Patty Andrews Movies

Have you ever longed for the day when James Brown, Martha Raye, and Col. Harland Sanders would appear in a movie together? Well, that's barely the tip of the improbable casting iceberg in this bizarre cold-war spoof. The leaders of the American intelligence organization the S.S.A. ("Super Secret Agency") are becoming increasingly alarmed by the disappearance of a number of B-list celebrities, who are being spirited off to Communist Albania. Eager to bring the fading stars back to the Land of the Free, the S.S.A. come up with a simple plan: They'll find four typical guys in their mid-twenties, have them form a rock group, make them into international stars, and wait until they get invited to play a gig in Albania, which will allow them to find out what's become of Rudy Vallee, Butterfly McQueen, and Huntz Hall, among others. Unemployed philosopher Michael A. Miller, Native-American honor student Ray Chippeway, phys-ed major Dennis Larden, and male model Lonny Stevens are drafted by the S.S.A., and after some intensive training by experts (Trini Lopez shows them a few guitar chords, and Richard Pryor gives them a crash course in soul), they become an overnight sensation as The Phynx (yes, it's pronounced "Finks"). Their album sells 17 million copies on the strength of songs like "What Is Your Sign?," and their groupies have to be cleared away by forklift. But fun and games have to go to the back burner when Albanian ruler Markevitch (George Tobias) and his wife, Ruby (Joan Blondell), invite the Phynx to perform at the behest of their son. Pat O'Brien, Xavier Cugat, Patty Andrews, and Dick Clark are just a few of the other notables who make cameo appearances in The Phynx, which had a very brief theatrical release before being sold to television in the early '70s. Legendary songwriters Jerry Leiber and Mike Stoller penned the songs performed by The Phynx (and Stoller composed the background score), though for some reason they're not covered nearly as often as "Jailhouse Rock," "Hound Dog," or "Yakkety Yak." ~ Mark Deming, All Movie Guide

The West Coast's answer to Broadway's Stage Door Canteen, the Hollywood Canteen was created as a GI morale-booster by film stars Bette Davis and John Garfield. The Canteen was established so that Our Boys on leave in Tinseltown could have a good time with good food and good dancing -- and, as a bonus, rub shoulders with their favorite movie personalities, who functioned as waiters, chefs, busboys and dancing partners. Since the 1944 all-star flick Hollywood Canteen was produced by Warner Bros., it was only to be expected that the celebrities seen herein would consist mostly of Warner Bros. contract players. The frail plot concerns a soldier on medical leave (played by Robert Hutton) who falls in love with lovely leading lady Joan Leslie (played by Joan Leslie) while visiting the Canteen. Bette Davis and John Garfield are on hand to emcee the Canteen's variety acts, and to act as cupids for the Hutton/Leslie romance. The "supporting cast" includes the likes of The Andrews Sisters, Jack Benny, Joe E. Brown, Eddie Cantor, Sidney Greenstreet, Paul Henreid, Peter Lorre, Ida Lupino, Dennis Morgan, Roy Rogers, S.Z. Sakall, Barbara Stanwyck, and the Jimmy Dorsey and Carmen Cavallaro musical aggregations. Virtually everyone involved donated their salaries to the Canteen fund--even Jack Benny. As with most of these patriotic wartime star rallies, the results are a mixed bag: the best sequences include Benny's violin "duel" with Joseph Szigeti and Roy Rogers and the Sons of the Pioneers introducing Cole Porter's Don't Fence Me In. Hollywood Canteen won three Oscar nominations, more for its good intentions than its inherent excellence. Still, don't pass up the opportunity when this "movie star salad" shows up on cable TV. ~ Hal Erickson, All Movie Guide

In this musical, the three Andrews Sisters play elevator operators who work in an office building containing a music publishing business. The girls, all aspiring singers, hope to get a break while working there. Another resident in the building, a songwriter must cope with a plagiarism suit served against him by another aspiring songwriter. In order to get her to drop her suit, the first composer hires the second and begins to woo her into submission. Meanwhile the three elevator girls are discovered and happiness ensues all around. Songs include: "Don't Mind the Rain," "Take It and Git," "East of the Rockies," "Going Up," and "Here Comes the Navy." ~ Sandra Brennan, All Movie Guide

Filmed on a B-picture budget, Buck Privates was Universal's biggest box-office hit of 1941, firmly securing the movie popularity of the studio's hot new team of Bud Abbott and Lou Costello. The story is fairly evenly divided between the antics of Bud and Lou-here cast as sidewalk salesmen Slicker Smith and Herbie Brown-and the romantic triangle involving Randolph Parker III (Lee Bowman), Judy Gray (Jane Frazee) and Bob Martin (Alan Curtis). Escaping the wrath of policeman Mike Collins (Nat Pendleton), Slicker and Herbie duck into a nearby movie theater, which unbeknownst to them has been converted into a US Army recruiting center. As the boys are reluctantly inducted into the Service, wealthy draftee Parker hopes to pull a few strings to avoid putting on a uniform, while Parker's former chauffeur Martin willingly answers his call to the Colors. Once ensconced in boot camp, Slicker and Herbie continually run afoul of their sergeant, who is none other than their old nemesis Mike the cop. Meanwhile, Parker and Martin vie for the attentions of USO hostess Judy, who'll have nothing to do with Parker until he proves his worth as a soldier. Poor Slicker and Herbie are shunted into the background as the romantic subplot is resolved, but at least our heroes get to steal the film's closing scene. It's hard to believe that anyone cared about the Parker-Martin-Judy triangle with Abbott & Costello on hand to perform their classic "dice game", "awkward squad", "turn on the radio" and "boxing ring" routines-not to mention their timeless verbal exchanges, the best of which finds Bud convincing Lou that if he marries an underage girl, she'll eventually be older than he (it plays better than it reads!) As a bonus, the film spotlights the Andrews Sisters, performing such top-ten tunes as "Apple Blossom Time" and "Boogie Woogie Bugle Boy". Even from the vantage point of six decades, with the WWII draft but a dim memory, it is easy to see why Buck Privates was such a huge success. ~ Hal Erickson, All Movie Guide

Hold That Ghost was the second of Abbott and Costello's starring films, but was held back from release in favor of their third picture, the more "topical" In the Navy. In Ghost, Bud and Lou play a couple of service-station owners who happen to be hanging around when gangster Moose Mattson (William B. Davidson) is killed. According to the terms of Mattson's will, whosoever is present when "the coppers dim my lights for the last time" will inherit his estate, which consists of a deserted mansion in the middle of nowhere. Crooked attorney Russell Hicks, who knows that Mattson has hidden hundreds of thousands of dollars somewhere in the lodge, dispatches sinister Charlie Smith (Marc Lawrence) to escort Abbott and Costello to the house, with instructions to "take care" of the trusting boys once they've arrived. Charlie charters a bus to take A&C out to the mansion; also on board, going off to various other destinations, are handsome Dr. Jackson (Richard Carlson), lovely Norma Lind (Evelyn Ankers) and professional radio screamer Camille Brewster (Joan Davis). It is inevitable that this disparate group is stranded along with Abbott and Costello in the forbidding mansion on a dark and stormy night. Charlie Smith is promptly murdered by parties unknown; throughout the rest of the film, Charlie's body pops up at the most inopportune moments, reducing the already tremulous Costello to a quivering mass of jello. The plot is merely an excuse to showcase Abbott and Costello's superbly timed cross-talking routines, a riotous impromptu dance performed by Costello and Joan Davis, and, of course, the legendary "moving candle" bit, which may well be Costello's funniest-ever screen scene. Hold That Ghost was originally designed and previewed as a 65-minute programmer title Oh, Charlie, but Universal decided to expand the length and throw in a few guest stars to secure top-of-the-bill bookings. This is why Hold That Ghost begins and ends with barely relevant musical numbers featuring Ted Lewis and the Andrews Sisters. ~ Hal Erickson, All Movie Guide