Stepin Fetchit Movies

This spoof makes fun of a certain famous German shepherd movie star from the 1920s. The mayhem begins when the head honcho of a financially struggling studio turns a lost dog into a legend. The story features a number of old stars making cameo appearances. ~ Sandra Brennan, Rovi

NBC was seeking a little ethnic diversity (a la Shaft) in its Mystery Movie lineup when the network commissioned Cutter. Peter DeAnda plays Frank Cutter, an African-American private eye headquartered in Chicago. Cutter's current assignment is to locate a missing pro quarterback. Stepin Fetchit, an echo from an earlier, demeaning era in black entertainment, shows up in the brief role of "Shineman". Cutter received a single 90-minute showing on January 26, 1972; it failed to make the NBC Mystery Movie cut as a regular entry. ~ Hal Erickson, Rovi

Another of the collaborations between actor James Stewart and director Anthony Mann, Bend of the River casts Stewart as a former outlaw, now working as trail guide for a group of Oregon-bound farmers. He is aided in this endeavor by Arthur Kennedy, a far-from-reformed horse thief. Upon arriving in Portland, Stewart gets in the middle of a scam operated by trader Howard Petrie, who has reneged on his promise to ship goods to the settlers. Unable to take action through legal channels, Stewart and farmer Jay C. Flippen steal the provision and scurry back to the settlement by boat. On their return, they discover that Kennedy has sold out to the crooked Petrie and intends to reclaim the supplies, taking Flippen and his daughter Julie Adams as hostages to ensure safe passage. It's up to Stewart to turn the tables on his former friend and save the day. As in the other Stewart-Mann productions, Jimmy breaks away from his usual easygoing screen persona to play a tough, self-serving rugged individual, whose true motives and loyalties remain in doubt until the very end of the film. Bend of the River was adapted by Borden Chase from Bill Gulick's novel Bend of the Snake. Watch for Stepin Fetchit, Rock Hudson, Royal Dano, and Frances Bavier in minor roles. ~ Hal Erickson, Rovi

Its many production flaws aside, Miracle in Harlem is a pretty good example of the "all-black" films prevalent in the segregated 1940s. The story concerns a Harlem candy store that is taken over by a gang of crooks. Julie Weston (Sheila Guyse), stepdaughter of the store's elderly owner (Hilda Ofley), resists not only the takeover, but the amorous advances of the head crook's delinquent son (Lawrence Criner). When the ringleader Kenneth Freeman turns up dead, Julie finds herself the main suspect, but a series of unbelievable plot contrivances come to her rescue. Miracle in Harlem is worth seeing for the presence in the cast of Jack Carter, who 10 years earlier had starred in Orson Welles' all-black MacBeth, and Stepin Fetchit, who, after being banned from mainstream Hollywood productions for his stereotypical performances, goes through his time-tested "lazy" routines once more. Musical highlights include a number by the Juanita Hall Choir, led by the woman who'd later gain Broadway fame as Bloody Mary in South Pacific. ~ Hal Erickson, Rovi

With comedian Stan Laurel temporarily off his payroll due to a contract dispute, Hal Roach hastily put together a solo starring vehicle for Laurel's longtime partner Oliver Hardy. Digging into his files, Roach pulled out Zenobia's Infidelity, an H.C. Bunner story originally purchased as a vehicle for Roland Young. Hardy was cast in the semi-serious role of John Tibbitt, a 19th century Mississippi doctor whose heart is bigger than his bank account. At the insistence of travelling carnival man Professor McCrackle (played by former silent comedy star Harry Langdon, then under contract to Roach as a gag writer), Tibbitt tends to the Professor's ailing elephant, Miss Zenobia. Once cured, the precious pachyderm refuses to leave Dr. Tibbitt's side-whereupon McCrackle sues the doctor for alienation of Zenobia's affections! The ensuing scandal plays right into the hands of Mrs. Carter (Alice Brady), the town's richest and snobbiest woman, who has long opposed the romance between her son John (James Ellison) and Tibbitt's daughter Mary (Jean Parker). All problems are resolved during the climactic courtroom trial, despite occasional interruptions by Miss Zenobia and the dizzy interpolations of Tibbitt's wife (Billie Burke). The film's intended highlight, the recitation of the Declaration of Independence by black child Philip Hurlic, was obviously inspired by Charles Laughton's "Gettysburg Address" scene in Ruggles of Red Gap (1935). Evidently sensing that Zenobia was doomed from the start, producer Hal Roach stirred up some publicity by encouraging the notion that he was creating a new comedy team consisting of Oliver Hardy and Harry Langdon-even though the characters never function as a team in the course of the story. A major box office disappointment, Zenobia (British title: Elephants Never Forget) is a pleasant but utterly inconsequential effort; still, it's worth seeing once, if only for the quietly subdued performance by Oliver Hardy, who is very good indeed. ~ Hal Erickson, Rovi

Don Ameche is called upon to testify in his married friends' divorce case. Unwilling to take sides, he skips town and hides out at a country inn. A young girl (Ann Sothern) stumbles into Ameche's rural hideaway; she thinks he's an escaped gangster, while he thinks she's a process server. The local sheriff (John Qualen), who also believes Ameche is a gangster, converges on the inn during a snowstorm. Trapped inside by the snow and by the deputies, Ameche and Sothern fall in love. The real gangster (Douglas Fowley) is captured and there's smiles all around at "The End" time. ~ Hal Erickson, Rovi

Slightly reminiscent of Frank Capra's Platinum Blonde (31), this screwball comedy features those two stalwarts of 1930s comedies: The brash reporter and the giddy heiress. Tyrone Power is the reporter, who makes his living writing about the foibles of the idle rich. His special target is heiress Loretta Young, the daughter of an influential financier (Dudley Digges). Young gets even by announcing her engagement to Power; now it's his turn to have his every movement scrutinized by the Public. Both reporter and heiress connive to embarrass one another, but (as expected) they're headed for the altar at fadeout time. Love is News was remade in 1949 as That Wonderful Urge, with Tyrone Power reprising his role and Gene Tierney in the Loretta Young part. ~ Hal Erickson, Rovi

This lavish Shirley Temple starrer is set in New York, sometime in the 1850s. While lovable pickpocket "Professor" Eustace Appleby works the crowd, his talented granddaughter Dimples (Temple) dances for pennies. Dimples demands that Appleby stop his thieving ways, but every time he tries to follow the straight and narrow, he comes out the loser (most memorably when he's hoodwinked by a dapper con man played by John Carradine). While Dimples entertains at the home of society matron Mrs. Caroline Drew (Helen Westley), Appleby pilfers several valuable objects. This time he's caught with the goods, but Dimples gallantly takes the blame. Touched by this, Mrs. Drew adopts the little girl, enabling her to find success on the legitimate stage. ~ Hal Erickson, Rovi

The old Edward Peble play The Littlest Rebel was gussied up in 1935 as a Shirley Temple vehicle. The curly-topped child star plays Virgie Cary, who lives in Southern-Plantation splendor with her dad Herbert (John Boles) and mom (Karen Morley). The family's idyllic existence is shattered when the Civil War breaks out. A captain in the Confederacy, Herbert Cary marches off to the battlefield, leaving his faithful family retainers -- including philosophical old Uncle Billy (Bill "Bojangles" Robinson) -- to watch over Virgie and Mrs. Cary. No one, however, is prepared for the ravages of war, thus Virgie is forced to endure the destruction of her family home and the death of mom after lingering illness. Desperately trying to make his way home for one last reunion with his wife, Herbert is arrested as a Southern spy. Fortunately, Yankee colonel Morrison (Jack Holt) takes a liking to the tenacious Virgie and tries to escort the girl and her father to safety. As a result, Morrison is arrested for desertion, and both he and Herbert are sentenced to be shot. Making her way to Washington in the company of faithful Uncle Billy, Virgie secures a pardon for both her father and Col. Morrison from an avuncular Abraham Lincoln (Frank McGlynn Sr.) The stereotypical treatment of black characters in The Littlest Rebel is more offensive than usual, with "happy darkies" nervously pondering the prospect of being freed from slavery and shivering in their boots when the Yankees arrive. But Bill Robinson manges to cut through the color line with his astonishing terpsichorean talents, especially in his closing "challenge dance" with Shirley Temple. ~ Hal Erickson, Rovi

As much a horror film as a murder mystery, Charlie Chan in Egypt is one of the best entries in the "Chan" series. The story is motivated by a King Tut-like curse, which has apparently befallen the members of an archeological expedition. Charlie Chan (Warner Oland) is brought into the case when a French museum wants to find out how several valuable Egyptian artifacts, originally slated for museum exhibition, have ended up for sale to the highest bidder. Arriving in Egypt, Chan must first figure out the modus operandi for two murders in which neither a weapon nor a wound was found. The solution to the killings involves a certain musical pitch played on a violin (a familiar mystery-movie device of the period). Though the screenwriters do a good job concealing the identity of the villain, Fox Studio's typecasting policy tends to give away that identity somewhat ahead of schedule. Prominent among the supporting players is black comedian Stepin Fetchit, whose stereotyped routines may offend the sensibilities of modern viewers. Originally released at 72 minutes, Charlie Chan in Egypt is currently available only in its choppy, shortened reissue version. ~ Hal Erickson, Rovi

Two of America's most distinguished humorists, Oklahoma's Will Rogers and Kentucky's Irvin S. Cobb, costar in Steamboat Round the Bend. Cobb isn't much of an actor, so it is Rogers who carries the comic weight of this fast-paced slice of Americana. Will uncharacteristically sticks to the script for most of the proceedings as the proprietor of a combination travelling waxworks and medicine show. The plot resolution hinges on a climactic steamboat race, in which Rogers' paddlewheeler is fed bit by bit into its own furnace when the fuel supply runs out. Steamboat Round the Bend was released posthumously after Rogers' sudden death, at which point Fox Studios tried unsuccessfully to create a "new" Will Rogers--in the form of his old friend and costar Irvin S. Cobb. ~ Hal Erickson, Rovi

This tuneful melodrama is set upon a college campus and follows the attempts of a pretty young woman who slyly helps her wealthy, free-wheeling freshman boy friend learn about responsibility. She contacts his father and together they convince the boy that his inheritance has been lost. Now he must work his way through college. Sure enough, her ploy succeeds and romance ensues. ~ Sandra Brennan, Rovi

Previously filmed in 1915, David Harum is the story of an upstate New York rancher devoted to trotting races. Will Rogers makes no attempt to alter his Oklahoma accent as David Harum, but audiences in the 1930s came to see Rogers and not the character. After several examples of his horse-trading savvy, David settles down to the business at hand: playing Cupid for young Evelyn Venable and Kent Taylor. The film ends with the anticipated championship trotting race, with Harum's horse being galvanized into action by the song "Ta-ra-ra-Boom-de-yay".David Harum has a wonderful improvisational feel about it, especially in the scenes between Rogers and African-American comedian Step'n Fetchit. ~ Hal Erickson, Rovi