Billy Barty Movies

Max Reinhardt's legendary Hollywood Bowl production of Shakespeare's A Midsummer Night's Dream was transferred to the screen by Warner Bros. in 1935. Like most of Shakespeare's comedies, the story contains several seemingly unrelated plotlines, all tied together by a single unifying event, in this instance the impending wedding of Theseus and Hippolyta. One story thread concerns the mistaken-identity romances of four young Athenians; another involves a group of "rude mechanicals" who plan to stage a production of "Pyramus and Thisbe" in honor of the wedding; and third plot strand is motivated by the mischievous misbehavior of invisible fairies Oberon, Titania, and Puck. While one of the members of Reinhardt's original stage cast, Olivia De Havilland (Hermia) was retained for the film version, the remainder of the roles went to Warners' ever-reliable stock company. Some of the casting is inspired: James Cagney is brilliant as vainglorious amateur thespian Bottom, while Joe E. Brown is ideal as the reluctant female impersonator Flute. As the four lovers, De Havilland and Jean Muir far outshine the smirking and simpering Dick Powell and Ross Alexander. In the dominion of the fairies, Mickey Rooney is a bit too precious as Puck, but Anita Louise is a lovely Titania and Victor Jory a suitably menacing Oberon (his opening line "Ill met by moonlight, proud Titania!" still sends shivers down our spines). Cagney and Brown's fellow "mechanicals" are an odd mixture of the sublime (Frank McHugh) and the just plain silly (Hugh Herbert). While the performances and direction (by Reinhardt and William Dieterle) are uneven, the art direction and special effects (especially the nocturnal dance of the fairies) are breathtakingly beautiful. Mendelssohn's "Midsummer Night's Dream" incidental music is masterfully orchestrated by Erich Wolfgang Korngold, while the cinematography by Hal Mohr earned the first write-in Academy Award in Hollywood history (Mohr had not been nominated due to hostilities arising from a recent industry strike). Considered a brave failure at the time of its first release, on a purely visual level A Midsummer Night's Dream is one of the more satisfying Shakespearean cinemadaptations of Hollywood's golden age. ~ Hal Erickson, Rovi

Season three of Alfred Hitchcock Presents gets under way with one of the series' best and most celebrated episodes -- and one which, surprisingly, is not directed by Alfred Hitchcock himself. As Jim Whitely (William Shatner) and his girlfriend Dorothy (Rosemary Harris) rummage through the possessions of Jim's late sister Julia (Jessica Tandy), they come across a curious item -- a large glass eye. In flashback, Jim recalls the history of this artefact, which stems back to the spinsterish Julia's infatuation with a mysterious, deep-voiced stage ventriloquist known as Max Collodi (Tom Conway). This brilliant episode earned an Emmy award for its director, prolific Alfred Hitchcock Presents contributor Robert Stevens. ~ Hal Erickson, Rovi

Don't confuse Being Different with those exploitational "freak show" documentaries of the 1950s. This is a sensitive--but never sentimental--study of persons whose physical deformities and mental handicaps have not stood in the way of their positive self-images or personal success. Filmmaker Harry Rasky follows these quietly courageous individuals at work and at home. After ten minutes or so, the audience is barely conscious of the fact that these folks are "different" in any way. Being Different benefits from the calm narration of Christopher Plummer. ~ Hal Erickson, Rovi

Harry Similac (Dirk Benedict) is a music promoter who must scramble to stay out of debt in this slapstick comedy. He hits upon the idea of becoming a wrestling promoter and steals Rick Roberts (Roddy Piper) from his former manager Captain Lou Milano (Lou Albano). He books his rock band Kick at the match and creates a new phenomena that combines wrestling with rock n' roll. Charles Nelson Reilly, Billy Barty, and John Astin provide memorable comedy relief. Cameo appearances by wrestlers Ric Flair, Afa & Sika, Sheik Adnan Al Kaissy, Freddie Blassie, and Bruno Sammartino add further realism to this feature that recalls the rock-and-wrestling spectaculars of the early 1980s. ~ Dan Pavlides, Rovi

The last--and to some aficionados, the best--of choreographer Busby Berkeley's three Warner Bros. efforts of 1933, Footlight Parade stars James Cagney as a Broadway musical comedy producer. Cagney is unceremoniously put out of business when talking pictures arrive. To keep his head above water, Jimmy hits upon a swell idea: he'll stage musical "prologues" for movie theatres, then ship them out to the various picture palaces in New York. Halfway through the picture, Cagney is obliged to assemble three mammoth prologues and present them back-to-back in three different theatres. There are all sorts of backstage intrigues, not the least of which concerns the predatory hijinks of gold-digger Claire Dodd and the covetous misbehavior of Cagney's ex-wife Renee Whitney. Joan Blondell plays Jimmy's faithful girl-friday, who loves him from afar; Ruby Keeler is the secretary who takes off her glasses and is instantly transformed into a glamorous stage star; Dick Powell is the "protege" of wealthy Ruth Donnelly, who makes good despite this handicap; Frank McHugh is Cagney's assistant, who spends all his time moaning "It'll never work"; and Hugh Herbert is a self-righteous censor, who ends up in a censurable position. The last half-hour of Footlight Parade is a nonstop display of Busby Berkeley at his most spectacular: the three big production numbers, all written by Harry Warren and Al Dubin, are "By a Waterfall", "Honeymoon Hotel", and "Shanghai Lil", the latter featuring some delicious pre-code scatology, a tap-dance duet by Cagney and Keeler, and an out-of-left-field climactic salute to FDR and the NRA! ~ Hal Erickson, Rovi

With his nerves at the breaking point, Frasier (Kelsey Grammer) is in no mood for the rude behavior he encounters at every turn at the Café Nervosa. When one customer becomes particularly abusive, Frasier uncharacteristically administers an "etiquette lesson" with physical force. Word quickly spreads concerning this outburst turning Frasier into a local hero -- whereupon his radio listeners follow his example by settling their problems with their fists. ~ Hal Erickson, Rovi

In this musical, a radio-announcer is fired after giving a false interview. For consolation he begins to drink heavily. It is his girlfriend who helps him sober up when she provides him with a major scoop--a missing airplane. He enthusiastically sets out after it and eventually finds it. As a publicity stunt, he skydives to the downed plane while broadcasting live. Songs include: Talking To Myself," "I Ain't Gonna Sin No More," "Gift Of Gab," "Somebody Looks Good," "Don't Let This Waltz Mean Goodbye," "Walkin' On Air," "What A Wonderful Day," "Tomorrow--Who Cares?" and "Blue Sky Avenue." ~ Sandra Brennan, Rovi

The second talkie version of the Avery Hopwood's theatrical war-horse The Golddiggers of Broadway, Gold Diggers of 1933 was the second of three back-to-back 1933 Warner Bros. musicals benefiting from the genius of Busby Berkeley. The basic plot is retained from the Hopwood play: Showgirls Joan Blondell, Ruby Keeler and Aline McMahon attempt to find financial backing for the new show planned by producer Ned Sparks. Songwriter Dick Powell, an incognito man of wealth, offers to put up the money, a fact that brings down the wrath of his older brother Warren William, who despises show folk. Attempting to buy off the three girls, William is placed in a compromising position by the crafty Blondell and is compelled to bankroll the musical himself. The oddest aspect of Gold Diggers of 1933 is the fact that the mood of the songs is wildly at variance with the plot. The film begins with dozens of chorus girls (led by Ginger Rogers) happily chirping "We're In the Money", a rehearsal number interrupted when the finance men burst in to claim the sets and props from the impoverished troupe. At the end, when everyone is genuinely in the money, the troupe stages a downbeat "Brother Can You Spare A Dime"-style production number, "Remember My Forgotten Man"--and it is on this doleful indictment of the Depression that the film fades out! Other Berkeley-staged musical highlights include "Pettin' in the Park" (yes, that salacious little baby really is Billy Barty) and the neon-dominated "Shadow Waltz", all written by the prolific Harry Warren and Al Dubin. As spectacular as Gold Diggers of 1933 was, it would be topped by the last of Berkeley's 1933 trilogy, Footlight Parade. ~ Hal Erickson, Rovi

Elvis Presley plays singer/actor Johnny Tyronne in this formulated quickie directed by Gene Nelson. While on a promotional tour of Pakistan, Johnny is drugged, kidnapped, and whisked away to a mythical Middle East country. Jay Novello plays the scheming Zacha who vows (for a price) to help Johnny in a world that is 2,000 years behind the times and sealed off from the outside world. With the help of Baba (Billy Barty), they hope to get Johnny back to the comforts of the modern world. Elvis shows off some neat karate moves, but he looks bored and resigned to the fact no one in Hollywood (or Colonel Tom Parker) will give him a serious screen role. Filmed on sets that were originally used for Kismet (1944) and Cecile B. DeMille's silent classic The Ten Commandments. As for the songs, only Mirage and Hey Little Girl are memorable. The generous Presley, perhaps feeling nostalgic, donated $50,000 to the motion picture relief fund after completing the film. On hand at the celebrity press conference were such luminaries as Frank Sinatra, Bud Abbott, and silent-screen veteran Chester Conklin. ~ Dan Pavlides, Rovi

If a comedy is to be made from the plight of the homeless, who have to scrape through their days returning deposit bottles and cleaning car windshields to get their daily bread as the rich get richer and more heartless, it may as well be Mel Brooks' Life Stinks. The trademark Brooks humor dominates this fable about a ruthless billionaire, Goddard Bolt (Mel Brooks), who wants to obliterate a poor section of Los Angeles and build a high-tech commercial center in its place. His only problem is that he owns only half the land needed for the construction, the other half belonging to equally ruthless billionaire Vance Craswell (Jeffrey Tambor), who has his own ideas for the land. The two try to buy each other out until, finally, a deal is struck: Craswell bets that Bolt cannot survive a month on the streets as a homeless man. If Bolt makes it, he gets the property. If he doesn't, Craswell gets it. Bolt agrees and, as a poor man, he begins to feel the pain of being uprooted and alone, even meeting a friendly homeless woman, Molly (Lesley Ann Warren) with whom he forms an attachment. ~ Paul Brenner, Rovi