Eddie "Rochester" Anderson Movies
African American comic actor Eddie Anderson was born into a show-business family: his father was a minstrel performer, and his mother a circus tightrope walker. Anderson entered show business at 14, teaming with his brother Cornelius in a song-and-dance act. His movie career began with a lengthy uncredited part as Lowell Sherman's valet in 1932's What Price Hollywood? The best of his earliest film assignments was the part of Noah in the 1936 cinemazation of Marc Connelly's all-black Broadway production The Green Pastures. On Easter Day of 1937, Anderson was engaged to play a one-shot role as a railway porter nicknamed Rochester on radio's The Jack Benny Program. Response was so overwhelmingly positive to Anderson's sandpaper voice and razor-sharp comic timing that the actor was hired as a regular on Benny's program, cast as Jack's know-it-all butler; it was an association which would last until Benny's death in 1974. In addition to his weekly radio duties, Anderson was co-starred with Benny in such films as Man About Town (1939), Buck Benny Rides Again (1940) Love Thy Neighbor (1941) and The Meanest Man in the World (1942); he also continued in the Rochester role on Benny's TV series, which ran until 1965. Outside of his work with Benny, Anderson played various tremulous chauffeurs and handymen in many other films, sometimes in a stereotypical fashion, but nearly always on equal footing with his white co-stars; indeed, his relationship with his screen "boss" Dennis O'Keefe in 1945's Brewster's Millions was so casual that the film was banned in lily-white Mississippi. In 1943, Anderson was afforded top billing in the MGM musical Cabin in the Sky, sharing screen time with such stellar black talent as Lena Horne, Ethel Waters, Rex Ingram and Louis Armstrong. One of the wealthiest black entertainers in the business, Anderson enhanced his film, radio and TV earnings with shrewd real estate investment. He suffered a stroke in the early 1960s which forced him to cut down his activities, though he was always available to work with Jack Benny in the latter's television specials. A prized "social awareness" moment occurred on a Benny special of the late 1960s when Jack invited "Rochester" to portray his servant once more. "But, boss," Eddie Anderson raspily responded, "we don't do that any more!" ~ Hal Erickson, Rovi
- 1963
- G
- Add It's a Mad, Mad, Mad, Mad World to Queue Add It's a Mad, Mad, Mad, Mad World to top of Queue
With this all-star Cinerama epic, producer/director Stanley Kramer vowed to make "the comedy that would end all comedies." The story begins during a massive traffic jam, caused by reckless driver Smiler Grogan (Jimmy Durante), who, before (literally) kicking the bucket, cryptically tells the assembled drivers that he's buried a fortune in stolen loot, "under the Big W." The various motorists setting out on a mad scramble include a dentist (Sid Caesar) and his wife (Edie Adams); a henpecked husband (Milton Berle) accompanied by his mother-in-law (Ethel Merman) and his beatnik brother-in-law (Dick Shawn); a pair of comedy writers (Buddy Hackett and Mickey Rooney); and a variety of assorted nuts including a slow-wit (Jonathan Winters), a wheeler-dealer (Phil Silvers), and a pair of covetous cabdrivers (Peter Falk and Eddie "Rochester" Anderson). Monitoring every move that the fortune hunters make is a scrupulously honest police detective (Spencer Tracy). Virtually every lead, supporting, and bit part in the picture is filled by a well-known comic actor: the laughspinning lineup also includes Carl Reiner, Terry-Thomas, Arnold Stang, Buster Keaton, Jack Benny, Jerry Lewis, and The Three Stooges, who get one of the picture's biggest laughs by standing stock still and uttering not a word. Two prominent comedians are conspicuous by their absence: Groucho Marx refused to appear when Kramer couldn't meet his price, while Stan Laurel declined because he felt he was too old-looking to be funny. Available for years in its 154-minute general release version, the film was restored to its roadshow length of 175 minutes on home video; the search goes on for a missing Buster Keaton routine, reportedly excised on the eve of the picture's premiere. ~ Hal Erickson, Rovi
- Starring:
- Spencer Tracy, Milton Berle, (more)
- 1953
Included are Christmas specials from 1953-54: Your Hit Parade live from Rockefeller Center and an episode of The Jack Benny Show. ~ John Bush, Rovi
- 1946
Previously filmed in 1926 and 1934, George Kelly's venerable stage comedy The Show-Off was dusted off as a Red Skelton vehicle in 1946. Skelton is well cast as Aubrey Piper, an inveterate braggart who sorely annoys the family of his wife Amy (Marilyn Maxwell). All talk but no action, Piper gets Amy's family involved in one foredoomed get-rich-quick scheme after another. Through a fluke, the show-off actually makes good towards the end, but though he realizes that he could never have done so without his wife's help he insists upon blowing his own horn well past the fadeout and "end" credits. Only Skelton's inherent likeability saves Aubrey Piper from being a thoroughly obnoxious blowhard. Featured in the cast of The Show-Off is Eddie "Rochester" Anderson, who is given surprisingly little to do. ~ Hal Erickson, Rovi
- Starring:
- Leon Ames, Eddie "Rochester" Anderson, (more)
- 1946
A quickie post-WWII marriage becomes complicated in this romantic comedy, the second film pairing of Robert Walker and June Allyson. Swept off her feet in one whirlwind night by dashing U.S. Navy man John (Walker), the young, attractive Mary (Allyson) agrees to a fast, ill-considered wedding. John ships out immediately afterward, with no time for a honeymoon or even a consummation of the marriage. Much to Mary's chagrin, John is quickly discharged from the service for medical reasons and returns home. The transition to domestic bliss is an uneasy one for Mary and John, who are essentially strangers. Each becomes the object of affection for others. Mary fends off the unwelcome advances of her boss Freddie (Hume Cronyn), who wants to break up her fragile relationship so he can ask for her hand. At the same time, the innocent John is slow to realize that a war refugee neighbor who lives in their apartment building is interested in more than a platonic friendship. The Sailor Takes a Wife (1945) costarred popular comic actors Eddie "Rochester" Anderson and Joe De Rita, better known as "Curly Joe" of The Three Stooges. ~ Karl Williams, Rovi
- Starring:
- Robert Walker, June Allyson, (more)
The 1945 version of the Winchell Smith/Byron Ongley theatrical war-horse Brewster's Millions stars Dennis O'Keefe as the lucky recipient of an $8,000,000 inheritance. But there's a catch; O'Keefe will receive his legacy only if he spends $1,000,000 in two months. Prohibited from giving the money away, O'Keefe invests in several losing propositions, including a flop Broadway musical; alas, every one of his bad investments turns a profit. African-American comic actor Eddie "Rochester" Anderson co-stars as O'Keefe's valet; the bantering master-servant relationship was much too casual for several Southern cities, which banned the film on the grounds that blacks should behave more "respectfully" to whites. In the original Brewster's Millions, the hero was a stockbroker; in this 1945 version, Brewster is a returning GI. The seventh and most recent filmization of Brewster's Millions (1985) starred Richard Pryor as a washed-up baseball player. ~ Hal Erickson, Rovi
- Starring:
- Dennis O'Keefe, Helen Walker, (more)
- 1945
I Love a Bandleader is an easy-to-take vehicle for personable orchestra leader Phil Harris. "Old Curly" is cast as housepainter Phil Burton, who while suffering from amnesia imagines that he's the leader of a popular swing band. While suffering this delusion, Burton falls in love with perky Ann Carter (Leslie Brooks). When his memory returns, Burton returns to his meek, untalented self-but not for long, if Ann has anything to say about it! Costarring with Harris is his fellow Jack Benny Show cohort, Eddie "Rochester" Anderson, who does his usual flawless comic job-and even gets to sing! ~ Hal Erickson, Rovi
- Starring:
- Phil Harris, Eddie "Rochester" Anderson, (more)
- 1944
The plot of the overinflated MGM musical Broadway Rhythm can be summed up briefly: Musical comedy producer Jonnie Demming (George Murphy) dismisses his vaudevillian dad Sam Demming (Charles Winninger) as old-fashioned. Jonnie signs Hollywood star Helen Hoyt (Ginny Simms) to a Broadway show, but she turns it down. Sam saves the day by dredging up an old script he'd done in summer stock-which, of course, Helen agrees to play. All of this can be forgotten, and in fact will be forgotten, once the film's parade of "guest stars" gets under way. Such stage and screen luminaries as Lena Horne, Ben Blue, Nancy Walker, Eddie "Rochester" Anderson, Hazel Scott and Tommy Dorsey & His Orchestra make up for the narrative banalities with such musical numbers as Gershwin's "Somebody Loves Me" and Jerome Kern's "All the Things You Are." ~ Hal Erickson, Rovi
- Starring:
- George Murphy, Ginny Simms, (more)
- 1943
Arguably the least entertaining of all the MGM Our Gang mini-musicals, Calling All Kids finds the gang invading a local radio station to perform a revue honoring the U.S. military. Amidst such dubious highlights as a "recruting office" sketch featuring the less-than-dynamic duo of Mickey (Robert Blake and Froggy (Billy Laughlin), and a closing ensemble piece with lyrics that rhyme "Taxes" with "Axis," the film features an extended celebrity-impression routine, with Billy "Buckwheat" Thomas imitating Eddie "Rochester" Anderson and other kids posing as Judy Garland, Eleanor Powell, Fred Astaire, Carmen Miranda, and Virginia O'Brien. Calling All Kids was originally released on April 24, 1943. ~ Hal Erickson, Rovi
- Starring:
- Bobby Blake, Billie "Buckwheat" Thomas, (more)
- 1943
The old George M. Cohan theatrical chestnut The Meanest Man in the World was retailored for the screen to accommodate the talents of Jack Benny and Eddie "Rochester" Anderson. Benny plays small-town lawyer Richard Clark, whose soft-heartedness and sense of justice loses him case after case. Threatened with bankruptcy, Clark is open to the suggestions of his valet Shufro (Rochester), who advises his boss to become cold-blooded and nasty. This he does through a series of subterfuges, including having himself photographed stealing candy from a baby and foreclosing on a little old lady (though he actually hides the old dear in his office, tending to her every need). Not unexpectedly, business picks up tremendously, but Clark's sweetheart Janie (Priscilla Lane) is upset by the "change" in her boyfriend and walk out on him. It's up to Janie's father (Matt Briggs) to tie up loose ends-literally. Despite a brief 57-minute running time (the result of retake problems during production), Meanest Man in the World secured top-of-the-bill bookings thanks to Jack Benny's radio popularity. And yes, that is Tor Johnson in the final shot. ~ Hal Erickson, Rovi
- Starring:
- Jack Benny, Priscilla Lane, (more)
MGM knew it would take a bath on its all-black musical Cabin in the Sky (few Southern theaters of 1943 would touch the film), but the studio still provided its standard A-plus production values to the film; besides, it served as a training ground for up-and-coming director Vincente Minnelli. Based on the Broadway musical by Lynn Root, John LaTouche, and Vernon Duke, the film tells the story of Joe (Eddie "Rochester" Anderson), a shantytown denizen torn between the affections of faithful wife Petunia (Ethel Waters) and slinky seductress Georgia (Lena Horne). Seriously injured in a barroom brawl, Joe dreams that he is the centerpiece of a celestial power struggle between a heavenly emissary (Kenneth Spencer) and Lucifer Jr. (Rex Ingram, who ironically had played "De Lawd" in The Green Pastures). Joe is given another chance to redeem himself on Earth, lest he fall into the clutches of the Devil's little boy. Louis Armstrong briefly shows up, appropriately cast as "The Trumpeter." Song highlights include "Taking a Chance on Love," "Happiness Is Just a Thing Called Joe," "Life's Full of Consequences," and the title song. A troubled production thanks to the on-set rivalry between Ethel Waters and Lena Horne, Cabin in the Sky is nonetheless an excellent first feature effort from Vincente Minnelli. Thanks to his careful treatment of the material, the expected patronization of the black characters does not impede latter-day enjoyment of the film as much as it might have. ~ Hal Erickson, Rovi
- Starring:
- Ethel Waters, Eddie "Rochester" Anderson, (more)
- 1943
Ann Miller goes through her usual twinkle-toed paces in the quickie Columbia musical What's Buzzin', Cousin? The pencil-thin plotline involves attorney Jimmie Ross (John Hubbard), who moonlights as a singer with the Freddie Martin Orchestra. Using his legal and showbiz know-how, Jimmie revitalizes a broken-down hotel owned by Ann Crawford (Ann Miller) and her family. Musical highlights include Freddie Martin's swing rendition of Liszt's second Hungarian Rhapsody, and Ann Miller's terpsichorial interpretation of the bond-rally standard "18.75." Were it not for the presence of Miller and Martin, What's Buzzin' Cousin? would be utterly forgettable. ~ Hal Erickson, Rovi
- Starring:
- Ann Miller, John Hubbard, (more)
Built around the premise of a Big Stage Show, Stormy Weather affords rare "mainstream" leading roles to some of the era's greatest African-American entertainers Lena Horne, Bill "Bojangles" Robinson, Dooley Wilson, Cab Calloway, Katherine Dunham, Fats Waller, and the Nicholas Brothers. The thinnish plotline -- dancer Robinson has an on-again-off-again romance with Horne -- is simply an excuse for lively, well-staged performances. Of the fourteen musical numbers, the most memorable is Lena Horne's rendition of the title song, artfully staged by director Andrew L. Stone. Keep an eye out for uncredited contributions by jazz greats Zutty Hamilton, Coleman Hawkins and Taps Miller. ~ Hal Erickson, Rovi
- Starring:
- Lena Horne, Bill "Bojangles" Robinson, (more)
- 1942
Tales of Manhattan is a sumptuous multipart film centered around a formal tailcoat. The coat is specially designed for stage actor Charles Boyer, who wears it during a rendezvous with his lady friend (Rita Hayworth). The lady's husband (Thomas Mitchell) shoots Boyer, thus the tailcoat is damaged merchandise and sold at a discount to a bridegroom (Cesar Romero). When the groom's peccadillos catch up to him, the bride (Ginger Rogers) chooses to marry the best man (Henry Fonda) instead, and the coat is shipped off to a second hand store. It is purchased by a would-be composer (Charles Laughton), who wears it the night that he is to conduct his first symphony; alas, the coat is too tight and tears apart, nearly ruining the conductor's debut. Stitched back together, the coat is donated to a skid row mission, wherein the kindly proprietor gives the coat to a down and out drunkard (Edward G. Robinson) so that the shabby gentleman can attend his 25th college reunion. Later on, the coat is stolen by a crook (J. Carroll Naish) in order to gain entrance to a fancy charity ball. The crook holds up the ball and stuffs the loot in the pockets of the coat, but while escaping in an airplane he loses the outer garment. The coat floats down to an impoverished African American shanty community; a farmer (Paul Robeson) decides to distribute the "money from heaven" amongst his needy neighbors. At the end, the tattered coat adorns the shoulders of a scarecrow. Tales of Manhattan is one of the best "portmanteau" dramas turned out by Hollywood; it was directed by French expatriate Julien Duvivier, a past master of the multi-story technique. ~ Hal Erickson, Rovi
- Starring:
- Charles Boyer, Rita Hayworth, (more)
- 1942
Star-Spangled Rhythm is a typical wartime all-star musical-comedy melange, this time from Paramount Pictures. The slender plot involves the efforts by humble studio doorman Pop Webster (Victor Moore) to pass himself off as a big-shot Paramount executive for the benefit of his sailor son Jimmy (Eddie Bracken). The overall level of humor can be summed up by the scene in which Webster is advised that the best way to pretend to be a studio big-shot is to say "It stinks!" to everything -- whereupon Cecil B. DeMille shows up to ask Webster's opinion about his current production. Betty Hutton, cast as studio switchboard operator and co-conspirator Polly Judson, is at her most rambunctiously appealing here. The huge lineup of guest performers includes Bing Crosby (and his 8-year-old son Gary!), Bob Hope, Veronica Lake, Dorothy Lamour, Dick Powell, Mary Martin, Alan Ladd, Fred MacMurray, William Bendix, Paulette Goddard, and Eddie "Rochester" Anderson, most (but not all) of them going through their characteristic paces. Highlights include a surrealistic rendition of That Old Black Magic with Johnnie Johnston and Vera Zorina; a frantic staging of the old George S. Kaufman sketch "If Men Played Cards as Women Do" with MacMurray, Ray Milland, Franchot Tone, and Lynn Overman; and The Sweater, the Sarong and the Peekaboo Bang, first performed by Goddard, Lamour and Lake, then lampooned in drag by Arthur Treacher, Sterling Holloway and Walter Catlett! PS: The actor playing Rochester's chauffeur in the Smart as a Tack number is John Ford "regular" Woody Strode. ~ Hal Erickson, Rovi
- Starring:
- Victor Moore, Betty Hutton, (more)
- 1941
Rather shaky as history, Birth of the Blues delivers the goods in terms of entertainment, thanks to the unbeatable star combination of Bing Crosby and Mary Martin. Set in New Orleans in the 'teens, the film stars Crosby as clarinetist Jeff Lambert, who breaks away from a traditionalist orchestra to form his own jazz band. His partners in this endeavor are songstress Betty Lou Cobb (Martin) and trumpeter Memphis (Brian Donlevy), a character obviously meant to be a white-bread version of Louis Armstrong. Inspired by the rhythms heard amongst the African American population of Louisiana, Jeff, Betty Lou and Memphis rise to fame and fortune, but internal jealousies and external gangster threats seriously compromise their success. An added complication is the presence of cute little orphan girl Phoebe (Carolyn Lee), Betty Lou's aunt, whom Jeff is obliged to hide from the child-welfare behemoths. Eddie "Rochester" Anderson is in his element as Jeff's long-suffering general factotum Louey, whose near-death experience towards the end of the story results in one of film's most powerful musical vignettes. The 14 songs heard in Birth of the Blues range from such classics as "St. Louis Blues" and "St. James Infirmary" to such newly-minted ditties as Johnny Mercer's "The Waiter, the Porter and the Upstairs Maid". ~ Hal Erickson, Rovi
- Starring:
- Bing Crosby, Mary Martin, (more)
- 1941
The nationwide search for an actress to play Scarlett O'Hara in Gone With the Wind formed the basis of Claire Booth Luce's satirical Broadway comedy Kiss the Boys Goodbye. By the time the film version came out in 1941, Gone with the Wind was yesterday's news, but the picture still manage to elicit loud laughter from moviegoers bombarded by bad news from Europe. When Broadway producer Bert Fusher (Jerome Cowan) decides to produce a lavish musical version of a best-selling civil war novel, he dispatches director Lloyd Lloyd (Don Ameche) and composer Dick Rayburn (Oscar Levant) to the Deep South, in search of a genuine Southern-belle leading lady. Lloyd and Rayburn end up on the Georgia plantation of Tom Rumson (Raymond Walburn), where they are forced to sit through an impromptu audition by Rumson's niece Cindy Lou Bethany (Mary Martin). Lloyd can't stand the girl, but Rayburn is enchanted by her-never suspecting that Cindy Lou is a phony, who prior to this meeting had never stepped below the Mason-Dixon line. Eventually, Lloyd and Cindy Lou fall in love and the show goes on. Many of playwright Luce's more pointed barbs have been blunted by the Hollywood censors, with the more pungent gags replaced by lavish musical numbers. Still, Kiss the Boys Goodbye is a lot of fun, especially whenever the magnificent Elizabeth Patterson (cast as Mary Martin's unreconstructed-southerner aunt) takes center stage. ~ Hal Erickson, Rovi
- Starring:
- Mary Martin, Don Ameche, (more)
The third of producer Hal Roach's Topper films, Topper Returns eschews the frothy "screwball" format of the first two in favor of an "old dark house" comedy-mystery. Roland Young returns as banker Cosmo Topper, who gallantly offers a lift to pretty hitchhikers Gail Richards (Joan Blondell) and Ann Carrington (Carole Landis). This results in a few baleful glances from Topper's wife, Clara (Billie Burke), but the worst is still to come. It seems that Gail and Ann are en route to a chilly old mansion, recently inherited by Ann and populated by all manner of sinister types, including old reliable menaces Dr. Jeris (George Zucco) and Lillian (Rafaela Ottiano). The only person whom the girls can trust -- or can they? -- is Ann' father (H.B. Warner). Unable to sleep in the creepy mansion, Gail suggests that she and Ann exchange bedrooms. This proves to be a major mistake when a mysterious, hooded assailant, intending to murder Ann, kills Gail instead. Seconds later, Gail's ghost arises from her body and heads to the nearby summer house where Mr. and Mrs. Topper are staying. Having had his fill of ghosts in the first two Topper films, Topper wants nothing to do with Gail's spirit, but she finally convinces him to help her identity her killer, and to rescue Ann from a similar fate. Some of the film's best moments belong to Eddie "Rochester" Anderson as Young's eternally frightened chauffeur (at one point, Anderson threatens to quit the Toppers and go back to Jack Benny)! More contrived and slapstick-oriented than the earlier Toppers, Topper Returns still works as a neat and entertaining comedy, even in its dreadful computer-colorized version. A decade later, Thorne Smith's "Topper" characters would be revived for a popular TV series, starring Leo G. Carroll, Anne Jeffreys, and Robert Sterling. ~ Hal Erickson, Rovi
- Starring:
- Joan Blondell, Roland Young, (more)
- 1940
To fully appreciate Buck Benny Rides Again, one must have some familiarity with Jack Benny's radio programs of the 1939-40 season. During this period, Jack's broadcast costars included bandleader Phil Harris, announcer Don Wilson, singer Dennis Day and comedians Eddie "Rochester" Anderson and Andy Devine. All five supporting players appear in this film, all playing "themselves" just as Benny does. Falling in love with aspiring singer Joan Cameron (Ellen Drew), Jack vows to go out of his way to impress her. When he learns that Joan is headed for a western dude ranch, he poses as "Buck" Benny, a rootin'-tootin'-shootin' 100% genuine cowboy. In truth, both Jack and his valet Rochester are terrified at the Wide Open Spaces, certain that they'll be scalped by Indians at the first opportunity, but through a series of silly coincidences Benny manages to convince Joan that he's an honest-to-goodness frontiersman. The plot thickens when a pair of modern-day desperadoes (Ward Bond and Morris Ankrum) plot to rob the dude ranch's safe, but our hero saves both the day and his girlfriend, with the unsolicited but very welcome assistance of his pet polar bear Carmichael (the same bruin who allegedly ate the gas man on Jack's radio show). Benny fans will get an extra kick out of seeing his legendary Maxwell in all its sputtering, backfiring glory, while old-time radio aficionados will enjoy hearing the voices of Mary Livingstone (Mrs. Benny) and Jack's "friendly enemy" Fred Allen. Frank Loesser's musical score includes such hit-parade favorites as "Say It (Over and Over Again)" and "My! My!", the latter sung by Rochester to his sweetie Josephine (Theresa Harris). ~ Hal Erickson, Rovi
- Starring:
- Jack Benny, Ellen Drew, (more)
- 1940
Love Thy Neighbor was produced to capitalize on the famous radio feud between comedians Jack Benny and Fred Allen. The two stars (actually friends in real life) play "themselves," constantly at each other's throats due to real and imagined slights. Benny complicates matters by falling in love with Allen's niece, played by Mary Martin. The battling comics briefly patch up their differences when Benny rescues Allen from an out of control motorboat, but the truce doesn't last long. The final scene takes place during a musical revue starring Benny, which Allen tries to break up with a slingshot. The Benny-Allen feud was already old news by the time of Love Thy Neighbor, and the film is merely an uninspired attenuation of a threadbare premise. The result is a letdown for fans of both Jack Benny and Fred Allen--though there are a handful of genuinely funny one-liners, as well as adroit supporting contributions from Mary Martin and Eddie "Rochester" Anderson. The best scene in Love Thy Neighbor is the animated opening-credits sequence, produced by Warner Bros.' "Looney Tunes" mentor Leon Schlesinger. ~ Hal Erickson, Rovi
- Starring:
- Jack Benny, Fred Allen, (more)
Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, Rovi
- Starring:
- Clark Gable, Vivien Leigh, (more)
- 1939
Jack Benny goes to London in this frothy musical. He plays a Broadway producer and while in London begins pining for the love of glamorous singer Dorothy Lamour. Unfortunately, she finds him unattractive. Wanting to make her jealous, Benny pursues a pair of women who are trying to make their neglectful husbands jealous by pursuing Benny. Their ploy works and creates all kinds of comical mayhem until Benny's butler steps into to save his boss from the husbands' wrath. ~ Sandra Brennan, Rovi
- Starring:
- Jack Benny, Dorothy Lamour, (more)
- 1939
In his starring film for Universal Pictures, W.C. Fields plays circus manager and all-around flim flam man Larson E. Whipsnade. When he's not trying to fleece the customers or elude the sheriff, Whipsnade busys himself trying to break up the romance between his daughter Vicky (Constance Moore) and carnival ventriloquist Edgar Bergen (playing himself). He also carries on a running feud with Bergen's nattily attired dummy Charlie McCarthy ("I'll slash you into venetian blinds!"). Bergen's other dummy is Mortimer Snerd, who occasionally comments upon the action in his own thickheaded fashion. Anxious to arrange a marriage between Vicki and the wealthy Roger Bel-Goodie III (James Bush), Whipsnade disposes of Bergen and his dummies by sending them aloft in a hot-air baloon. Attending a party at the Bel-Goodie mansion, Whipsnade makes a pest of himself by constantly referring to snakes, a subject that invariably causes Mrs. Bel-Goodie (Mary Forbes) to swoon. He also engages in a zany ping-pong tournament with socialite Ronnie (Ivan Lebedeff). But it is Vicki, and not Whipsnade, who breaks up the engagement by telling off her pompous fiance. At that very instant, Bergen, having escaped from the balloon, arrives to claim Vicki and to help Whipsnade escape the sheriff once more. A partial remake of the W.C. Fields silent Two Flaming Youths, You Can't Cheat an Honest Man was scripted by Fields under the pseudonym "Charles Bogle." As published in the 1973 compendium W.C. Fields by Himself, the original screenplay was to have had dramatic overtones, including the death of Fields' trapeze-artist wife and a climactic soul-baring scene wherein Fields expresses his genuine love for his daughter. All this was jettisoned when it was decided to capitalize on the Fields-Charlie McCarthy "feud" then blazing on radio's Chase and Sanborn Show. While nowhere near as funny as Fields' subsequent Universal feature The Bank Dick, You Can't Cheat an Honest Man still contains a generous supply of laughs. Our favorite line: "Somebody's taken the cork out of my lunch." ~ Hal Erickson, Rovi
- Starring:
- W.C. Fields, Edgar Bergen, (more)
- 1939
Louis Armstrong steals the show as the groom to Jeepers Creepers, a skittish racehorse that can only settle down and run when Armstrong croons him the horse's namesake song. The main story concerns a plucky, ingenious salesman, who needing business, poses as a steeplechase jockey and endears himself to a prominent stable owner and his lovely niece. Romantic sparks fly between the girl and the sly fellow and his ruse works well until he is assigned to ride Jeepers Creepers, in the big race. The trouble is, the salesman doesn't know how to ride. On the day of the big race, the horse is extra nervous until Armstrong and a full band ride up beside him and begin performing. The horse then runs like the champ he is, insuring that the salesman gets his girl. Sure, it's a lot of horsefeathers, but who watches these old musicals for the plot? The story was filmed twice before as Hottentot and Polo Joe. Look for Ronald Reagan in a minor role as the stable owner's playboy son. ~ Sandra Brennan, Rovi
- Starring:
- Dick Powell, Anita Louise, (more)
- 1939
A young punk hooks up with a mobster and helps him rob a gas station in this crime drama. From there the crimes become more serious and the boy is very happy until something goes wrong and the gangster shoots someone using the stolen gun of the boy's sister's lover. The innocent lover is given the death sentence. The guilt-plagued youth wants to take the rap, but the gangster threatens him and he remains quiet. Later they are caught stealing a car and end up in Sing Sing where the boy finds a mentor who advises him to come clean. Meanwhile the gangster hears of this and devises a way to silence the youth forever. Not one of Bogie's best. ~ Sandra Brennan, Rovi
- Starring:
- Humphrey Bogart, Gale Page, (more)
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