Chic Johnson Movies

Colonel Breckinridge Marshall (Walter Catlett) of Clearwater, GA -- who puts on a big front but is actually only a step away from the poor house -- rents a luxurious townhouse in Manhattan in anticipation of the Carnegie Hall debut of his two daughters, singer Melinda (Gloria Jean) and pianist/singer Susannah (Martha O'Driscoll). But on their first night there, they hear strange noises and other disturbances, including the sound of someone tap-dancing -- Susannah runs for help to the next building, which turns out to be a nightclub where Olsen (Ole Olsen) and Johnson (Chic Johnson) are working, and finds herself in the middle of one of their "nut humor" Hellzapoppin'-style sketches. The two comics try to make amends by helping her out and find themselves up to their neck in strange warnings ("First is worst"), noises, and bizarre, ghostly apparations seemingly from nowhere, and alleged ghostly goings on. They eventually figure out that the house once belonged to one Wilbur Duffington, a wealthy ne'er-do-well out of New York's "gilded age" whose main hobbies were tap-dancing and drinking plum brandy, before he fell from a third-story window in the year 1900 at a party he was throwing. The boys reason that Wilbur, if he is there, might want to finish the party he was having the night he died; when that doesn't work, they reason out that he had to be a real square because he died in 1900, and so they bring in a swing band and a bunch of jitterbug dancers to drive him out -- that seems to do the trick, the ghost seemingly departing. But then the noises continue and the Marshalls are at their wits' end, until Olsen and Johnson accidentally discover far more sinister goings on, involving a band of criminals who have already committed one murder, something in that house worth killing for, and a plan to eliminate the Marshall family. Before it's over, a pitched battle ensues between the heroes and a band of costumed thugs (including a pair of ill-tempered dwarves), and a race against time to get the Marshall girls to a performance on time to save their careers, plus the unmasking of the man behind all of the mayhem, all intermixed with lots of Olsen and Johnson's patented nut-humor and the presence of a pre-Sky King Kirby Grant leading a band, singing, and playing a violin. ~ Bruce Eder, Rovi

Hellzapoppin' is the film version of the "anything goes" Broadway hit starring Ole Olsen and Chic Johnson. The original production was part musical comedy, part "blackout" revue, with wild sight gags, zany props, audience participation sequences, dirty jokes, and never-ending gunshots. There was no plot, and in fact no two performances were exactly alike. When Hellzapoppin' was optioned by Universal, the original intention was to film the play as it stood (minus the more ribald one-liners), but the studio got cold feet and grafted on a conventional plot and romantic interest. The film's story concerns a musical show being staged at a fancy estate, and the romantic triangle of the show's producer (Robert Paige), the wealthy girl who lives at the estate (Jane Frazee), and the girl's erstwhile fiance (Lewis Howard). The show's stars are Olsen, Johnson, and Martha Raye. Martha is mistaken for the wealthy girl by a penniless Russian aristocrat (Mischa Auer), and the entire proceedings are "investigated" by a goofy private detective (Hugh Herbert). Olsen and Johnson are thus reduced to supporting players in their own film, but when they do manage to command the screen, the results are hilarious. The best moments range from a throwaway gag about Citizen Kane (Johnson finds a sled marked "Rosebud" and mutters "I thought they burned that!") to the more elaborate special-effects routines involving the mixed-up projectionist (Shemp Howard) who's ostensibly running Hellzapoppin for the benefit of the film audience. While the movie version fails to completely capture the spirit of the original play (except in a bizarre opening sequence), and the finale is a major disappointment, Hellzapoppin remains one of the few sustained filmic examples of the "nut humor" exemplified by Olsen and Johnson. ~ Hal Erickson, Rovi

The zany vaudeville comedy team of Ole Olsen and Chic Johnson was still one year away from their smash Broadway hit Hellzapoppin' when they starred in Republic's Country Gentlemen. The daffy duo plays a couple of gold-stock swindlers who try to fleece the citizenry of a small town. They end up purchasing a vacant lot for $4000, which they try to pass off as an oil field. A group of local WWI veterans invest heavily in Olsen and Johnson's latest venture, meaning that the boys will be in for quite a lot of lumps if the expected "gusher" doesn't come in. Thanks to good influence of heroine Lila Lee, our heroes change their crooked ways -- but not quite in the nick of time! Critics weren't keen on the notion of middle-aged Ole Olsen being cast as a romantic lead, but everyone was satisfied with the supporting performance of perennial "dumb blonde" Joyce Compton as the team's Girl Friday. Originally released at 66 minutes, Country Gentlemen is presently available in its 53-minute TV reissue form. ~ Hal Erickson, Rovi

Ole Olsen and Chic Johnson's final film for Warner Bros. is as much a vehicle for comedienne Winnie Lightner as it is for the venerable vaudeville team. The premise: Gertie (Lightner) marries Harlan (Johnson), then divorces him to marry Guthrie (Olsen), Harlan's partner in a bathing-suit manufacturing business. After Gertie dumps Guthrie, he weds Lucille (Vivian Oakland), while Harlan ties the knot with Lucille's sister Mabel (Dorothy Christy). Several years pass before Gertie re-enters Harlan and Guthrie's lives, demanding back alimony. Since the partners have never informed their henpecking wives that they've been married before, the fur really begins to fly when Lucille and Mabel spot Gertie in a variety of compromising situations with their spouses. The laughs multiply when Gertie pursues her two ex-hubbies on an ocean liner, then descends upon them at a Florida swimsuit convention. Olsen and Johnson seem uncomfortable doing what is essentially Laurel and Hardy material (Ole Olsen even sports a mustache, a la Hardy), but they invest their roles with their usual manic enthusiasm. Gold Dust Gertie winds up with a slapstick speedboat chase, consisting mainly of stock footage from the recently completed Joe E. Brown comedy Top Speed. ~ Hal Erickson, Rovi