The King's Men Movies

A blend of live-action and animation, Fun and Fancy Free is comprised of two distinct tales linked by additional footage featuring Jiminy Cricket. Disney had been planning to use each story for separate feature films but the involvement of the United States in WWII disrupted his plans and the stories were shelved until after the war. The first is a musical story based on a children's story by Sinclair Lewis and is narrated by Dinah Shore, who also sings. It is the tale of a sad little circus bear named Bongo who is adored when performing but ignored after the show. Tired of travelling and being mistreated, he escapes into the forest where he discovers that life in the wilderness is not as free and easy as he thought. Despite the obstacles awaiting him, Bongo manages to find the thing he most longed for -- true love. By contemporary standards, the story is almost 'unbearably' sweet, but it should be remembered that such candy-coated fluff as "Bongo" was the remedy war-weary audiences needed to lift their spirits. The second tale is more zesty thanks to the peppery repartee between ventriloquist Edgar Bergen and his two dummies Charlie McCarthy and Mortimer Snerd. Together the three tell would-be Disney child star Luana Patton, a story based on "Jack and the Beanstalk" featuring Mickey Mouse, Donald Duck and Goofy, who climb a magic beanstalk and try to retrieve a stolen singing harp to restore wealth to their impoverished kingdom.

In 1997, to commemorate the film's 50th anniversary, it was released on video tape in a restored version (the executive producers in charge of restoration were Phil Savenkic and Harry Arends) that has brought the colorful animated sequences back to their original depth and vibrance. This video version also contains a brief but informative documentary hosted by noted film historian Leonard Maltin and narrated by Corey Burton at the end that gives the fascinating history of the films. It also contains rare footage of the making of the films and a priceless segment in which Walt Disney performs as Mickey Mouse. "Mickey and the Beanstalk" was the last time Disney provided his voice. ~ Sandra Brennan, Rovi

Heavenly Days was the last of three RKO Radio film vehicles for the popular radio duo of Fibber McGee and Molly (aka Jim and Marion Jordan). Unlike their first two films, which were cacophonous, plotless musical farces, this one actually has a coherent storyline and not a little "heart appeal." Self-styled expert on everything Fibber McGee takes it upon himself to leave the safe environs of Wistful Vista to go to Washington DC, intending to present himself as the "common man" before the US Congress. Naturally, Fibber's wife Molly goes along for the ride, if only to keep her husband from making a fool of himself. Fibber's actions are given credibility when pollster George Gallup (played by Don Douglas) selects the McGees as Mr. and Mrs. Average Man (or Person). While at large in DC, the McGees also become involved with a group of wide-eyed war orphans. The film's highlight is an impromptu musical interlude with Fibber, Molly, and a group of GIs, played by the King's Men Quartet (regulars on the Fibber McGee and Molly radio show). Perhaps because it took itself a bit too seriously, Heavenly Days failed to match the box-office success of RKO's earlier Fibber-and-Molly efforts, posting a loss of $205,000. ~ Hal Erickson, Rovi

In this musical drama, a Vermont farm lad goes to the Big Apple to become a member of the National Dairy Association. He happens to bring with him his beloved trombone. Soon, with the help of bandleader Skinnay Ennis, the boy gets a job in a nightclub and subsequently becomes a popular radio star. His girlfriend back home is not amused. Eventually she slides on back into his life. Songs include: "My Melancholy Baby," "My Devotion," "Ain't Misbehavin," "Swingin' the Blues," "Spellbound," "Hilo Hattie," "The Army Air Corps," "Rosie the Riveter," and "Don't Tread on the Tail of Me Coat." ~ Sandra Brennan, Rovi

Dick Foran and Harriet Hilliard (aka Harriet Nelson) top the cast of the Universal musical quickie Hi, Buddy. Foran plays GI Dave O'Connor, who comes to the rescue when a boy's club is threatened with foreclosure. Upon learning that the money targetted for the club has been appropriated by a crooked manager, O'Connor calls upon his army buddies to stage a big, fundraising show. Surprisingly, O'Connor doesn't get heroine Gloria Bradley at the end; instead, radio crooner Johnny Blake (Robert Paige) claims Gloria as his bride. But since O'Connor's gal is lissome Mary Parker (Marjorie Lord), who's complaining? 18 songs are squeezed into the 66-minute running time of Hi, Buddy. ~ Hal Erickson, Rovi

Back in the 1940s, it was not uncommon for recording artists to cut records exclusively for the jukebox trade, and sometimes to perform musical numbers "live" to jukeboxes via telephone hookup. Perhaps it is necessary for one to know these things before viewing Jukebox Jenny, very much a product of its time. Vaudevillian Ken Murray stars as Malcolm Hammond, sales manager for the record-company owner by Roger Wadsworth (Don Douglas). Engaged to Genevieve Horton (Harriet Hilliard), daughter of his financial backer (Marjorie Gateson), Wadsworth is strong-armed into a marriage with brash Jinx Corey (Iris Adrian). Hammond tries to rescue Wadsworth from this contentious union, but in the process he falls in love with Genevieve himself, and endeavors to turn her into a top recording star, utilizing his know-how of the mechanics of the "juke" business. With eight musical numbers, it's a wonder that there's time in Jukebox Jenny for any plot at all! ~ Hal Erickson, Rovi

Originally written as a stage vehicle for corpulent character actor Macklyn Arbuckle, Ernest Day's The Roundup was first filmed in 1920 with Fatty Arbuckle (no relation) in the lead. By the time the film was remade in 1941, Arbuckle's character, a roly-poly frontier sheriff named Slim (!), was refashioned as a supporting role, with Jack Benny's radio announcer Don Wilson essaying the part. The plot, however, remained fairly intact: Upon hearing that her fiance Greg (Preston Foster) has been killed, Janet (Patricia Morison) agrees to marry rancher Steve (Richard Dix) on the rebound. On the day of the wedding, who should show up but Greg, determined to raise as much Hell as humanly possible. A rewritten finale permits the Steve-Janet-Greg triangle to resolve itself without offening the Hays Office. ~ Hal Erickson, Rovi

The Showdown was the second 1940 entry in Paramount's "Hopalong Cassidy" western series. William Boyd (who else?) stars as Hoppy, while his sidekicks on this trip are Russell Hayden as Lucky Jenkins and Britt Wood as Speedy. When his rancher friend dies of a heart attack after being swindled by a gang of crooks, Hoppy vows to see that justice is done for the sake of the dead man's niece (Jane Clayton, aka Jan Clayton, who at the time was Mrs. Russell Hayden). There's action aplenty in Showdown, ranging from a burning barn to a runaway train, but the film's highlight is a rigged poker game, wherein supposed tenderfoot Hoppy flummoxes the bad guys. Perennial "Cassidy" heavy Morris Ankrum seems to be having a wonderful time posing as a European count, though he reverts to his usual Ugly-American self in the final scenes. ~ Hal Erickson, Rovi

Dorothy Lamour had been playing "sarong girls" long enough to parody her screen character in 1939's Best of the Blues. Tired of portraying jungle princesses, a temperamental Broadway star (Lamour) runs out on her manager (Jerome Cowan) and joins a Mississippi showboat under a phony name. Incredibly, none of the showboat audiences recognize this supposedly world-famous star, and she becomes the toast of the South--as well as the object of boat owner Lloyd Nolan's affections. When the truth comes out, Nolan spurns Lamour, but they're back together for the musical finale. Best of the Blues is the television title for St. Louis Blues; the change was made to avoid confusion with the 1958 biopic of W.C. Handy, also titled St. Louis Blues. ~ Hal Erickson, Rovi

Hopalong Cassidy (William Boyd) once again embarks on a mild romance with a mature woman in this average Western filmed at Lone Pine, CA. The woman in question is one Mary Joyce (Charlotte Wynters), who calls herself a widow. But there is a husband lurking in the background, Smokey Bob Joslin (Russell Hopton), an escaped jailbird Mary would rather forget. Joslin is in cahoots with a gang of cattle rustlers and it is up to Hoppy and his two sidekicks, Lucky Jenkins (Russell Hayden) and Windy (George "Gabby" Hayes), to take care of business before Mary's young son, Joey (Sonny Bupp), learns the demoralizing truth about his ne'er-do-well father. As a nod to the then so popular singing cowboy Westerns, Renegade Trail features two songs, "Lazy Rolls the Rio Grande" and "Hi That, Stranger," both written by Foster Carling and Phil Ohlman and performed by Eddie Dean and the King's Men quartet. This was the final Hopalong Cassidy entry to feature George "Gabby" Hayes, who left the series over a contract dispute. Hayes was eventually replaced with veteran slapstick comic Andy Clyde. ~ Hans J. Wollstein, Rovi

Few films outside of Let's Go Native could boast a cast as diverse as Jack Oakie, Jeanette MacDonald and Kay Francis -- all under the direction of Leo McCarey. A variation of the "Admirable Crichton" theme, the story concerns a group of highly incompatible people, all stranded on a tropical island. Among the castaways are Brooklyn cabbie Voltaire McGinniss (Oakie), socialite Joan Wood (MacDonald), Joan's reluctant fiance Wally Wendell (James Hall), and good-time girl Constance Cooke (Kay Francis). The local natives prove to be surprisingly sophisticated, thanks to the influence of a song-and-dance man (Skeets Gallegher) who'd been shipwrecked sometime earlier. Using costumes that she's bought for a show she hopes to produce, the enterprising Joan buys the oil-rich island from the natives, only to have it sink into the sea after an earthquake. By this time, however, everyone has fallen in love with everyone else, so there's smiles all around when the rescue party arrives. Nothing makes much sense in Let's Go Native, but the film scores points on sheer energy and good spirits. As a bonus, director Leo McCarey harks back to his Laurel & Hardy days by incorporating a tit-for-tat "reciprocal destruction" routine. ~ Hal Erickson, Rovi