Marjorie Main Movies

The World of Abbott and Costello is a dismal attempt by Universal Pictures to cash in on the popularity of Robert Youngson's silent-movie compilation films. Random scenes from eighteen of the films of Bud Abbott and Lou Costello are yanked out of context, then assembled in a patchy continuity by editorial supervisor Sidney Meyers. The footage is overladen with obnoxious narration by comedian Jack E. Leonard, who sounds angry that someone would dare to ask him to show up at the studio. Many of the excerpts are taken from Abbott and Costello's worst films, among them Comin' Round the Mountain, Lost in Alaska, and the execrable Abbott and Costello Go to Mars (a scene from which opens this compilation). All expense was spared in assembling this half-baked "tribute;" even Joseph Gershenson's musical score is parsimoniously lifted from Abbott and Costello Meet the Keystone Kops. The sole saving grace of The World of Abbott and Costello are the few gems culled from such A & C classics as Buck Privates, In the Navy, Abbott and Costello Meet Frankenstein, as well as such second-echelon but enjoyable efforts as In Society (featuring the sidesplitting "Susquehanna Hat Company" bit) and The Naughty Nineties (which preserves the immortal "Who's On First"). One final carp: Why exclude the "moving candle" bit from Hold That Ghost? ~ Hal Erickson, Rovi

Adapted from the best-selling novel by Jessamyn West, Friendly Persuasion is set in Southern Indiana in the early days of the Civil War. Gary Cooper plays Jess Birdwell, patriarch of a Quaker family which does not believe in warfare. Birdwell's son Josh (Anthony Perkins) wishes to adhere to his family's pacifism, but is afraid that if he doesn't sign up for military service, he'll prove to be a coward. Josh joins the Home Guard, which disturbs his mother Eliza (Dorothy McGuire). But Jess Birdwell realizes that his son must follow the dictates of his own conscience. Josh proves his courage to himself when he is wounded during a Rebel raid, while the elder Birdwell is able to stay faithful to his religious calling by not killing a Southern soldier when given both a chance and a good reason to do so. Allegedly, writer Jessamyn West nearly scotched her deal with producer/director William Wyler and distributor Allied Artists when Gary Cooper, taking his fans into consideration, insisted upon including a scene in which he forsakes his pacifism and takes arms against the Rebels. If true, then wiser heads prevailed, since no such scene exists in the final release print. Though uncredited due to his status as a blacklistee, Michael Wilson wrote the screenplay for Friendly Persuasion--and even won an Oscar nomination. Also nominated was the film's chart-busting theme song, "Thee I Love" (by Dmitri Tiomkin and Paul Francis Webster). The story was remade as a 2-hour TV pilot film in 1975. ~ Hal Erickson, Rovi

The title tells all in this seventh entry in Universal's "Ma and Pa Kettle" series. This time around, Ma (Marjorie Main) and Pa (Percy Kilbride) take their brood to Hawaii, where Pa is to take over management of his cousin's fruit processing operation. The villains are a group of rival businessmen who kidnap Pa and spirit him off to a remote island. Before long, however, it's the bad guys who need rescuing. Some of the funnier scenes involve Ma and Pa's Hawaiian counterparts, played by Hilo Hattie and Charley Lung. With this entry, Percy Kilbride bade adieu to the role of Pa Kettle, leaving Marjorie Main to carry on alone in the remaining two series installments. ~ Hal Erickson, Rovi

Marjorie Main is the whole show in the Universal programmer Ricochet Romance. Playing the outspoken new cook at a rundown dude ranch, Marjorie forces everyone around her to pitch in and bring some life back into the place. She also sets her sights on old layabout Chill Wills, scheming to rope the critter into marriage. Veteran comedy director Charles W. Lamont moves the proceedings along with style, never missing an opportunity for a low-comedy slapstick turn. The most surprising aspect of Ricochet Romance is that it is not an entry in Marjorie Main's Ma and Pa Kettle series. ~ Hal Erickson, Rovi

1954's Rose Marie is the third film version of the 1924 Otto Harbach-Oscar Hammerstein-Rudolph Frinl operetta of the same name. Though not a completely faithful adaptation, this version is closer to the original than the (admittedly enjoyable) Nelson Eddy-Jeanette MacDonald version of 1936. Ann Blyth stars as Rose Marie Lemaitre, a hoydenish French-Canadian lass who is "tamed" by cheerful mountie Mike Malone (Howard Keel). At first, Mike is only interested in using Rose Marie to capture her sweetheart, renegade trapper Duval (Fernando Lamas), but eventually he falls in love with her, and she with him. Counterpointing the romantic main plot are the comic antics of Bert Lahr, who elucidates his sorry lot in life with the song "I'm the Mountie Who Never Gets His Man." The original Rudy Friml score is well in evidence, along with several new Friml compositions and a few extra tunes penned by Georgie Stoll and Herbert Baker. There's also a remarkable "Indian sacrifice" production number spotlighting a young Rita Moreno. Original Cinemascope prints of Rose Marie included a nine-minute prologue, wherein conductor Alfred Wallenstein led the MGM orchestra in a rendition of "Poet and Peasant Overture" (this was evidently inspired by the similar symphonic prologue which opened 20th Century Fox's How to Marry a Millionaire). ~ Hal Erickson, Rovi

In this musical comedy, a young woman inherits a race horse. She wants to race it but encounters difficulty with its trainer who wants to be able to buy the horse for himself. To do so, he makes sure the horse keeps losing races. The woman refuses to sell it. Later, race track con artists try to scam her. The trainer comes to her aide, and soon they fall in love. ~ Sandra Brennan, Rovi

A lesser Fred Astaire effort, Belle of New York is set during the turn of the century. Astaire plays a footloose and fancy-free playboy who falls in love with Salvation Army lass Vera-Ellen. To prove his worth to the girl, Astaire breaks down and gets a job. Naturally, there's plenty of terpsichorean activity from the two stars, but nothing truly worth remembering save for Astaire's solo "I Wanna be a Dancin' Man". The film's best moments belong to such stellar supporting players as Alice Pearce, Marjorie Main, Keenan Wynn, Henry Slate, and the ubiquitous Percy Helton. Belle of New York was adapted by Chester Erskine from a play by Hugh Morton. ~ Hal Erickson, Rovi

Ezio Pinza stars as the title character, a prince who falls for nightclub singer Fredda Barlo (Lana Turner) when the two meet on vacation in Italy. After more than a decade, they reunite, only now Barlo is a Hollywood superstar and Imperium has ascended to the throne of king. ~ Jason Ankeny, Rovi

The second of Universal's "Ma and Pa Kettle" series, Ma and Pa Kettle Go to Town stars, as ever, Marjorie Main and Percy Kilbride. This time, the Kettles win a letter-writing contest, which offers as first prize an all-expense-paid trip to New York City. Once in Manhattan, the huge Kettle brood raises all sorts of Holy Ned, culminating in an episode involving stolen bank money. Somehow this all ends with a riotous, slapstick-laden square dance. The film's romantic subplot is handled by Richard Long as oldest son Tom Kettle and Meg Randall as his high-society wife Kim. Also carried over from the first Kettle entry are Ray Collins and Barbara Brown as the Kettle's wealthy in-laws. A winner at the box-office, Ma and Pa Kettle Go to Town helped pay for many of Universal's "prestige" releases of 1950. ~ Hal Erickson, Rovi

Comprised of eight unrelated episodes of inconsistent quality, this anthology piece of American propaganda features some of MGM Studios' best directors, screenwriters and actors; it is narrated by Louis Calhern. Stories are framed by the lecture of a university professor. In one tale a Boston resident becomes angry when the census forgets to record her presence. Another sketch chronicles the achievements of African Americans while still another pays tongue-in-cheek tribute to Texas. ~ Sandra Brennan, Rovi

The title couple and their enormous brood of bumpkins made their movie debut in the film version of Betty McDonald's humorous book The Egg and I (1947) where they appeared as supporting characters. Audiences found them funny and so the characters got their own long-running series of B movies. Ma and Pa Kettle is the first in that series and centers on the exploits of the impoverished hayseed family after Pa wins a contest by writing a jim-dandy slogan for a tobacco company. The Kettle's prize is a brand new, ultra modern, fully automated home. It's a good thing too, for Ma, Pa and their 15 kids were about to get booted out of their previous wreck of a home. Of course the film is at its funniest when the Kettles are trying to figure out how to operate their fancy new digs. ~ Sandra Brennan, Rovi

Feudin', Fussin' and A-Fightin' starts off on a tense note as a struggling man is led through the streets of a western town, presumably headed for his own execution. Within a few minutes, however, we discover that the "victim" is a reluctant trainee for an upcoming foot-race between the feuding towns of Rim Rock and Big Bend. With an appalling lack of local talent in Rim Rock, it looks as though Big Bend is once again going to win the annual event. Into this melancholy situation walks travelling salesman Wilbur McMurtry (Donald O'Connor). When he proves to be very light on his feet, Wilbur is kidnapped by the townsfolk and ordered to run on behalf of Rim Rock -- with the understanding that if he loses, he really loses. Musical highlights include Donald O'Connor's duet with Penny Edwards (a western ingenue who seldom got a chance to demonstrate her dancing skills), a vocal contribution by the Sportsman Quartet of Jack Benny Show fame, and the byplay between Rimrock mayor Maribel Mathews and stableman Billy Caswell, played by Ma and Pa Kettle co-stars Marjorie Main and Percy Kilbride. ~ Hal Erickson, Rovi

The Abbott & Costello western spoof The Wistful Widow of Wagon Gap is predicated on an actual Montana law of the 19th century, which dictated that if a man killed another in a gun duel, that man was responsible for the care and support of the victim's family. The film gets under way with an introductory title: "MONTANA: Where Men Are Men? With Two Exceptions." Those exceptions are travelling salesmen Duke (Bud Abbott) and Chester (Lou Costello), freshly arrived in the wide-open western town of Wagon Gap. No sooner has Chester reached Main Street than he is falsely arrested for the murder of Hawkins, the town layabout. He and Duke are spared the hangman's noose when the genially corrupt Judge Benbow (George Cleveland) reminds the jury that Chester is now responsible for Hawkins' debts and family. In short order, Chester is moved bag and baggage into the ramshackle home of the rowdy Widow Hawkins (Marjorie Main) and her brood of seven noisy children. Forced to do all the chores around the Widow's home, poor Chester must also put in overtime at Jake Frame's (Gordon Jones) saloon to pay off Hawkins' debts. While the crafty Duke tries to figure out various methods of extricating Chester from his dilemma, the Widow uses all of her wiles to get Chester to propose marriage to her. The plot goes off on a new tangent when it is discovered that none of the town desperadoes are willing to shoot down Chester, lest they inherit the Widow and her brats. Emboldened by his "untouchable" status, Chester swaggers around town striking fear in the hearts of the local menfolk, bosses Duke around for a change, and is even appointed sheriff! Alas, his invulnerability comes to an abrupt end when it turns out that the Hawkins spread is the most valuable property in town, thereby making Widow Hawkins the territory's most eligible bachelorette. The story comes to an uproarious conclusion when Chester and Jake Frame confront each other in a "high noon" gun duel. Incredibly, screenwriters D.D. Beauchamp and William Bowers originally intended The Wistful Widow of Wagon Gap as a vehicle for James Stewart! ~ Hal Erickson, Rovi