Will Rogers, Jr. Movies

This three-volume video set is based on an award-winning series of books written by children's author Byrd Baylor that introduces children to Native American cultures, ideologies and philosophies. ~ Sandra Brennan, Rovi

This three-volume video set is based on an award-winning series of books written by children's author Byrd Baylor that introduces children to Native American cultures, ideologies and philosophies. Volume One chronicles the special friendship between a hawk and a young boy. ~ Sandra Brennan, Rovi

This 1930s production demonstrates the astounding rope skills of Will Rogers as he manipulates up to 4 ropes at one time. Thrill to his abilities with the use of super-slow motion, at the height of 1930's technology. ~ Rovi

This compilation of archive materials features Rogers' funny comments. ~ Rovi

The first of documentary producer Robert Youngson's feature-length silent comedy compilations, The Golden Age of Comedy began life as a short subject, consisting of vintage clips from the Mack Sennett vaults. When Youngson struck a deal with the Hal Roach studios, he was able to expand the film's running time with pristine-quality vignettes from the Roach catalogue. While many past greats are highlighted in Golden Age, the compilation's true "stars" are Stan Laurel and Oliver Hardy, shown at their very best in lengthy excerpts from such 2-reel classics as The Second Hundred Years (1927), You're Darn Tootin' (1928) Two Tars (1928) and Double Whoopee (1929) (the latter featuring a 17-year-old starlet named Jean Harlow). Thanks to Youngson, the legendary pie fight scene from Laurel and Hardy's Battle of the Century (1927) was saved from the brink of extinction and is included herein. The rest of the film offers choice comic bits from the likes of Ben Turpin, Billy Bevan, Will Rogers, Charley Chase, Harry Langdon, and even Carole Lombard. Our only carp is that the narration is frequently superfluous; we can see the gags, we don't need them explained to us. The Golden Age of Comedy was the surprise hit of 1958, spawning several future Youngson compilations, including a brace of 1960s films devoted almost exclusively to Laurel and Hardy. ~ Hal Erickson, Rovi

After having been recently shipwrecked, a group of survivors begin dealing with both the reality of being stranded on a remote island as well as with feelings of alienation and isolation. Adapted from the novel by Johann Wyss, this was the pilot episode for a proposed television series co-produced by Edgar G. Ulmer and Louis Hayward. Filmed in Mexico in 1957 and bearing a 1958 copyright, Swiss Family Robinson: Lost in the Jungle was not "released" until 2000, when it was included as an extra feature on the DVD version of Ulmer's The Pirates of Capri. ~ Richard Gilliam, Rovi

Eddie Cantor, beloved "banjo eyed" entertainer who conquered stage, films, radio and television, is given the Hollywood biopic treatment in this largely uninvolving film. Cantor is portrayed by Keefe Brasselle, a minor nightclub performer of the 1950s who couldn't hope to come within shouting distance of Cantor's appeal. The storyline charts Cantor's professional progress, from the lower East Side boyhood to his ascendancy as star of The Ziegfeld Follies. It also chronicles his enduring marriage to wife Ida (Marilyn Erskine). Surprisingly shortchanged in the film was Cantor's humanitarian work (primarily on behalf of the March of Dimes and various Jewish causes); instead, screen time is wasted on Aline MacMahon, as lachrymose as possible in the role of Eddie's grandmother, and Jackie Barnett, giving a gosh-awful performance as Jimmy Durante. At the beginning and end of the film, the real Eddie and Ida Cantor appear, ostensibly to watch the unspooling of The Eddie Cantor Story in a Warner Bros. screening room. At the fade-out, Eddie turns to Ida and says "I've never been so happy in my life." Now that was great acting! ~ Hal Erickson, Rovi

The short but colorful life of American musical comedy star Marilyn Miller is given the standard prettified Hollywood treatment in Look for the Silver Lining. June Haver, an accomplished dancer-singer in her own right, is well-cast as Miller, who rises from an appendage in her parents' vaudeville act to the toast of Broadway. Along the way, she suffers such personal tragedies as the wartime death of her first husband, songwriter Frank Carter (Gordon Macrae), but manages to smile through the tears and go on to even loftier showbiz heights. The film ends in 1936, the year of Miller's death; we last see her "giving her all" to her audience, while an offstage observer makes ominous comments about her future. The Phoebe and Henry Ephron/Marian Spitzer screenplay (based on a story by Bert Kalmar and Harry Ruby) glosses over Marilyn Miller's notorious prima donna behavior; she is shown lording it over the "little people" in only one scene, whereupon she is gently put in her place by the remonstrative Frank Carter. Charles Ruggles and Rosemary DeCamp co-star as Miller's vaudevillian parents, while Ray Bolger is his usual ebullient self as Jack Donahue; also on hand are S.Z. Sakall and Walter Catlett, recreating a scene from Miller's 1925 Broadway triumph Sally (Catlett had appeared in the original production). Look for the Silver Lining was produced by Warner Bros., the same company that released the real Marilyn Miller's three starring films back in the early days of the talkies. ~ Hal Erickson, Rovi

One of producer Joseph Levine's earliest projects, Gaslight Follies is a compilation of silent film footage narrated by Metropolitan Operan stalwart Milton Cross. Unlike the more respectful compilations of Robert Youngson (The Golden Age of Comedy, Laurel and Hardy's Laughing 20s etc.), Follies mocks its silent material, re-editing the old footage to make it look as ridiculous as possible, then adding stupid sound effects and inappropriate music. The film's vintage Charlie Chaplin, Douglas Fairbanks, Mary Pickford and Keystone Kops clips are presented in a manner that robs them of all their entertainment value (Chaplin is rendered utterly unfunny, a remarkable "achievement"). The film concludes with a lengthy excerpt from East Lynne, an old-fashioned and overly sentimental melodrama which nonetheless does not deserve the cruel and condescending treatment Joseph Levine has given it here. Gaslight Follies was put together in the mid-1940s, an era in which silent movies were regarded as "antiques", worthy only of derisive laughter; as such, this compilation is a must to avoid. ~ Hal Erickson, Rovi