jeanette MacDonald and Nelson Eddy with A Touch Of Spice
"Sweethearts", would have to be along with the classic "Maytime", my absolute favourite of all the MacDonald/Eddy Operetta teamings at MGM. Blessed with this unforgettable team at their absolute peak, a breathtaking technicolour production, and veteran director W.S. Van Dyke in fine form, "Sweethearts", make most memorable viewing for all lovers of this team's work. It had the added bonus of presenting this popular team in a slight variation on their usual screen persona's with the usual sweetness and light at times being joined by some amusing tart dialogue and situations that showed these two performers in a different and very agreeable manner. Both performers respond to this partial change of pace with delightfully fresh and energetic deliveries that where most welcome extensions on their previous work together.

By 1938 Jeanette MacDonald in particular was anxious to at least partially escape the constant teamings that she had with Nelson Eddy. This didn't result from any personal dislike of Eddy but was simply her need to expand her dramatic range and put some variety into who she worked with. While their Box Office draw together at this time made a breaking up of the team unthinkable MGM decided to go all out with their new production of the 1913 play by Victor Herbert and make it unique for the MacDonald/Eddy team. A lavish budget was set which included the use of three strip technicolour which greatly enhanced the look and feel of the production and showed audiences for the first time the beauty of Jeanette MacDonald's colouring and Nelson Eddy's often overlooked masculine charm. It was the couple's first modern dress picture as well which considerably freed up their performances, in particular that of Nelson Eddy who was often accused of looking very stiff in his earlier period costumes. MGM also took the innovative step of hiring famed writer of wit Dorothy Parker and husband Alan Campbell to add a little spice to the proceedings in "Sweethearts", which resulted in the team positively shining under the lively dialogue and amusing situations far removed from their usual prim exchanges. "Sweethearts", chronicles the trials of famed husband and wife operetta team Gwen Marlowe (MacDonald) and Ernest Lane (Eddy) who as the film begins are celebrating their sixth anniversary as the sweethearts of America performing non stop in the top Broadway smash "Sweethearts". Unbeknown to the adoring public however Gwen and Ernest are tearing their hair out from the constant grind of the same show week in week out and of the unrelenting demands on what little leisure time they have to do radio broadcasts, personal appearances etc. When an aggressive Hollywood producer Norman Trumpett (Reginald Gardiner) makes an effort to lure the tired couple away with the promise of artistic and financial rewards in Hollywood the race is on by the Broadway show's manager Felix Lehman (Frank Morgan), to do whatever is possible to hold the couple in New York. Fed up with the constant demands on their time both jump at the offer to enjoy the California sun. The very amusing schemes to keep them from excepting the Hollywood offer however almost breaks up the couple with Gwen believing the Ernest is having an affair with their personal assistant Kay Jordan (Florence Rice). After seperating however the couple realise how much they do miss each others company and artistic give and take and see that they really are the sweethearts of popular public opinion and decide to stay together in the Broadway show.

Vintage MacDonald/Eddy material perhaps, but delivered with some of the wry observations about actors and producers and the "lure" of Hollywood in general one would come to expect from the witty pen of Dorothy Parker. Jeanette MacDonald and Nelson Eddy rarely have been in finer form than in this outing and the rapid fire direction of the famed Woody "One Take" Van Dyke is ideal for the fast moving and at times amusingly cynical storyline. The couple are given ample opportunity in between their verbal hijinks to deliver some of the superb operetta moments that one would come to expect in their work with the tile tune "Sweethearts" and "My Little Grey Home in the West" being standouts superbly staged. Being the "A" class production it was and starring one of Louis B. Mayer's favourite leading ladies "Sweethearts" glows in every department from lavish costumes, staging of incredibly elaborate production numbers to the beautiful colour photography which took out that year's special Academy Award for colour cinematography.

For any lovers of operettas and of the Jeanette MacDonald/Nelson Eddy teamings, "Sweethearts", is a treat that reveals some of their best work together. Their spicy dialogue and contemporary characters and settings show them in a refreshing new light and expands the range of what we have come to regard as their typical screen personas. Backed up by the MGM expertise you need not be a huge opera fan to appreciate this film. I cherish it as the magnificent effort in all aspects of film making that it undoubtedly is and see it as a sterling example of what the big Hollywood studios were capable of achieving at their peak. I am sure you will enjoy Jeanette MacDonald and Nelson Eddy working with the magical dialogue of Dorothy Parker in their delightful modern operetta "Sweethearts".

Beautiful romantic movie
Really enjoyed "Sweethearts". Mac and Eddy seemed to have a real romance going on in this particular movie. I loved seeing a movie of them in tech. color. Nelson didn't seem "wooden' in this movie at all, in fact thought he seemed to act very natural. They always seem to have a chemistry together that they didn't have in other films with other co-stars.

A VINTAGE VISUAL AND MUSICAL TREAT.
On the sixth anniversary of the enormously successful Broadway revival of Victor Herbert's operetta SWEETHEARTS, the show's stars Gwen Marlowe and Ernest Lane (Jeanette & Nelson, respectively) are still very much in love, but are tired of working constantly and yearn for a vacation away from the pressures of Broadway. Amusing complications follow. SWEETHEARTS was M-G-M's first three-strip Technicolor film, and the first colour film for either MacDonald or Eddy. Originally, when the filming began on 17 June 1938, it was partially shot in black & white. After two days, the footage was scrapped and the production was interrupted: filming began to commence in Technicolor. Why? There were huge production problems on NORTHWEST PASSAGE, which was to be the first full-length Technicolor feature for M-G-M. Originally Jose Iturbi was to make his acting debut in the film, however - for reasons unclear - he's not in the final released product. Iturbi made his film debut later, in 1944. Reviews of the day commended the use of colour in the film (Jeanette's beautiful golden-red hair was particularly praised) and Oliver Marsh & Allen Davey won a special AA for their Technicolor cinematography. ... Read more

Reviews (27)

Mr. Capra Goes Overboard
Director Frank Capra's work doesn't hold up as well today as some of his contemporaries' because of his habit of over-inflating his scripts. "Deeds" starts out wonderfully well when the tuba-playing small-town yeoman Gary Cooper inherits a fortune and heads for the big city to look into it. But Capra can't leave well enough alone and transforms the funny contrasts into a ridiculously overblown sanity hearing. Capra repeated the same missteps in "Mr. Smith Goes to Washington" and "Meet John Doe", straining for social commentary and ending up with pomposity. Still, I would recommend Deeds and those other two pictures for all the scenes Capra got right. Cooper serenading the townspeople by playing "Auld Lang Syne" on his tuba from the back of a departing train is a real classic.

Moving Capresque flick
MY RATING- 7.8

This is quite a moving tale a la american by the master of socio drama, Frank Capra in which he uses one of his fave actors Gary Cooper as the country man who inherits a fortune from a rich uncle and is double crossed in the city. I never enjoyed the first roles of Cooper in MOROCCO, yet it looks like he's been improving his acting over the years and his eyes seem to be brighter and emotional with Capra efforts. Jean Arthur is very good too with her sexy voice and tender love. The cast also includes H. B. Warner as the judge and Lionel Stander as Deeds gardian angel with that frog voice.
Maybe a bit overlong, however it's moving (not as much as It's a Wonderful Life"), , love triumphs at the end, with the Capraesque final act at the court.

better than the sandler version
This is a great movie. The Adam Sandler version might be funnier in a silly, mindless way, but this movie makes a point that too many people forget. People who criticize this movie as naive or propaganda have bought into too much capitalist propaganda. The only people who wouldn't like the message this movie makes are slaveholders and feudal barons. Beautiful movie making a point that we should all remember in our daily life. When Deeds' assistant comments on the difficulty of feeding all of the farmers ("there's 2000 of them"), Deeds replies "that doesn't make them any less hungry." This movie isn't naive. It should simply remind us of how to be human. Its a shame that the message even needs to be said or that the Sandler version would suck the beauty out of it for a cheap lines from a hispanic butler.

I'm sure this was GREAT sixty some-odd years ago.
...But today I found it as bland as a glass of water, however not pure or refreshing. In fact reading a dull, damp B&W newspaper is just as entertaining and very similar. Classic or not I just found the remake with Adam Sandler & Winona Ryder very funny and fresh. So I wanted to see where it came from. My great grandma loved the original when she was my age.. I'm guessing. But being that the only B&W film I liked was "Psycho", I'm glad that they remade this film just for me.

just to naive to be true
This kind of social comedy, with its naive eulogy of the simple man, the inocent farmers and the small american town, just gives me the creeps. Look out for the way it is satyrized in Preston Sturges' "Sullivan Travels". ... Read more

Description

Flo Ziegfeld's midway attraction isn't drawing flies. "How's business, Ziggy?" a rival taunts. This winner of 3 Academy Awards(R) including Best Picture provides the career-chronicling answer. Florenz Ziegfeld Jr.'s business was good (with Broadway's legendary Follies and more), bad (including times the showman could scarcely rub two nickels together) and rarely lacking optimistic excess. Year: 1936 Director: Robert Z. Leonard Starring: William Powell, Myrna Loy, Luise Rainer ... Read more

Reviews (13)

"Never looked so beautiful before."
There are a few things to know going in: It's a biography with music (but not a musical), it's more than 60 years old, and it's three hours long!! Now I'm okay with all that, but I'm an old movie snob. This one is proof positive of the old Hollywood dream factory, where you were guaranteed happiness, pathos, bells, and whistles in practically every picture. But the film isn't as happy-go-lucky as you might expect; it gives a rather astringent portrayal of a gifted showman who knew how to dazzle audiences, but never how to save a buck. According to this book, his was a never-ending cycle of glittery and expensive theatrics pitted against dodging creditors his whole life. In that respect, we are to conclude that his lack of business sense was tempered by his need to entertain. He also knew talent, as is represented by his discovery scenes with Bolger and real Ziegfeld veteran Fanny Brice. (Watch how he hires her on the strength of her comedy, then humiliates her during a rehearsal in order to get her in the mood to belt out "My Man.") And of course, not enough can be said of the eight-minute "A Pretty Girl Is Like A Melody" finale where spangled showgirls, opera singers, grand pianos, and a single, all-enveloping curtain hang on a revolving "wedding cake" spiral staircase. You have to see it to believe it.

An Extravagant Man
As someone who is not a fan of musicals, I was already at a disadvantage before the movie even started. I fast forwarded through most of the numbers, and they looked dazzling enough and I'm sure would be entertaining for people who like that sort of thing. I concentrated on the drama between the numbers, and with that I was quite satisfied. William Powell is excellent as the famed, extravagant theatrical producer, Florenz Ziegfeld Jr. The film chronicles the many highpoints and lowpoints of his career, as well as his two marriages. Myrna Loy co-stars as his second wife, actress Billie Burke (Glinda the Good Witch from the Wizard of Oz), and although she gets second billing, she doesn't have much to do. But the chemistry between her and Powell is once again a high point. Luise Rainer, who had a brief career in Hollywood, stars as Anna Held, the first wife, a passionate, impulsive singer that Ziegfeld made a star of in America. Rainer's scene on the phone has become quite famous, and she plays all of her scenes with great drama. The film is a bit long, but it doesn't get boring, thanks to the stars, the story, and the great personalities that appear (Ray Bolger, Fanny Brice). And for people that like musicals, this will probably entertain them even more.

A SUPERB FILM BIO - ONLY AVERAGE LOOKING TRANSFER
"The Great Ziegfeld" is a biographic film based on the life of Broadway impressario, Florenz Ziegfeld Jr. Brimming with stellar performances by William Powell, Myrna Loy and Luise Rainer (who walked off with the Best Actress Oscar)a wonderful score and mind-boggling production values, this is one heck of a good time for a night's entertainment!
TRANSFER: Unfortunately, Warner Brothers gives us a somewhat tired looking print of this classic film. Though the gray scale is generally well balanced, some of the picture appears to be out of focus while other portions are filled with excessive film grain. Dirt, age related artifacts and an incredible amount of scratches in some scenes really detract from the over all visual presentation. The audio is MONO and, as with the picture, is not adequate. During some of the songs the background hiss is excessive.
EXTRAS: A flimsy featurette that all too briefly attempts to "sum up" the film and the real life of one of the 20th century's greatest showman.
BOTTOM LINE: Because you are not likely to see this film revisited in a Deluxe Edition I am recommending to add it to your library. But it in no way stands up to Warner's previous DVD mastering efforts on "Now Voyager" or "Mildred Pierce".

epitome of 30s musicals
a big extravaganza musical. the musicals are very grand and ostentious but very much in the tradition of musicals in the 30s when entertainment was escape from the dreary reality of the Depression. william powell, luise rainer and myrna loy are all wonderful, thought myrna loy's billie burke came very late in the movie. my favorite scene was when Flo (powell) was courting Billie (loy) at grant's tomb. simplicity and wonderful sweet. you ll have to see it just for that scene. luise rainer's telephone won her the oscar. the movie has a few touching scenes, but i did wish the movie was brisker and tighter.

BLINDINGLY OPULENT AND SPELLBINDINGLY ENTERTAINING!
"The Great Ziegfeld" is a biographic film on Broadway impressario, Florenz Ziegfeld Jr., the man who "glorified the American girl". Determined to squeeze every last ounce of opulence from its coffers, MGM spared no expense in retelling what is essentially a melodrama with musical numbers tossed in for good effect.
Flo (William Powell)is a cheap carnival barker when he crosses paths with Anna Held (Luise Rainer). Their chemistry is instant and through her talent as an artist, fame comes to them both. However, all bliss is fleeting and their marriage ends when Flo takes up with a chorus girl. But he ditches her for sassy Billie Burke (Myrna Loy) and then proceeds to create a series of lavish spectacles that only MGM could afford to do justice to. The most spectacular of these remains "A Pretty Girl Is Like A Melody"; a gargantuan revolving platform covered in dancers and art deco magificence.
Aside: Flo's second wife, Billie was a contract player at MGM during this time. Her best known role is as 'Glinda' the witch of the north in "The Wizard of Oz".
TRANSFER: Surprisingly smooth and very well balanced black levels and a good gray scale are the real selling features of this 3 hr. plus spectacle. Unfortunately an excess of age related dirt and scratches greet the viewer throughout the first hour of running time. However, things get cleaned up half way through for a really stunning transfer. Shadows and contrast levels are exemplary. The audio is clean, well balanced and quite simply, one of the best you are likely to encounter for a film of this vintage.
EXTRAS: A couple of featurettes that round out the history of the film - all too briefly.
BOTTOM LINE: Next to "Yankee Doodle Dandy" - another show folk bio with guts, "The Great Ziegfeld" is most readily recognized as one of the best! Add it to your film library! ... Read more

Reviews (9)

Entertaining little comedy that embraces the values of
WWII America. I see this as probably the second movie of a double feature at the local Bijou, (who remembers those days?).
Eddie Bracken plays the little guy with a big name (Woodrow LaFayette Pershing Trusmith) & a bigger legacy, that of his father who died a Marine hero. in WWI. Of course he joins the Marines but promptly washes out with severe hayfever. Too embarassed to return home he dumps his girlfriend & pretends to be overseas. He's drinking at a bar & runs into a group of real Marines just back from Guadalcanal. Despite his protests, they accompany him back home. He is mistakenly greeted as a hero home from war. Bedlam & confusion ensue as befits the screwball comedies of the day. It all has a happy ending, (required in those days). This movies satirizes the cult of celebrity & the effects of mob mentality. Woody, his girlfriend Libby played by Ella Rainer & the townsfolks are all likeable. To add a bit of patriotic flavor you have those loveable lugs of the United States Marine Corps., with anthem & everything. They are led by their gruff but loveable Sgt. played by William Demarest. Good movie for the home front during the last "good" war & amusing still today.

The Best of Sturges
I watched Sullivan's Travels and didn't understand what the big deal over Sturges was about. THIS film, however, is great! The dialogue is snappy and, most importantly, services a strong PLOT. With Travels it was the other way around.

Put this movie on DVD!!

Perhaps Sturges most neglected masterpiece
Between 1940 and 1944, Preston Sturges was on a role. He wrote and directed seven absolutely stellar comedies before he lost the magical touch that had made his one of the great comedy screenwriters of the 1930s and directors of the early 1940s. This was the last of that stellar run.

The premise is simple. Woodrow Lafayette Pershing Truesmith, magnificently portrayed by Eddie Bracken, is discharged from the marines because of hay fever, but is too ashamed to return home. Instead, he fakes a military career, having people mail home letters from abroad to make his friends and family and girlfriend all believe he is in combat. When a group of marines hear about his situation, they compassionately decide to return him to his hometown as a war hero. The bulk of the film deals with the misunderstandings that arise from this pretence.

HAIL THE CONQUERING HERO has all the marks of Sturges's best work: lightening paced dialog, a huge cast of talented character actors (most familiar from other Sturges films), and multiple layers of action in scene after scene. The ensemble cast truly excels in this film. No one, however, stands out more than William Demarest, who did almost all his greatest work in Sturges films.

For some reason, this film does not seem to be shown as often as most of Sturges best films, and even some lesser films get shown more frequently. But this is absolutely first rate Sturges, and anyone enjoying THE LADY EVE or SULLIVAN'S TRAVELS or THE PALM BEACH STORY will find just as much to love in this one.

Preston Sturges' screwball comedy about hero worship
Preston Sturges' 1944 farce "Hail the Conquering Hero" tells the story of Woodrow Lafayette Pershing Truesmith (Eddie Bracken), who is discharged from the Marines because he has Hay Fever. Ashamed to go home, Woodrow meets up with Sergeant Heppelfinger (William Demarest), a decorated Marine hero from Guadalcanal, who decide the boy should return home as a hero. Woodrow returns home where the entire town shows up to greet the "conquering hero" and end up nominating him for Mayor. Of course, Woodrow becomes more and more uncomfortable with the way things are going and feelings compelled to do the right thing.

On the one hand, because this is Preston Sturges we realize this film is a rather pointed examination of the cult of hero worship that can spring up around mere mortals. Then again, you can simply take this as a variation on the old mistaken identity routine in an above-average screwball comedy. Bracken's performance is at the heart of either interpretation and it is impossible not to feel sorry for the guy, who never really wanted to go along with this ploy in the first place. Sturges employed a host of his regulars, such as Raymond Walburn and Franklin Pangborn, but newcomer Ella Raines as Libby, the girl Woodrow left behind, really shines through (think Cathy O'Donnell in "The Best Years of Our Lives"). This is not one of the films that immediately comes to mind when you think of Preston Sturges, but he rarely disappoints you with any of his films.

A Thinking Person's Movie
Weak Eddie Bracken is mistaken for a war hero by his hometown after the Army rejects him. Directed by Preston Sturges, this film is full of wonderful and biting satire, a thinking person's movie.--Diana Dell, author, "A Saigon Party: And Other Vietnam War Short Stories." ... Read more

Reviews (3)

SONJA EMERGES AS HOLLYWOOD STAR
After One in a Million 1936, Sonja Henie was fast becoming a Hollywood star in the front rank. In THIN ICE she is teamed with her then-boyfriend Tyrone Power and the chemistry is explosive... It`s a Cinderella-story, but given the full treatment by 20th Century-Fox - it`s almost like an MGM extravaganza :-)

The skating is good and Joan Davis as a comedy relief is a winner. As a matter of fact I can`t understand the fuzz they make about the Astaire&Rogers musicals over at RKO... I much more prefer the Sonja Henie`s at 20th Century-Fox... They are never OVERLONG and never outstays their welcome:-)

The affair with Power never ended in marriage; he was bisexual and Sonja found out... When he married French Annabella she was reportedly deeply hurt though they remained friends up until Power died of a heart-attack while filming in 1958.

Great vechicle for Sonja and Tyrone to shine in
"Thin Ice" is a delightful concoction from 1937 and was the film that really catapulted Sonja Henie to top stardom at Twentieth Century Fox. Having the sparkling Tyrone Power as her attractive leading man certainly also helped at the Box Office. The two were destined to co star together twice in films and both times showed a real screen chemistry.

No expense was spared in this production and it shows in the truly lavish skating numbers where Sonja really shows her skill on the ice. Tyrone Power plays Prince Rudolph who masquerades as a reporter at the resort while romancing Henie's skating instructor character. Tyrone, I feel always shows a great flair for comedy and he is totally at home in this part of the handsome prince who just wants to get out on the slopes,do some skiiing and find romance.

The stars are ably supporting by wonderful character actors such as Arthur Treacher, a regular in the Shirley Temple vechicles, and the always excellent Alan Hale..a regular of almost every Errol Flynn film of the 30's and early 40's. There are a couple of largely unnecessary musical comedy numbers to showcase Joan Davis that tend to get in the way of the main story but they are not too distracting.

Tyrone and Sonja make a stunning couple and this production really compliments them both to perfection. Despite Sonja's lack of real acting ability she is well cast here and as always on screen she has a sweet persona that goes very well with a handsome leading man who has a bit of spark to him like Tyrone Power has on screen.

"Thin Ice" is a pleasant vechicle to watch.Twentieth Century Fox was expert at creating this genre of film making and used a regular roster of stars to fill them. I in particular enjoy when Power and Henie were co starred as they really projected old fashioned star power and glamour from the Golden age of Hollywood. Enjoy!

Sonja Henie & Tyrone Power On Thin Ice
THIN ICE(1937) was Sonja Henie`s second Hollywood film and among her greatest hits. Her co-star was Hollywood`s new wonderboy Tyrone Power. During filming they fell in love and almost got married. However, Sonja found out of Tyrone`s bisexuality and before he was confronted, rushed into a marriage with French star Annabella. Sonja and Tyrone remained friends and co- starred in Second Fiddle(1939) as well. THIN ICE has a Cinderella-like story and the stars and supporting cast(Joan Davis, Arthur Treacher and co) shines. Sonja is at her peak on ice in this film. Surprisingly, she d i d her BEST skating in her only one in color, IT`S A PLEASURE(1944)(RKO/ International) at the age of 32. ... Read more

Reviews (8)

Fun, splendid dancing, Tucker, Garland!
Yes, the plot leaves a few questions unanswered such as where did Powell's character learn to dance like that on a farm--but then again, who cares? The film is great fun--an awesome display of Powell's dancing capabilities! Judy Garland is wonderful in the "Everybody Sing" number and "Dear Mister Gable" is a classic not to be missed. It was also a treat to watch Sophie Tucker on the screen! Get this movie--it's harder to find for a GOOD reason!

Less than the Sum of Its Often Brilliant Parts
The story of BROADWAY MELODY OF 1938 is not so much zany as just simply bizarre. Raised on a horse farm where she also somehow learned to sing and dance, Eleanor Powell goes to New York in search of fame and fortune on the Great White Way, where she meets (a) George Murphy and Buddy Ebsen, two horse trainers who are also dancers; (b) Robert Taylor, a producer determined to star her in his new show; and (c) one of the horses from her farm. When the horse comes up lame, Eleanor rescues him--and before too long it becomes necessary for the horse to win the big race in order to finance the show!

Eleanor Powell was MGM's great dancing star of the era, George Murphy was one of the screen's most reliable hoofers, and Buddy Ebsen was reknowned as a character actor with an eccentric dance style--all three have tremendous star quality and they generate several charming moments. But today the film is chiefly recalled for two supporting players: Sophie Tucker and Judy Garland.

Sophie Tucker had been a great stage star for more than 20 years when this film was made, and MELODY offers one of her rare screen appearances: with her no-nonsense, no-holds-barred style, she leaves little doubt about why she was so celebrated--especially when she launches into her signature song "Some of These Days." Garland, on the other hand, was just really beginning her film career, a slightly chunky teenager with a great big voice--and after putting it through the bullseye with a knockout performance of "Everybody Sing" she nailed the audiences of the day with her famous version of "You Made Me Love You," sung to a photograph of Clark Gable. It was the stuff dreams are made of, and from that moment on her film career was straight up all the way.

The stars knock themselves out to make it fun, and very often it is. But as a whole, it never really seems work in a consistent sort of way. When all is said and done, BROADWAY MELODY OF 1938 is the sort of show that you watch for certain scenes rather than for the show itself, which is considerably less than the sum of its parts. Recommended for 1930s musical fans, but even they will likely find very thin stuff indeed.

GFT, Amazon Reviewer

Watch this Flick to See Powell & Garland & Tucker
I just watched this video last night, and although I must admit it is indeed a turkey for all seasons, there are still three highly worthwhile reasons for watching it: the magnificently graceful dancing of Eleanor Powell, the stunning singing of young Judy Garland, and the fiery, passionate vocalizations of Sophie Tucker. Ms. Powell's remarkable athleticism and splendidly controlled "stop-on-a-dime" tapdancing, as well as her whirling, swirling duo-dancing with George Murphy, are an absolute delight to see. And she makes it all seem so genuinely effortless. She clearly proves in this film why she has earned such a lofty place in the Pantheon of cinematic tapdancers (right up there with Astaire, Kelly, and the Nicholas Brothers). And young Judy!! What a GREAT, GREAT voice. Although, she doesn't have much to do in this flick (she was still a teen-ager), she sings the unforgettable "Dear Mr. Gable..You Made Me Love You" and "Everybody Sing." And finally, the film affords the viewer with a glimpse of the immortal, Sophie Tucker, who just burns the house down with a memorable rendition of "Some of these days!"

So Awful It's Wonderful
Don't watch the movie, just go about your daily business at home and listen to it. You will find yourself, laughing, smiling, and singing along. For me, the best part of all was not just a young and wonderful Judy Garland, but an aging and still wonderful Sophie Tucker who could still belt out "Some of these days!" Now that's something you won't see everyday.

J.H. Cohen
NYC

Okay
The only reason I gave this movie two stars was because of the two songs Garland sang which were Everbody Sing and Dear Mr. Gable:You Made Me Love You.Garland was definetly something this movie would have terriable without her. ... Read more

Reviews (1)

interesting and rare John Wayne movie
This Civil War era movie was very interesting as it tried to follow a generalized campaign of the very infamous Captain Quantrell, the Confederate leader of raiding party's into the North. This was not one of John Wayne's best pictures but it ranks up there as being rare and informative. A must see for true John Wayne fans. ... Read more

Reviews (12)

Surprisingly unfunny
I expected to enjoy this Tracy & Hepburn political comedy, especially since I'm a history buff of the 1948 campaign. Unfortunately, the politics is only window dressing for a lot of stagy banter and a plot that moved at a snail's pace. Tracy's character has been compared to Wendell Wilkie or Ross Perot, but to me he was a Clinton -- a big, charming, down-home guy trying without success to conceal a titanic ego. He had deserted Hepburn, playing his charming wife, and his two small children to take up with Angela Lansbury, at least 20 years his junior. Want to see a good political movie? Skip this turkey and seek out "The Best Man" instead.

Politics Hasn't Changed Much
State of the Union takes a look at all the behind the scenes action that goes into the making a politician, such as the promises, deal making with interest groups, using the family in the campaign, etc. In other words, the same games being played even today in politics. It's the story of a businessman played by Spencer Tracy who gets talked into running for President, and along the way he loses his ideals and begins playing the games, under the familiar but false assumption that he'll just do it until he gets elected. Katharine Hepburn stars as his wife and conscience, a woman who wants him to speak the truth and say what's really on his mind, win or lose. Tracy and especially Hepburn are excellent in their roles, making a lot of dialogue sound fresh and real. Angela Lansbury is cold but convincing as a newspaper syndicate owner who is a behind the scenes player in the political game, pushing Tracy (with whom she's in love) into the presidential race. Van Johnson is a lot of fun as the aide with the dry sense of humour and realistic approach to everything. There's a good mix of laughs with dramatic moments, and surprisingly, the message behind the movie remains very current and rings true, over fifty years after the film was made. It would be interesting to watch this film along with some of the recent films made about politics and the White House.

HEPBURN, SPENCER AND CAPRA, WHAT A GREAT TEAM.
"State Of The Union" is an elegant movie about the politicians world and the media paraphernalia that usually surrounds them. The director Frank Capra combined very well comedy, drama and a smart screenplay, also, Capra always was surrounded with excellent actors, and "State Of The Union" is not an exception.

The couple made by Katharine Hepburn and Spencer Tracy has always been recognized as one of the best couples that appeared in the movies world, "State Of The Union" is another example of the elegance and finesse of these two great actors. Katharine Hepburn gave to her character intelligence, strength and passion, and Spencer Tracy gave another excellent performance as he usually did every time he appeared in a movie.

"State Of The Union" is at the same time an amusing and intelligent movie, it's recommendable for all the fans of Frank Capra, Katharine Hepburn and Spencer Tracy.

An underrated Frank Capra Gem...
"State of the Union" may not be one of Frank Capra's best films, nor is it the best pairing of Katherine Hepburn and Spencer Tracy, one of Hollywood's greatest couples (both on-screen and in real life). However, it is still excellent entertainment, and it's also a great political satire that still resonates even today. Grant Matthews (Tracy) is a nationally-known, flamboyant businessman who has made a fortune building airplanes, and still flies them (and even jumps out of them playing "games" with other pilots to see who can parachute to the ground first). He is having an affair with Kay Thorndyke (a deliciously manipulative, cold-blooded and lovely Angela Lansbury), the powerful publisher/owner of a national chain of newspapers. The affair has caused him to separate from his wife (Hepburn), who still loves him and hopes that he comes to his senses regarding Kay. When Thorndyke is unable to force her will onto the leading candidates for the 1948 Republican presidential nomination, she decides to go all-out to make her lover Matthews the GOP's presidential candidate. She talks the reluctant Matthews into getting into politics by telling him that he "owes it" to the people to share his "idealism" and talents with them. Of course, behind the scenes she cares nothing for Matthews' high ideals - she intends to make him President and then control the nation through him. Instead, Kay hires a corrupt but experienced GOP political "boss" named Jim Conover (Adolphe Menjou) to be Matthews' campaign manager. Conover clearly sees Matthews as merely a vehicle to regain power in Washington, and he also comes to see Matthews' idealism and honesty as an obstacle to his plans. Kay also hires her star reporter, the cynical but charming "Spike" McManus (a delightful Van Johnson) to be Matthews' press secretary. In a real show of chutzpah, Kay even convinces Matthews' estranged wife to stay with him on the campaign trail to present the image of a happily-married couple. As the plot develops, Matthews is slowly corrupted by Conover and his political cronies, but in the end his wife brings him back to his good senses. The film's climax - in which Matthews tries to deliver a speech announcing his presidential candidacy on national television while his angry, drunken wife gives his mistress a verbal thrashing - is one of the finest (and funniest) moments in any Hepburn-Tracy movie. As another reviewer pointed out, this film is what H. Ross Perot's first presidential campaign in 1992 could have been had he not turned out to be a few bricks shy of a full load. The notion of an idealistic and honest political "outsider" giving the corrupt "insiders" their comeuppance is an old but powerful theme in American politics - and Spencer Tracy's Grant Matthews is a perfect symbol of what we'd like for our leaders to be - honest, colorful, dynamic, idealistic, and more devoted to the good of the nation than to himself. Hopefully, someday we'll get leaders in real life who can match what we see on the movie screen. Until then, however, "State of the Union" makes a fine substitute. Recommended!

For a classic flim buff what could be better than an early
Hepburn/Tracy movie? Well this is one of their lesser efforts.
Yes, it is not particularly funny most of the time (it does have its moments). If your not really interested in politics it may be dull & boring.
This movie is about more than just entertainment. Frank Capra again has his honest every man, this time it's Spencer Tracy. This man, although he has a mistress, has a moral code that is corrupted, influenced by the lure of power. He is also amazingly naive. It is about a man, manipulated into negotiating away his values & integrity for that prize of power, in this case, the presidency. Without the usual
Kathrine/Spencer sparkle it still holds up. A young Angela Lanbury does a fine job as Tracy's ruthless & amoral girlfriend, the driving force behind the scenes. The issues this movie brings up & the politics of getting elected are still relevant today. ... Read more

Reviews (1)

interesting and rare John Wayne movie
This Civil War era movie was very interesting as it tried to follow a generalized campaign of the very infamous Captain Quantrell, the Confederate leader of raiding party's into the North. This was not one of John Wayne's best pictures but it ranks up there as being rare and informative. A must see for true John Wayne fans. ... Read more

Reviews (13)

"Never looked so beautiful before."
There are a few things to know going in: It's a biography with music (but not a musical), it's more than 60 years old, and it's three hours long!! Now I'm okay with all that, but I'm an old movie snob. This one is proof positive of the old Hollywood dream factory, where you were guaranteed happiness, pathos, bells, and whistles in practically every picture. But the film isn't as happy-go-lucky as you might expect; it gives a rather astringent portrayal of a gifted showman who knew how to dazzle audiences, but never how to save a buck. According to this book, his was a never-ending cycle of glittery and expensive theatrics pitted against dodging creditors his whole life. In that respect, we are to conclude that his lack of business sense was tempered by his need to entertain. He also knew talent, as is represented by his discovery scenes with Bolger and real Ziegfeld veteran Fanny Brice. (Watch how he hires her on the strength of her comedy, then humiliates her during a rehearsal in order to get her in the mood to belt out "My Man.") And of course, not enough can be said of the eight-minute "A Pretty Girl Is Like A Melody" finale where spangled showgirls, opera singers, grand pianos, and a single, all-enveloping curtain hang on a revolving "wedding cake" spiral staircase. You have to see it to believe it.

An Extravagant Man
As someone who is not a fan of musicals, I was already at a disadvantage before the movie even started. I fast forwarded through most of the numbers, and they looked dazzling enough and I'm sure would be entertaining for people who like that sort of thing. I concentrated on the drama between the numbers, and with that I was quite satisfied. William Powell is excellent as the famed, extravagant theatrical producer, Florenz Ziegfeld Jr. The film chronicles the many highpoints and lowpoints of his career, as well as his two marriages. Myrna Loy co-stars as his second wife, actress Billie Burke (Glinda the Good Witch from the Wizard of Oz), and although she gets second billing, she doesn't have much to do. But the chemistry between her and Powell is once again a high point. Luise Rainer, who had a brief career in Hollywood, stars as Anna Held, the first wife, a passionate, impulsive singer that Ziegfeld made a star of in America. Rainer's scene on the phone has become quite famous, and she plays all of her scenes with great drama. The film is a bit long, but it doesn't get boring, thanks to the stars, the story, and the great personalities that appear (Ray Bolger, Fanny Brice). And for people that like musicals, this will probably entertain them even more.

A SUPERB FILM BIO - ONLY AVERAGE LOOKING TRANSFER
"The Great Ziegfeld" is a biographic film based on the life of Broadway impressario, Florenz Ziegfeld Jr. Brimming with stellar performances by William Powell, Myrna Loy and Luise Rainer (who walked off with the Best Actress Oscar)a wonderful score and mind-boggling production values, this is one heck of a good time for a night's entertainment!
TRANSFER: Unfortunately, Warner Brothers gives us a somewhat tired looking print of this classic film. Though the gray scale is generally well balanced, some of the picture appears to be out of focus while other portions are filled with excessive film grain. Dirt, age related artifacts and an incredible amount of scratches in some scenes really detract from the over all visual presentation. The audio is MONO and, as with the picture, is not adequate. During some of the songs the background hiss is excessive.
EXTRAS: A flimsy featurette that all too briefly attempts to "sum up" the film and the real life of one of the 20th century's greatest showman.
BOTTOM LINE: Because you are not likely to see this film revisited in a Deluxe Edition I am recommending to add it to your library. But it in no way stands up to Warner's previous DVD mastering efforts on "Now Voyager" or "Mildred Pierce".

epitome of 30s musicals
a big extravaganza musical. the musicals are very grand and ostentious but very much in the tradition of musicals in the 30s when entertainment was escape from the dreary reality of the Depression. william powell, luise rainer and myrna loy are all wonderful, thought myrna loy's billie burke came very late in the movie. my favorite scene was when Flo (powell) was courting Billie (loy) at grant's tomb. simplicity and wonderful sweet. you ll have to see it just for that scene. luise rainer's telephone won her the oscar. the movie has a few touching scenes, but i did wish the movie was brisker and tighter.

BLINDINGLY OPULENT AND SPELLBINDINGLY ENTERTAINING!
"The Great Ziegfeld" is a biographic film on Broadway impressario, Florenz Ziegfeld Jr., the man who "glorified the American girl". Determined to squeeze every last ounce of opulence from its coffers, MGM spared no expense in retelling what is essentially a melodrama with musical numbers tossed in for good effect.
Flo (William Powell)is a cheap carnival barker when he crosses paths with Anna Held (Luise Rainer). Their chemistry is instant and through her talent as an artist, fame comes to them both. However, all bliss is fleeting and their marriage ends when Flo takes up with a chorus girl. But he ditches her for sassy Billie Burke (Myrna Loy) and then proceeds to create a series of lavish spectacles that only MGM could afford to do justice to. The most spectacular of these remains "A Pretty Girl Is Like A Melody"; a gargantuan revolving platform covered in dancers and art deco magificence.
Aside: Flo's second wife, Billie was a contract player at MGM during this time. Her best known role is as 'Glinda' the witch of the north in "The Wizard of Oz".
TRANSFER: Surprisingly smooth and very well balanced black levels and a good gray scale are the real selling features of this 3 hr. plus spectacle. Unfortunately an excess of age related dirt and scratches greet the viewer throughout the first hour of running time. However, things get cleaned up half way through for a really stunning transfer. Shadows and contrast levels are exemplary. The audio is clean, well balanced and quite simply, one of the best you are likely to encounter for a film of this vintage.
EXTRAS: A couple of featurettes that round out the history of the film - all too briefly.
BOTTOM LINE: Next to "Yankee Doodle Dandy" - another show folk bio with guts, "The Great Ziegfeld" is most readily recognized as one of the best! Add it to your film library! ... 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 (1)

a great video
"Key to the City," with Clark Gable and Loretta Young is a wonderful and delightful film. It is the story of two Mayor's one played by Clark, Mayor Finch from California and Mayor Standdish from Maine, played wonderfully by Loretta. The two fall in love in th epolitical world, and find out even though they are total opposites in tastes and personalities, they were made for each other. A great romantic, and entertaining film. I highly recomend it. It has a great story-line. It is very entertaining. ... Read more

Reviews (27)

Mr. Capra Goes Overboard
Director Frank Capra's work doesn't hold up as well today as some of his contemporaries' because of his habit of over-inflating his scripts. "Deeds" starts out wonderfully well when the tuba-playing small-town yeoman Gary Cooper inherits a fortune and heads for the big city to look into it. But Capra can't leave well enough alone and transforms the funny contrasts into a ridiculously overblown sanity hearing. Capra repeated the same missteps in "Mr. Smith Goes to Washington" and "Meet John Doe", straining for social commentary and ending up with pomposity. Still, I would recommend Deeds and those other two pictures for all the scenes Capra got right. Cooper serenading the townspeople by playing "Auld Lang Syne" on his tuba from the back of a departing train is a real classic.

Moving Capresque flick
MY RATING- 7.8

This is quite a moving tale a la american by the master of socio drama, Frank Capra in which he uses one of his fave actors Gary Cooper as the country man who inherits a fortune from a rich uncle and is double crossed in the city. I never enjoyed the first roles of Cooper in MOROCCO, yet it looks like he's been improving his acting over the years and his eyes seem to be brighter and emotional with Capra efforts. Jean Arthur is very good too with her sexy voice and tender love. The cast also includes H. B. Warner as the judge and Lionel Stander as Deeds gardian angel with that frog voice.
Maybe a bit overlong, however it's moving (not as much as It's a Wonderful Life"), , love triumphs at the end, with the Capraesque final act at the court.

better than the sandler version
This is a great movie. The Adam Sandler version might be funnier in a silly, mindless way, but this movie makes a point that too many people forget. People who criticize this movie as naive or propaganda have bought into too much capitalist propaganda. The only people who wouldn't like the message this movie makes are slaveholders and feudal barons. Beautiful movie making a point that we should all remember in our daily life. When Deeds' assistant comments on the difficulty of feeding all of the farmers ("there's 2000 of them"), Deeds replies "that doesn't make them any less hungry." This movie isn't naive. It should simply remind us of how to be human. Its a shame that the message even needs to be said or that the Sandler version would suck the beauty out of it for a cheap lines from a hispanic butler.

I'm sure this was GREAT sixty some-odd years ago.
...But today I found it as bland as a glass of water, however not pure or refreshing. In fact reading a dull, damp B&W newspaper is just as entertaining and very similar. Classic or not I just found the remake with Adam Sandler & Winona Ryder very funny and fresh. So I wanted to see where it came from. My great grandma loved the original when she was my age.. I'm guessing. But being that the only B&W film I liked was "Psycho", I'm glad that they remade this film just for me.

just to naive to be true
This kind of social comedy, with its naive eulogy of the simple man, the inocent farmers and the small american town, just gives me the creeps. Look out for the way it is satyrized in Preston Sturges' "Sullivan Travels". ... Read more

Reviews (1)

Blockbuster from Columbia....
THE DESPERADOES was Columiba Pictures first technicolor production, and the studio spared no expense to make this a truly signal event. Randolph Scott, a young Glenn Ford, Claire Trevor, and Edgar Buchanan head a fabulous cast. THE DESPERADOES, in a sense, was Columbia's answer to Fox studio's JESSE JAMES, another epic western. The results are very enjoyable--the dialogue crisp, the action fast, and the acting well above average. And the technicolor print is superb; THE DESPERADOES is one of the best shot pics of its time. A classic. ... 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