Tag Archives: comedy

“The Classic Comfort Movie Blogathon”- “The Long, Long Trailer” (1954)

The Classic Comfort Movie Blogathon

Today is National Classic Movie Day.  In honor of this occasion, Classic Film and TV Cafe is hosting “The Classic Comfort Movie Blogathon.”  What better way to celebrate National Classic Movie Day by watching an old favorite film?

I discovered I Love Lucy and Lucille Ball on Nick at Nite in 1995.  From then on, I was hooked on all things Lucy.  When I discovered that she had a film career prior to I Love Lucy, I began looking for Lucy’s films on TCM.  One day, TCM was airing something titled The Long, Long Trailer (TLLT) that starred not only Lucy, but Desi Arnaz too! Lucy and Desi in the same film? I’m in!  From the first time I saw TLLT it quickly became my favorite film.  It is still my favorite film.  TLLT  also became one of my family’s favorite movies as well.  We regularly brought it camping to watch in our small camping trailer that we owned.  I have now probably seen TLLT  at least a hundred times–I am not exaggerating.  tllt

I absolutely love this movie.  It is hilarious, has memorable scenes and lines and is just so much fun to watch.  As someone who has gone camping almost her entire life (literally, I went camping for the first time when I was six-weeks old) many of Lucy and Desi’s adventures are relatable.  While we never stayed in trailer parks, we have dealt with the drama of backing it in, having the trailer collapse, trying to maneuver it in small areas and even dealing with it when it was slightly off-kilter.  Lucy’s physical comedy scenes are top-notch and Desi’s no slouch either.  My entire family can quote so many lines from this film and it’s to the point where I can almost recite the dialogue alongside the actor on-screen.  I never tire of this movie, no matter how many times I see it–it’s the definition of a comfort film.

TLLT  plays like a 90-minute Technicolor episode of I Love Lucy.  Lucy in TLLT might not be as big a schemer as Lucy Ricardo, but she is the one who goes through the ringer as the result of the ideas she has.  Desi’s character is a bit of a hybrid of Ricky Ricardo and Ethel Mertz as he willingly goes along with Lucy’s ideas, but is also the one that is the voice of reason.  Lucy and Desi’s character names in TLLT, Tacy and Nicky, even sound similar to their I Love Lucy characters, Lucy and Ricky.  Much of the humor of TLLT are the problems that Lucy and Desi experience.  These are problems that any naive novice trailer owner could encounter: getting stuck in the mud, not being able to park, trying to prepare dinner in a moving vehicle, driving on a narrow, treacherous mountain road–all things that could happen to the owner of a trailer.

trailer
The trailer.  At the beginning of the film, Desi laments: “It’s a fine thing when you come home to your home and your home is gone!”

TLLT opens with Desi driving in a downpour, seemingly looking for someone or something.  He pulls into a trailer park and enters the lobby.  An older gentleman, Mr. Tewitt (Moroni Olsen), is sitting in the lobby.  As Desi begins to converse with Mr. Tewitt, we learn that he is looking for his wife, who along with his trailer, has gone missing.  Desi has spotted his trailer in this park.  Mr. Tewitt tells Desi that his wife is currently out looking at a trailer in the park–it is being sold by a young lady who has had a change in plans and needs to sell.  Desi puts two and two together and realizes that that young lady is his wife.  As Desi begins to tell Mr. Tewitt his story, the film segues into a flashback.

Soon-to-be-married Lucy and Desi are at home and Lucy is looking at a series of trailer brochures.  It seems that Desi has been offered a new position that will take him to different jobs all over the country.  It is not clear what Desi’s job is, but Lucy says: “If it (Desi’s job) isn’t a tunnel in Colorado, it’ll be a bridge in Alaska or a dam across the Pacific.”  Based on this, I am assuming that Desi works as some type of engineer.  Lucy, not wanting to spend her married life living out of suitcases and eating in random restaurants, suggests to Desi that they purchase a trailer.  They can travel from job to job and still have a home to return to.  Lucy promises to cook and clean and do everything needed to get Desi to agree.  With some reluctance, Desi agrees to go to the annual trailer show with Lucy to look at the “Bungalette” trailer that she has her eye on.

bungalette
Lucy and Desi look at the brochure for the “Bungalette” camper. Spacious on paper, a shoebox in person.

At the trailer show, Lucy and Desi locate the “Bungalette” and discover that the brochure was deceptive in how much space was available.  This trailer is tiny.  It’d be fine for camping, but not as a comfortable space to serve as a home for two adults. Desi is secretly happy that Lucy is disappointed.  Undeterred, Lucy keeps looking and soon spots “it” as Desi says.  “It” is a gorgeous yellow and chrome 36′ Redman “New Moon” trailer.   Lucy and Desi tour the trailer and agree that it’s gorgeous but must be expensive.  A salesman, seeing the opportunity to pounce, talks to Lucy and informs her that the trailer is $5345.  Of course, it can be paid in installments.  1/3 of the cost will need to be put down as a downpayment.  Lucy quickly calculates the downpayment to be roughly $1750 (actually $1763).  It seems that she and Desi’s budget for rent is $1800/year(!).  Lucy goes to work.

Before he knows it, Desi is signing paperwork and trading in his old car.  It seems a new car is needed to haul the trailer.  Lucy and Desi purchase a gorgeous pale yellow convertible to haul the gargantuan trailer.  Next, we’re treated to the hilarious scene of Desi at the auto shop getting the car fitted with new equipment to haul the trailer.  He has a hitch welded to the bumper, trailer brakes are installed and he’s given “block and tackle just in case.” His trunk is full of all kinds of “just in case” crap that the mechanic decides is necessary–though Desi isn’t briefed on the function of any of it. But, at least he has it, right?

mechanic
Desi and the overly chipper mechanic who reminds Desi that he now owns “40 feet of train!” and also ingrains the immortal phrase, “trailer brakes first!” into Desi’s brain.

After a terrifying first drive with the new trailer, Desi delivers the trailer to Lucy’s home where she and her girlfriends are stocking it with all of the wedding presents and other essentials.  This scene is utter pandemonium, culminating with a traumatized Desi cowering in the bedroom after a woman topples a pile of clothes hangers.  The chaotic scene is juxtaposed with a glimpse of Lucy and Desi’s fairly tranquil wedding reception.  After the reception, with the car and trailer packed, Lucy and Desi are on the road, ready to start their honeymoon!

On their wedding night, Lucy and Desi pull up to a seemingly nice, but noisy, trailer park.  The residents are all friendly, a little too friendly perhaps.  As Desi attempts to carry Lucy over the threshold, Mrs. Hittaway (Marjorie Main) sees them and for whatever reason assumes that Desi must be carrying Lucy because she’s injured.  I would think that Mrs. Hittaway would have seen Lucy walk up to the trailer, but apparently not.  Instead of telling the truth, Lucy and Desi concoct some story about Lucy twisting her ankle.  Mrs. Hittaway takes charge and devotes herself to administering aid to Lucy.  Mrs. Hittaway’s first order of business is getting some food into Lucy and Desi’s stomachs.  She orders husband Floyd the Barber (Howard McNear) to go get some food.

neighbors
The neighborhood welcome wagon

Word gets around the trailer park and soon Desi is hosting a neighborhood get together.  All the neighbors come over to gawk at the large trailer and also to socialize.  Poor Desi spends his evening washing dishes and serving soda to a bunch of people he doesn’t know (and honestly probably doesn’t even care to know.  They were only going to stay at the park overnight).  Lucy is passed out due to being slipped a sleeping pill by Mrs. Hittaway.  The wedding night is a bust.

The next day, eager to get out of the park, Lucy and Desi hightail it out of there and are back on the road.  The next day, the newlyweds decide that they want a private evening.  Lucy suggests that they pull off onto a remote road somewhere and camp.  Desi, not knowing any better agrees.  Soon they are driving on some bumpy, muddy logging road, and the trailer becomes stuck and lopsided.  Then of course, it starts raining.  Desi tries his best to level out the trailer.  Lucy attempts to make dinner.  She attempts to make eggs by rigging up some wire clothes hangers and forks to keep the pans in one place, but it doesn’t really work.  Lucy and Desi end up eating cheese and drinking wine for dinner.  Night time comes and Desi is fast asleep in his twin bed on the leaning side of the trailer.  Lucy has the twin bed at the top of the lean.  She tries to get into bed multiple times, falling out of bed each time.  At this point, one might ask, “why she doesn’t crawl into bed with her husband?”  To that, I say, “if she did that, then we wouldn’t be treated to the hilarity that ensues when the trailer collapses, the door opens, and out goes Lucy–straight into a six-foot deep mud puddle!

desi
(After Lucy falls out of the trailer and into the mud) DESI (half asleep): “What’s the matter honey? Can’t you sleep?

After her impromptu mud bath, morning comes.  Desi gets the trailer towed and cleaned up and soon he and Lucy are back out on the road! The next stop is Lucy’s Aunt Anastacia (Madge Blake) and Uncle Edgar’s (Walter Baldwin) home.  The newlyweds dream of a short visit where they don’t have to spend any money–or drive the trailer!  Desi and Lucy arrive with their trailer (40 feet of train, remember) much to the astonishment of the neighborhood.  After some obligatory introductions, Uncle Edgar nonchalantly tells Desi to back the trailer into the driveway.  “That way you have use of the car!” he says.  Apparently there are so many people living in the home that Lucy and Desi are still sleeping in their trailer.

Desi, not having ever backed the trailer up, pulls out his useless user manual which advises him to “pull into an attractive trailer park, shop for food and start eating!” He finally finds the instructions on how to back the trailer in and gives it a-go.  He makes multiple attempts and fails.  He drives into yards, plants, crowds of people, and worst of all, Aunt Anastacia’s prized rose.  Mortified, Lucy yells at everyone to get back and shut up and she will direct Desi.  Lucy gets Desi lined up with the driveway and instructs him to back in.  He does a good job, until the carport is shredded due to the trailer being too tall.  Personally, I blame Uncle Edgar.  He’s the one who told Desi to back into the driveway.

rose
The hilarious scene with Desi trying to back in the trailer with everyone screaming at him. “Poor Grace” is looking on with amusement from the porch. This scene culminates with Desi driving over Aunt Anastacia’s prized roses. “My rose! My rose! You tore down my rose with your lousy stinking trailer!” Aunt Anastacia wails.

A few days later, Lucy and Desi leave their relatives and get back on the road.  Their next stops are uneventful.  They visit a nice, quiet trailer park and Lucy fixes a romantic meal.  It is at this point that we learn that Lucy has been canning fruits and vegetables in an effort to truly make her house a home.  We also find out that she’s been collecting rocks as souvenirs from different places they’ve been on their honeymoon.  These aren’t just little pebbles however, these are enormous rocks that probably each weigh 10-15 lbs.

The next day, Lucy wants to learn how to drive the trailer.  Desi reluctantly lets her take the wheel and soon regrets it.  Lucy drives much faster than he does, passes cars despite the solid yellow line, gets distracted by dresses in the windows… she’s all over the place.  Understandingly, Desi is a mess.  Lucy assures him that she’s only driving 35 miles per hour.  “I am sitting in the suicide seat” he says.  Desi’s backseat driving ends up reaching its peak when he makes a comment about women drivers and Lucy understandably gets mad and sits in the backseat, fuming.  Their fight continues onto their next stop that evening–a service station on the side of the highway.  Lucy and Desi fight about who sleeps in the living room, with Lucy winning.  Their fight ends when they hear some frightening highway sounds–in the form of sirens and gunshots.

dinner
Lucy tries to cook dinner in the trailer while Desi drives. This is the end result.

When morning comes, Lucy tells Desi that she has a solution for alleviating some of the tension between them: she will cook dinner in the trailer while Desi drives.  Sounds like a great idea right? It’s not.  Not only is it illegal (something Lucy and Desi don’t find out until after the fact), but it’s impossible to cook in a moving trailer.  Lucy concocts an elaborate meal: ragout of beef, caesar salad, and angel food cake.  While Desi drives, Lucy discovers that everything rocks while the trailer is in motion.  Soon, she and her meal are being tossed every which way and Lucy discovers that this was a bad idea.  She tries to get Desi’s attention but between the noise of the road and the noise of his “Ragout of Beef” song, he doesn’t hear her.  She’s all over the place, her food is all over the place, the trailer is a disaster.

After stopping the trailer, Desi returns to find Lucy bruised and battered.  He takes her to the beauty salon to get cleaned up.  While in town, Desi speaks with a man who is interested in purchasing the trailer.  Thinking that this is a fantastic idea, Desi speaks with Lucy who is vehemently opposed to the idea.  Lucy ends up winning and it’s back on the road.

The last big stretch of their trip takes them up a very steep mountain–8,000 feet elevation.  The roads are very narrow and are almost completely vertical.  This is a very dangerous road for the trailer, but the detour will take them hundreds of miles out of their way.  I don’t know, after watching them complete the drive, I think I’d rather take the detour! Desi gets the trailer and car worked on and is advised by the mechanic to not take any extra unnecessary weight.  Lucy needs to get rid of her rocks and all her canned fruits and vegetables.  Desi tells Lucy of their weight restrictions and she is not happy.  While preparing the trailer, Lucy schemes with the manager of the trailer park (where they’re staying) and ends up determining that if the weight is distributed evenly across the trailer, then it should be fine.  She then lies to Desi about getting rid of everything.

mountain
Lucy and Desi white knuckle it for the 8,000 ft ascent up the mountain

It’s time to start the big climb.  The trip is harrowing.  The car’s wheels spin in the dry gravel.  The trailer can’t make it around a big curve without Desi having to back-up (with half of the trailer hanging over the cliff!) in order to make the maneuver.  They encounter a fellow driver who has to basically drive his car into the rocky wall in order to let the trailer pass.  Desi passes him successfully, even though the trailer does scrape against the car while passing.  Lucy and Desi have an awkward conversation about a book that Lucy was reading, which ends up turning into a conversation “a beautiful actress who loved squirrels.”  I am thinking the “beautiful actress” is Elizabeth Taylor as Desi references Michael Wilding.

While the trailer makes its ascent, Lucy’s rocks and canning jars start coming out of their hiding places and moving toward one end of the trailer.  Lucy and Desi finally reach the top of the mountain.  They get out of the car for a well deserved breather when suddenly one side of the trailer collapses.  Desi opens the door and out falls one of Lucy’s rocks.  Livid, Desi starts tossing all of the rocks and jars off the side of the cliff.  We are then brought to the beginning of the film.

After Desi has finished recounting the entire story of how he ended up looking for Lucy and his trailer, he ends up finding Lucy in the trailer park.  She has sold the trailer to Mrs. Tewitt and is busy packing.  Desi returns to apologize, but cannot overcome his ego to do so.  Lucy cannot seem to find the words to apologize either.  He leaves.  It’s looking like curtains for Lucy and Desi’s marriage, until Lucy realizes that she doesn’t want Desi to leave and goes chasing after him.  Lucy and Desi apologize, embrace and return to the trailer.

rain
“I’m sorry!”

 

And they lived happily ever after.

 

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1961 Blogathon- “The Parent Trap”

1961

Let’s get together, yeah yeah yeah
Why don’t you and I comb-ine?
Let’s get together, what do you say?
We can have a swingin’ ti-me
We’d be a cra-a-zy team
Why don’t we ma-a-ake a scene…

This verse from “Let’s Get Together” pretty much sums up the premise of The Parent Trap.  Sharon and Susan end up meeting and getting together in a joint effort to reunite their parents.  They want to stay together, they want their parents to get together and they don’t want their dad to get together with a young gold digger named Vicky.

opening
The estranged parents caught in an embarrassing situation in the pool changing room! From the opening credits of “The Parent Trap.”

After a kicky stop motion animation puppetry sequence which, combined with Tommy Sands and Annette Funicello’s rendition of the title song, “The Parent Trap,” the audience is fully aware of the premise of the film.  Through animation and song, it is illustrated and explained that two sisters meet and scheme to reunite their divorced parents–so that they can be a complete family.

susansharon
Susan and Sharon first meet at camp

At the beginning of the film, Sharon (Hayley Mills) is being dropped off by her chauffeur.  She quickly befriends two other girls and they become a clique of sorts.  During her first few hours at camp, Sharon comes across another girl, Susan (Hayley Mills), who bares a remarkable resemblance to her.  They look identical, except Susan has short hair whereas Sharon’s hair is long.  To put it mildly, the two girls do not get along.

SUSAN’S ROOMMATE (about Sharon): “The nerve of her (Sharon), coming here with your face!”
SUSAN’S OTHER ROOMMATE: “What are you gonna do about it?”
SUSAN: Do? What in heaven’s sake can I do, silly?”
SUSAN’S OTHER ROOMMATE: “I’d bite off her nose, then she wouldn’t look like you.”

Susan has her own group of friends that she pals around with and the two groups of girls take turns terrorizing each other.

messycabin
How does nobody wake up when this booby trap is installed? Talk about being a sound sleeper!

Sharon and her friends (one of which is LaRue from Sally Field’s Gidget TV series!) flip Susan and her friends’ canoe.  In retaliation, Susan and her friends booby trap Sharon and her friends’ cabin–complete with honey, string, straw, the works.  It makes a massive mess.  While Sharon and her friends try to clean up, Camp Director Miss Inch and her assistant Miss Hathaway from The Beverly Hillbillies, come around for cabin inspection.  Of course, Sharon & Co.’s cabin is a disaster.  As a punishment, the girls are prohibited from attending the co-ed dance that is being held that evening.  Sharon and Susan’s disdain for one another comes to a head at the dance.

hayleymills
Susan is caught in an awkward predicament at the co-ed dance–thanks to Sharon!

Banished from the dance because of Susan, Sharon waits for Susan to come outside with her date.  As Susan leans up against the deck railing, Sharon and her friend cut the back of Susan’s skirt off.  When Susan returns to the dance, the back of her panties are exposed to everyone at the dance.  For whatever reason, Susan doesn’t notice until her friends come to her aid and tell her that her panties are showing.  Mortified, Susan goes outside and ends up confronting Sharon.  The two girls end up brawling and ruining the dance and Miss Inch’s cake.

isolation
Hey, at least you don’t have anyone bothering you while you’re trying to eat your lunch!

Sharon and Susan are punished for their unladylike behavior and are banished to the “Serendipity Cabin.”  This cabin is still in camp, but is secluded from the other cabins.  Miss Inch, tells the girls that they will: “eat together, sleep together and play together.”  Susan and Sharon eat meals together at the “Isolation Table.”  It begins to seem like Susan and Sharon are fated to be miserable for the rest of the summer until a fateful afternoon rainstorm.

After a funny scene involving Susan hanging up her Ricky Nelson photos:

SHARON: “Who’s that?”
SUSAN: “Are you kidding? Ricky Nelson?”
SHARON: “Oh your boyfriend.”
SUSAN: “I wish he was! You mean you’ve never heard of him? Where do ya come from? Outer Space?!”

A gust of wind and rain sweeps into the girls’ cabin and blows all the photos of Ricky Nelson around.  Sharon rushes to Susan’s aid and helps her batten down the hatches and try to salvage the photos.  After getting to talking and discovering that both only have one parent (Sharon lives with her mother and Susan with her father) and have the same birthday, Sharon begins to think there is more to this series of coincidences and perhaps it’s a stroke of serendipity (hence, the name of the cabin).  Susan doesn’t get it until Sharon shows her a picture of her mother, Maggie (Maureen O’Hara).  Susan tells Sharon that that is her mother too.  Ding! Ding! Ding! The girls have figured out that they are actually twins, split up at birth.

hairdresser
Susan is a great hairdresser! Not sure if Sharon is as convinced.

The rest of camp is spent scheming.  The girls decide that they cannot be separated again and want more than ever to get their parents back together, so they can be a complete family unit.  Their plan is simple: they will switch places.  Sharon will travel to Susan’s home in Carmel, California to meet her father, Mitch (Brian Keith) and Susan will travel to Boston to meet Maggie.  Susan practices her diction (“Shan’t, can’t, aunt”) and tries to learn the blueprint of Sharon’s home.  Sharon tries to learn Susan’s housekeeper Verbena’s laundry schedule and the names of her animals.  Camp finally ends and the girls’ plan goes off with a hitch.

phone
“Well bust it up for heaven’s sake!”

While in their new homes, Susan and Sharon try to get used to their new lifestyles while trying to keep up the facade of being the other twin.  When Sharon’s grandfather (Charles Ruggles) overhears some suspicious phone conversations and Susan’s housekeeper Verbena (Una Merkel) observes the dog, Andrometer, acting weird around Susan, they begin to become suspicious.  Grandpa and Verbena might not know what is going on, but they are aware that something is “off.” The jig is finally up when Grandpa overhears a phone conversation between Susan and Sharon on the phone and Sharon confides in Verbena and tells her the truth.

verbena
“I’m not sayin’ a word, not one word!” Verbena, who says so much without saying a word.

In Boston, Susan is struggling to keep up with Sharon’s piano lessons and the rigidity of her schedule.  She is also trying to talk to Maggie to find out the truth about the relationship between her and Susan’s father.  Meanwhile, in California, Sharon is in crisis mode because Mitch has announced that he is getting remarried to a young woman named Vicky.  Verbena dislikes Vicky and makes it known without “sayin’ a word.  Not one single word.” Verbena, while “not saying a word,” tells Sharon that she suspects Vicky of being a gold digger.  Sharon calls Susan in a panic about Mitch’s impending marriage and begs her to tell Maggie the truth so that they can get the show on the road.

After the phone call between Sharon and Susan, Grandpa who overheard it, pressures Susan to tell Maggie the truth.  Maggie and Susan are soon planning a trip to California, but not before this hilarious scene in the bedroom when Grandpa essentially tells his daughter, Maggie, that she looks old:

GRANDPA (after questioning Maggie’s hair and clothing and basically telling her that her style is outdated and matronly and fake encouraging Maggie’s stubbornness about updating her look):
“Stay the way you are… a nice, reliable, settled, comfortable woman, who accepts the coming of age with grace and dignity.”
MAGGIE: “That’s the most horrible thing anybody could say!”

Despite being upset with her father’s criticism of her appearance, Maggie takes his words to heart.  After a short layover in New York City, Maggie and Susan are at Mitch’s glorious doorstep in California.

ranch
Mitch’s amazing living room in his gorgeous ranch house

Mitch’s California ranch home is probably one of the greatest houses in all of movies.  His house is gorgeous. The amazing stone work, the dark stained finishes, the great open areas (that you could only have in California.  It wouldn’t work here in Oregon), the gorgeous stained glass, the great tile, the beautiful mid-century modern furniture, I love this house.  It is much better than Maggie’s stuffy Boston townhouse.  His kitchen has amazing windows that extend the entire width of the room in front of the sink.  There’s also an amazing courtyard where Hayley Mills and Hayley Mills perform their “Let’s Together” song.

vicky
“That plotz-faced child bride and her electric hips!” aka Vicky

Back to the movie,  Maggie and Susan show up at Mitch’s home, right as Mitch is entertaining his fiancee Vicky, her mother and the Reverend who is supposed to officiate the wedding–perfect time for the ex-wife to show up.  The Reverend, whom I sense is not a big fan of Vicky and her mother, catches Mitch and Maggie in a compromising position and is amused by the entire situation.  Maggie is dressed in Mitch’s bathrobe as she had just finished showering.  Mitch is chasing her around the house trying to catch her just as the Reverend walks in.  Vicky is understandably upset, but since she’s the villain and we don’t want her and Mitch to marry, we don’t care.  Maggie has the best lines at the end of this scene:

MAGGIE (to VICKY & VICKY’S MOTHER): “What a shame you can’t stay for dinner with us.”
VICKY’S MOTHER: “Yes. Vicky and I have a million things to do–fittings and odds and ends to buy.”
MAGGIE: “Just charge it all to Mitch–he’s loaded.”
VICKY’S MOTHER: “Oh? I didn’t know.”
MAGGIE: “Didn’t you?”

Boom! Maggie’s got Vicky and Vicky’s mother’s number.  After this point, Sharon and Susan go to work setting their “parent trap.”  First they try recreating Maggie and Mitch’s first date, based on information Susan got from Maggie earlier in the film.  They enlist ranch hand Hecky to serenade Mitch and Maggie like a gypsy.  Verbena cooks up a batch of veal parmesan for the meal.  Sharon and Susan come out on stage with something that slightly resembles a vaudeville act, based on the theme of “getting together.”

together
“Let’s Get Together”

Sharon plays a concert pianist who is in the middle of a concert, performing Beethoven’s Fifth Symphony.  Susan comes out in a big suede vest strumming a guitar.  My husband likes to point out how Susan is most definitely NOT playing the guitar each and every time we watch this.  And really, he’s right. Hayley Mills isn’t even pretending to play the guitar properly.  But all that doesn’t matter.  Maggie and Mitch are thoroughly entertained by their daughter’s shenanigans and are touched by the lengths they went through to set up this big date…. then they start arguing and all hints of possible romance are gone.

The next morning, the morning when Sharon and Maggie are supposed to return to Boston, the twins are desperate.  They decided to dress exactly alike and blackmail their parents into taking them on a camping trip.  At the conclusion of the camping trip, the girls will reveal their true identities.  This seems like a lame plan in that you’d think two parents who’d raised their daughters for 13 years would know who’s who, but Mitch admits that even he is not sure which twin is Susan.  The plan is set into motion… then Vicky shows up.

maggievicky
Maggie, knowing that Vicky will hate camping, cunningly invites her to go along…then dips out at the last minute.

Maggie, knowing Vicky will be completely out of her element on a camping trip, hilariously tricks her into going camping with Mitch, Hecky, and the girls instead.  Vicky agrees to go, not knowing that she’s been bamboozled.  While on a hike through the woods to their camp, the girls concoct multiple schemes to drive Vicky bananas.  They give her sugar water stating that it’s mosquito repellent, they place a lizard on her canteen knowing she’ll freak out and they plant a fake idea in her mind that hitting two sticks together will scare away mountain lions.  While at camp, the girls trick Vicky into falling into the lake by having one twin stand on the other’s shoulders and pretending that the water was shallow.

(As a side note, it seems interesting to me that Sharon is so comfortable camping as she seems to be from a pretty stuffy household in Boston.  Though she did attend that summer camp, so what do I know?)

camping
The twins not at all stifling their amusement of Vicky’s traumatic camping adventure.

That evening, Vicky is beginning to crack.  She’s disgusted by the trout dinner (and the upcoming trout breakfast).  Mitch breaks the news to her that her mosquito repellent is bogus and that she’s basically inviting them to feast on her.   Mitch and Hecky laugh at her when she starts trying to keep the mountain lions away by hitting the sticks together.  In disgust, she goes to bed.  During the evening, Susan plays her famous “let’s booby trap the tent” trick that she employed in the beginning of the film, except this time Sharon is a co-conspirator rather than victim.

The next morning, Vicky wakes up to a baby bear licking honey off her feet.  Freaked out, she rushes out of the tent, no doubt getting pine needles stuck to her feet, trashes the camp and pushes Mitch into the tent.  Hecky grabs Vicky her boots and she screams out this immortal line:

“Get me out of this stinking fresh air!”

Vicky flounces off into the woods, with Hecky in tow, never to be seen again.

Back at the ranch, Maggie is whipping up some beef stew.  She has given Verbena the night off.  As for Hecky, who knows where he is.  Maybe Vicky has killed him.  Maybe she forced him to drive her far from Carmel.  Regardless, he’s not home.  The twins are up in Susan’s room.  They have apologized to Mitch for “submarining” Vicky and all is forgiven.  Which is good, because nobody liked her anyway.

kiss
And the twins’ scheming finally pays off!

Mitch observes Maggie in the kitchen for awhile and decides to go gussy himself up.  He showers, shaves and combs his hair.  He turns some music on on the hi-fi for ambiance and also breaks out a bottle of red wine.  As Mitch and Maggie talk in the kitchen, they begin to reminisce about the times they spent with one another.  Soon, it is apparent that they really do still love each other, especially when they give each other a romantic kiss.

Now in bed, Sharon wakes up after having a dream about her father and mother remarrying.  Remember, she’s psychic.  She says as much at the beginning of the film.   I choose to believe that this scene implies that the trap has worked.  Maggie and Mitch are together again and the twins won’t have to endure “the six month split.”

wedding
I choose to believe that Sharon’s dream was predicting the inevitable and Mitch and Maggie remarried. And they all lived happily ever after.

If it isn’t already obvious, I love this movie.  I just can’t with the Lindsay Lohan one.  Lohan will always be a “Mean Girl” to me.  She cannot fill Hayley Mills and Hayley Mills’ shoes.

 

The Golden Boy Blogathon–“Miss Grant Takes Richmond” (1949)

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William Holden was born 100 years ago today.  He made his film debut in Golden Boy (1939) co-starring Barbara Stanwyck.  Holden was only 21 when he was cast in his first film and it was apparent to everyone that he was inexperienced.  Holden was almost fired from his first part; but veteran film star Stanwyck took him under her wing and coached and encouraged him, often on her own time.  Under Stanwyck’s tutelage, Holden was able to keep his job and turned in a serviceable performance.  After the filming on Golden Boy ended, Holden and Stanwyck remained lifelong friends.

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William Holden and Barbara Stanwyck at the 1978 Academy Award ceremony

In 1978, the two friends appeared together as presenters at the annual Academy Awards ceremony.  Holden deviated from reading the list of nominees to publicly thank Stanwyck for her helping and supporting his career when he was first starting out.  Four years later, Stanwyck appeared at the Academy Awards to accept an Honorary Oscar.  Holden had passed away a few months prior.  After her very genuine and humble speech, Stanwyck paid tribute to her friend stating: “I loved him very much and I miss him.  He always wished I would get an Oscar.  And so tonight, my golden boy, you got your wish.”  It was a very sweet and emotional tribute.  I highly recommend looking up both Holden’s tribute to Stanwyck and Stanwyck’s tribute to Holden on You Tube.

Whether or not Holden would have still become a star without Stanwyck’s help, it is unknown, but being fired from his first big part could have definitely curtailed his career.  Stanwyck should definitely be given credit for being kind and generous and helping out a young man who wanted a film career.  She could have been a diva and demanded a more experienced co-star (and could have probably gotten one), but she saw something in her young 21 year old co-star and opted to provide her knowledge and advice instead.  For the next eleven or so years after Golden Boy, Holden continued in small parts and small films and continued to grow his skills and gain experience.  During this period, Holden appeared in many B-list films including one with RKO’s former “Queen of the Bs,” Lucille Ball.

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William Holden and Lucille Ball in “Miss Grant Takes Richmond”

In 1949, Holden and Ball appeared in the comedy, Miss Grant Takes Richmond.  Ball had just been signed to Columbia Pictures after a recommendation from Buster Keaton to Columbia studio-head, the irascible Harry Cohn.  Keaton suggested to Cohn that Ball would be perfect for comedic parts.  Miss Grant Takes Richmond was the first film Ball made under her new contract.  This film is mainly a vehicle for Ball and her physical comedy talents, but Holden provides excellent support as her straight-man.  His worldly, but weary, everyday man persona had emerged by this time and also provides Ball with a handsome and worthy love interest.  Reliable character actors, James Gleason and Frank McHugh, provide excellent support.

In Miss Grant Takes Richmond, Ball plays Ellen Grant, an aspiring secretary.  She attends secretary school and is the worst student in the class.  She can’t type, has to make constant corrections, pulls the ribbon out of the typewriter and manages to get ink everywhere.  She seems hopeless as a secretary–a sentiment echoed by her aunt and uncle and fiance who cannot understand why she’d want a career when she could just get married and be a housewife.  One day at the secretary school, Dick Richmond (Holden), comes in looking for a secretary for his real estate office.  Much to everyone’s surprise, including Ellen’s, Dick selects her.

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Left to Right: Frank McHugh, William Holden, Lucille Ball and James Gleason in “Miss Grant Takes Richmond.”

At the office, it seems that there is more going on between Dick and his associates, Gleason (James Gleason) and Kilcoyne (Frank McHugh).  Ellen constantly takes calls from people seemingly wanting to put down-payments down on various properties in various neighborhoods.  In reality, Dick and his cronies are actually running a bookmaking operation.  The calls and payments that Ellen is accepting are actually bets being placed on horses at various racetracks.  The real estate office and Ellen are just a front to fool authorities.  To keep up the charade, Dick mentions that there is some land available for a housing development, but the owner wants $60,000.  He mentions that this is too expensive, but he’d be willing to pay $55,000.  Without his knowledge, Ellen goes down to the owners of the property and manages to negotiate the price down to $50,000.

Ellen, her fiance (who is also a District Attorney), and the owner of the property all go down to Dick’s real estate office to let him know of the deal to purchase the land.  Ellen explains that Dick’s office will now be able to build a housing development of affordable housing.  Dick knows that this deal will cause financial trouble for his operation, but has to play along.  He then decides to try and scare Ellen away from the organization by being aggressively romantic with her, but that backfires when he finds out that he’s fallen for her.

Dick’s ex-girlfriend, Peggy Donato comes to visit her old flame and to also place a large bet ($50,000) on a race.  Ellen accepts the bet, not knowing that a) Donato is placing a bet on a horse race and b) That the race that Donato is betting on is fixed, in her favor.  Dick cannot afford to pay $50,000 to Donato.  Dick tries to explain his predicament to Donato who is not sympathetic in the slightest.  Donato, who still has feelings for Dick, tells him that he can either run away with her or she’ll have her goons take care of him.

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Lucille Ball tries to fix the cement after the foundation fiasco at the housing development

Back at the housing development, Dick has put Ellen in charge.  He has also embezzled funds from the down-payments he received for the houses in the development.  There is a funny scene at the construction site where Ellen and the female customers decide to adjust the foundation outlines (by moving the ropes) of their respective homes.  When they’re done, the size of the rooms are wildly out of proportion.  The construction crews start pouring the cement foundations, per the rope guidelines and soon realize something is horribly wrong.  There is a funny scene where the foreman rants about the crazy foundations.  People’s homes are overlapping, some rooms are enormous while others are tiny, there are random triangular shaped rooms that are too small to use, you name it, it’s a problem.  However, the project now has a larger problem, it’s out of money.

Dick, feeling guilty about scamming innocent people and Ellen, decides to run off with Donato and pay all his customers back.  Ellen finally figures out that the whole operation was a scam and that Dick took the money from the housing development.  She is upset, but decides that she still cares about her former employer and opts to scheme to get rid of Donato.  In a scene reminiscent of the 1957 I Love Lucy episode, “Lucy Wants to Move to the Country,” Ellen decides to dress up like a gangster and pass herself off as the real brains of the bookmaking operation.  She cobbles together her own “gang” and tries to intimidate Donato’s gang.  That plan backfires when Donato’s gang proves to be too strong.  At that time, Gleason and Kilcoyne show up with $50,000 that they won in a bet placed with Donato’s operation–which can be repaid to the people who purchased the homes at the development (or can be used to actually complete the homes).

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William Holden’s facial expression when he sees Lucy’s nose after she “fixes” it is the funniest part of the entire episode. “This California sun certainly makes your skin soft,” Lucy says. If I could find a picture that also captures the look on Desi Arnaz’ face, that would be the ultimate. (“L.A. at Last!” “I Love Lucy” episode #114)

This is a fun film that shows off both Ball and Holden’s strengths.  Two years later, Ball would be starring in her groundbreaking sitcom I Love Lucy.  In 1954, five years after their film together, Holden would be reunited with Ball when he made an appearance as himself on her show.  “L.A. at Last!” was the first episode of the Hollywood story arc of I Love Lucy.  Holden has his first encounter with the star-struck Lucy at the fabled Brown Derby restaurant in Hollywood.  Later, he meets Lucy again in the Ricardos’ hotel room where she attempts to disguise her appearance with a putty nose.  My favorite thing about Holden’s entire appearance is the fact that this sets up the idea that Holden is a gossip.  There are multiple episodes featuring other celebrities where the celebrity alludes to Holden giving them the low down on Lucy.

By the time Holden makes his appearance on I Love Lucy, his star had risen exponentially since Miss Grant Takes Richmond, much like Ball’s had.  In 1950, a year after ‘Richmond,’ Holden got the plum role of Joe Gillis in Sunset Blvd.  This film catapulted Holden into stardom.  He received an Oscar nomination for his part as the weary and cynical screenwriter who allows himself to be a “kept man” by the delusional and absurd former silent screen star, Norma Desmond (Gloria Swanson).  After Sunset Blvd., Holden appeared in a string of hits: Born Yesterday (1950), Stalag 17 (1953), The Moon is Blue (1953), Executive Suite (1954), Sabrina (1954), The Bridges at Toko-Ri (1954), The Country Girl (1954), Picnic (1955), Love is a Many Splendored Thing (1955), and The Bridge on the River Kwai (1955).  Holden took home the 1953 Best Actor Oscar for Stalag 17.  Holden’s string of hit films during just this five year period is remarkable and a feat which is rarely repeated.

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Hubba Hubba!

Favorite Performers: Kim Novak

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Kim Novak is someone who I discovered when I saw Picnic (1955) for the first time.  I had heard of her and knew what she looked like, but I had never actually seen any of her films until I saw Picnic.  She wasn’t my original draw to the film either.  I originally recorded it because I was a fan of co-star William Holden and I also love the overwrought melodramas of the 1950s.  My initial impression of Novak was that she was very pretty but she seemed somewhat stiff.  I began wondering if it was all style and no substance when it came to Novak.  However, as I kept watching her in Picnic, I noticed that she didn’t seem as stiff as she had in the opening scene.  I found myself warming up to her.

In Picnic, the crux of Novak’s character, Madge, is that she feels that she is only wanted and appreciated for her looks.  Her mother insists that Madge seal the deal with her rich upper crust boyfriend Alan, before her looks begin to fade.  Madge is 19, by the way.  Alan talks about and treats Madge like she’s a trophy on his arm.  Madge begins to resent everyone only focusing on her looks and not showing any regard for her wants, needs and desires.  Novak was very skilled in bringing the conflicted Madge to life.  On one hand, Madge doesn’t want to disappoint her mother; but on the other hand, she wants to live her own life and not skate by on her looks, even if that path looks uncertain.  Madge spends much of the film battling with her own wants and needs, versus those of her mother, boyfriend and the hot, mysterious, and exciting drifter William Holden.

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Kim Novak and William Holden dance in “Picnic”

After Picnic, I remember making a point of seeing Novak in some of her other films.  I saw Bell, Book and Candle co-starring James Stewart.  This film allowed the audience to see Novak as another type of character–a beautiful woman afraid to fall in love.  In this film, Novak plays a beautiful witch who lives in Greenwich Village in New York City.  Novak develops a crush on Stewart and ends up casting a love spell on him when she discovers he’s engaged to marry another woman.  The love spell causes Stewart to fall in love with Novak instead.  Soon Novak finds herself falling in love with Stewart and she’s faced with a choice to make: Fall in love with Stewart and lose her magical powers or keep her powers and let Stewart go.  Novak plays it cool in this film and is very adept at showing the progression of her character falling in love.  Despite being very beautiful and being labeled as one of the 1950s sex symbols of Hollywood, Novak’s characters are never overt in their sexuality, unlike someone like Marilyn Monroe.

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Kim Novak as “Madeline” in “Vertigo”

One of Novak’s most famous films is her turn in Alfred Hitchcock’s Vertigo.  Novak is cast as one of Hitchcock’s typical icy blondes, but she brings so much to her complicated, somewhat dual role.  In this film, Novak must portray the beautiful and tragic Madeline who Stewart meets and falls in love with.  Later, she portrays the small-town girl, Judy, who of course resembles Madeline, and agrees to allow Stewart to transform her into his lost love.  As Madeline, Novak plays the wispy blonde, who is so beautiful but with an underlying vulnerability.  As Judy, Novak plays a more average looking woman (more like a gorgeous woman wearing too much heavy makeup) from Kansas who is trying to make it in big city San Francisco.  She is brassier and more no-nonsense than Madeline. Of course there is more to the story than meets the eye and Novak was fascinating to watch.

Novak is a highly underrated actress who I believe wasn’t taken seriously because she was so beautiful.  In all her films, she brings charm and also an underlying vulnerability that makes her a joy to watch on screen.  Today, Kim Novak lives on a ranch in a small town in Southern Oregon.  It’s exciting to think that one of my favorite Classic Hollywood stars is still alive and thriving in a town only about 3.5 hours south of me.  Maybe someday, I’ll make it back down there and maybe run into Kim Novak on the street or something.  I can always hope!

My favorite Kim Novak films:

-Picnic (1955).  I already talked about this film above; but this film deals with a drifter (William Holden) who interrupts the tranquility in a small Kansas town.  Most of the action occurs at the town’s annual Labor Day picnic.  Novak portrays Madge, a beautiful nineteen year old woman who is dating Alan Benson (Cliff Robertson), one of the town’s most eligible bachelors.  Novak falls for Holden, much to the chagrin of Robertson and her mother (Betty Field).

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Kim Novak and her cat, Pyewacket in “Bell, Book and Candle.”

Bell, Book and Candle (1958).  Described above as well.  This film depicts the story of a beautiful witch (Novak) who casts a spell on a man (James Stewart) whom she’s been admiring from afar.  Soon, she must decide whether to fall in love with Stewart and give up her magical powers, or let Stewart go in order to retain her powers.

Vertigo (1958).  Mentioned briefly above.  This film is so complex that it would be hard to describe it and do it any justice.  This is a film that has to be watched and watched intently, not casually.  A couple weeks ago, I watched this film in the theater and was fascinated by how much of the film I had forgotten or hadn’t pieced together the pieces of the story.  Once I had the story figured out, I found it amazing and captivating.  In a nutshell, this film tells the story of a man, James Stewart, who falls in love with a mysterious blonde and loses her in a tragic accident.  He meets another woman, Kim Novak, who resembles his lost love.  Stewart goes to work transforming his new girl into the girl he lost.

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Howard Duff and Kim Novak in “Boys’ Night Out”

Boys’ Night Out (1962).  This 1962 comedy is silly and definitely not worthy of any sort of award, but I love it.  There’s just something about early 1960s comedies.  In this film, Novak plays a college student who rents an apartment from a group of men (James Garner, Tony Randall, Howard Morris and Howard Duff).  The men are all married, except for Garner.  The husbands are bored with their wives and their day-to-day routine and want to set up an apartment to have a fling.  They base their plan on the same tactics their boss uses to have his fling.  Novak rents the apartment not knowing of their plan to commit adultery and the men don’t know that Novak is pretending to romance them as a means to gather material for her college thesis on the sexual life of the middle class male. Hilarity ensues.

-Pushover (1954).  This is a really great noir and is Novak’s film debut.  Novak portrays the beautiful girlfriend of a man who robs a bank and both of them are now on the lam.  Fred MacMurray co-stars as an undercover cop who is tasked with setting up a stakeout in an apartment across the street from Novak’s.  While watching her, MacMurray ends up falling in love with Novak.  Soon Novak is trying to corrupt him to join her side and MacMurray is conflicted between his love for Novak and his duty to his job and the police department.

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Kim Novak and Fred MacMurray in “Pushover.”  She’s only 20 here!

Pal Joey (1957).  This is a musical starring Frank Sinatra, Rita Hayworth and Novak.  Sinatra portrays Joey, a singer and charmer who can make pretty much any woman fall for him.  The only problem is that he’s a complete cad.  Sinatra meets Novak, a chorus girl in one of his shows.  He genuinely seems to have real feelings for her. Sinatra dreams of opening his own nightclub but needs money.  He appeals to an old flame, Hayworth, who used to also work as a stripper.  She married a wealthy man and is now widowed.  Sinatra decides to romance Hayworth in order to convince her to give him money for his nightclub.  Throughout the film, Sinatra and Hayworth use each other and continues to romance Novak.  The love-triangle continues throughout the film until Sinatra is forced to make a decision.

 

Doris Day Birthday Blogathon–“With Six You Get Eggroll”

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Doris Day made her film debut in 1948 in the musical, Romance on the High Seas.  Many of Day’s films throughout the 1940s and 1950s cemented her role as one of Warner Brothers’ top musical stars.  Some of Day’s best known films during this period are: Tea for Two, I’ll See You in My Dreams, By the Light of the Silvery Moon, The Pajama Game and Calamity Jane.  During the 1950s, Day also demonstrated that she was a capable dramatic actress and appeared in non-musical films like The Man Who Knew Too Much, Julie, and Love Me or Leave Me.  Day ended the 1950s starring in Pillow Talk with Rock Hudson.  This film proved that in addition to musicals and dramatic roles, Day was also comfortable in sophisticated romantic comedies.  In 1960, Day starred in one more thriller, Midnight Lace.

The filming of ‘Lace’ proved to be so traumatic for Day that she refused to make another film of this type ever again.  ‘Lace’ depicts a woman terrified that someone is trying to murder her.  The intensity of Day’s fear conjured up old memories of her abusive first husband.  She was so traumatized by the filming of ‘Lace’ that she vowed to not make another thriller again.  Day kept her promise.  During the 1960s, Day made two more romantic comedies with Hudson and then appeared in other romantic comedies with the likes of Rod Taylor, Cary Grant and James Garner.  Day also appeared in family comedies like Please Don’t Eat the Daisies with David Niven and her final film, With Six You Get Eggroll co-starring Brian Keith.

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I love the caption for this poster: “Does this look like a movie that could give you bad dreams?”

With Six You Get Eggroll was one of Day’s top money-making films.  This film, much in the same vein as Yours, Mine and Ours (1968) and The Brady Bunch (1969-1974), dealt with the blending of two families and the issues that can arise.  Day portrays Abby McClure a widowed, single mom who supports her three sons as the boss of a lumberyard.  Abby’s sister, Maxine, played by Pat Carroll (aka Ursula from The Little Mermaid), is constantly trying to fix Abby up with men.  In this particular case, Maxine wants to hook her sister up with Brian Keith, who portrays widower Jake Iverson.  Iverson is the father to a teenage daughter, Stacey, portrayed by Barbara Hershey.  Abby’s oldest son Flip (John Findlater) and Jake’s daughter are classmates.  In true classic film fashion, Abby’s youngest kids are at least ten-plus years younger than their brother, Flip.  Abby’s one son, Jason, looks like a mini Mo Rocca from The Daily Show.

When we first meet Abby,  we see her committing a major OSHA violation by standing on the forks of a moving forklift in her lumberyard.  I really enjoy the fact that Abby is the boss of a male-dominated field and appears to be running it efficiently and effectively and has the respect of her subordinates.  Next, Abby’s sister Maxine shows up and convinces Abby that she needs to invite a date to the dinner party that she’s having that evening.  Abby ends up taking her sister’s advice and invites Jake to the party.

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Doris Day’s amazing shower cap!

While getting ready for the party, everything that could go wrong for Abby, does.  Her dog, Calico, gets a hold of her wig and ruins the hairstyle.  Abby is forced to re-curl her wig.  Her “hair” is soaking wet by the time she is finished, and she resorts to cooking her wig in the oven at 200F in an attempt to dry it out and set the style before the party.  Meanwhile, while Abby is “putting her face on,” the kids are taking a bath.  Abby hears a bunch of noise coming from the bathroom that is most definitely not kids bathing.  When she walks in, she sees that the kids have somehow spilled yellow paint into the tub.  With children that now resemble The Simpsons and a golden-hued arm, Abby comes across her dinner party guests who’ve let themselves in.  With her yellow-dyed skin, yellow and white splotchy robe, amazing flowered shower cap and a face covered in cold cream, Abby looks a fright, but soon manages to get it together and have her party.

Sister Maxine and her husband are all over Jake from the second he walks in.  When Abby finally enters the room, they go to work trying to convince Jake and Abby that they’re perfect for one another and should get together.  Both Jake and Abby are uncomfortable and try their best to keep their cool.  Jake finally has had enough and makes up a bogus excuse about having to meet clients at the airport in a couple hours.  Later, Abby and Jake run into one another at the supermarket and end up having coffee at the drive-in, which is run by Herbie Fleck, portrayed by George Carlin (!).

Throughout multiple dates and outings to the drive-in to escape their children, Abby and Jake end up falling in love.  While I suppose it’s understandable, I don’t enjoy the behavior of the oldest two children, Flip and Stacey.  Flip is worse than Stacey.  When Abby comes home late one night after stating that she was running to the market for pumpernickel, Flip rips his mother a new one as if she were a teenager breaking curfew.   He is particularly patronizing to Abby and I wish she would have chewed him out right then and there, but perhaps that isn’t Abby’s style.  Flip repeatedly treats his mother like a misbehaving child and treats Jake as if he were some deviant.  Stacey isn’t as bad, but does treat her father and Abby pretty poorly until she finally comes around.  I understand that Flip and Stacey are having trouble adjusting to their parents having new romantic relationships, but seriously.  They graduate from high school during the film and presumably will be going to college.  Does it really matter?

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 A young George Carlin takes Doris Day & Brian Keith’s coffee order at their drive-in rendezvous spot.  

After a few months of sneaking around and drinking copious amounts of coffee and champagne at the drive-in, Abby and Jake decide that they should just get it over with and marry, much to the chagrin of the oldest children.  After marrying, Abby and Jake try to figure out how their family will live together in one house.  Day’s house is larger, but needs at least one more bedroom for Stacey.  Jake’s house is much smaller.  The newly blended family tries to bounce back and forth between houses, but logistically, it becomes a nightmare.  They eventually decide that they’ll buy a larger house.  Until their respective homes sell, Abby and Jake purchase a camper trailer that will serve as an extra bedroom.  After fighting over who gets to sleep in the camper, Abby and Jake move in–much to Abby’s chagrin.

Up until the camper fiasco, much of this film resembles one of day’s more sophisticated comedies.  There are multiple discussions about sex and there are quite a few “did they or didn’t they?” scenes between Abby and Jake.  In a scene where Abby and Jake have just endured watching television with the younger children, they look forward to having time to themselves to (presumably) make out on the couch.  Flip, however, senses this and makes a point of staying in the room, effectively ending any makeout sessions.  The tension, both sexual and not, in this scene is palpable, with Flip very smug, knowing exactly what he’s doing.  If With Six You Get Eggroll had been made when the production code was in full swing, I do not believe that Abby and Jake could have been portrayed as being home alone, canoodling with champagne in front of the fire, especially since they fall asleep in front of the fire.  Finally, Abby’s maid, Molly, played by Alice Ghostley (aka Aunt Esmeralda from Bewitched) expresses her annoyance when Abby and Jake show up at Jake’s house unannounced, looking for a place to rendezvous away from everyone.  It seems that Molly was promised the use of Jake’s house for the same reason.

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  Doris Day in the family camper trailer.  

Another feature of this film that sets it apart from other family comedies of the same time is the look and portrayal of the leading man.  Jake uses fairly strong language (for a family film) with multiple instances of “hell” and “damn.”  He seems quick-tempered (though not violent) and stubborn.  It’s also interesting that he has a pretty rough looking tattoo on his arm, which is prominently displayed when the kids walk in on Abby and Jake the morning after they eloped.  Good on Abby and Jake for getting dressed again! We have to assume SOMETHING went on on their wedding night.

One of the best scenes in the film is when Stacey exerts her “lady of the house” attitude one too many times for Abby’s liking and Abby decides to show Stacey what it means to be in charge of the home.  She writes up a very long and difficult list of household chores (ironing, vacuuming, waxing floors, silver polishing, etc.) for her to complete.  After working all morning and day, Stacey completes the list.  Abby gives her a new list for the next day, a list consisting of going to the movies and visiting with friends.  Stacey has a new appreciation for her new step-mother and they have a very sweet bonding moment.  Of course father Jake comes in and sees the list and completely misunderstands the point Abby was trying to make.  This misunderstanding evolves into a very heated argument, which serves as the catalyst for the camper mayhem at the end of the film.  The ending of the film features Jamie Farr (Klinger from M*A*S*H) and Allen Melvin (Sam the Butcher from The Brady Bunch).

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 The crazy cast of characters that join Brian Keith and Doris Day at the jail. 

One of my favorite things about 1960s comedies, is that there is almost always a scene taking place in a club with some crazy music playing.  The music is never identifiable and I imagine that it’s just being performed for the film.  With Six You Get Eggroll features a wild dance club with some music that sounds like they sampled the marimba track from The Rolling Stones’ “Under My Thumb.” What’s also amazing about these scenes is the dancing.  As someone who is rhythmically challenged, the dancing that appears in these 1960s movies or the Beach Party movies looks like something I could do.  Cactus Flower, Yours Mine and Ours, and Bob, Carol, Ted and Alice all feature amazing club scenes.  I also think it’s funny that the music is pretty much the same throughout the entire duration of the club scene–it never changes.

With Six You Get Eggroll was released in 1968. At this time, the sexual attitudes in the United States were greatly evolving and Day’s brand of clean comedy was falling out of style.  Day was offered the role of Mrs. Robinson in The Graduate, but her manager/husband, Marty Melcher, turned the role down on her behalf.  Both Day and Melcher felt that the script was vulgar.  While Day’s films still attracted an audience, they were not turning the type of profit that they had prior.  During filming of ‘Eggroll,’ Melcher unexpectedly died.  Doris was devastated in more ways than one.  Of course, she was devastated that her husband had died; but she also discovered that her husband and his business partner had squandered all her earnings, leaving her deeply in debt.  She also discovered that her husband had signed her up for a weekly sitcom on CBS.  Day did not want to do a television show, but she had no other option.  She was obligated and also needed to repay her debts.  The Doris Day Show which aired from 1968 to 1973 essentially ended Day’s film career.

After the end of Day’s sitcom, she appeared on a few more variety shows and talk show interviews, but she was all but retired by the 1980s.  In 1989, she came out of seclusion to attend the Golden Globe Awards and accept the Cecil B. DeMille Lifetime Achievement Award.  Since her retirement, Day has dedicated herself to animal rights and welfare.  She continues to keep busy at her home in Carmel, CA and tomorrow, on April 3, she will celebrate her 96th birthday–you go Doris!

 

 

The Small Screen Blogathon–“I Love Lucy”

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Picture it: Salem, Oregon, 1995.  A beautiful peasant girl turns on her parents’ 15″ black and white tube TV.  She comes across a show on something called Nick at Nite.  She is instantly transfixed by the action on the screen.  A redhead (we’ll have to take the characters’ word for it, it’s black and white after all), her Cuban bandleader husband, and their two friends were involved in some wacky scheme.  The next day, the girl tuned into Nick-at-Nite again and watched another episode of this hilarious show about a woman whose only dream in life, it seems, is to be in show business, much to her husband’s chagrin. The show was I Love Lucy, and the beautiful peasant girl, was me, minus the peasant part–just tapping into my inner Sophia Petrillo.

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I Love Lucy is rightfully considered one of the best, if not the best (which “best” is obviously subjective) television show in history.  The show was groundbreaking, almost literally, and created the blueprint for all situational comedies to come.  Every show, from The Dick Van Dyke Show, to The Mary Tyler Moore Show, to Cheers to Friends are indebted to I Love Lucy for inventing the situation comedy and engineering the way in which to perform in front of a live audience.

In 1950, CBS approached Lucille Ball with an offer to move her popular radio show, My Favorite Husband, to the new burgeoning medium of television.  CBS wanted Ball, her co-star Richard Denning and the other cast members to make the move with her.  However, Ball had other ideas.  At this time, Ball had been married to her husband, bandleader Desi Arnaz for ten years.  The couple’s marriage was faltering.  Much of the strain on their marriage was caused by their differing schedules.  Ball was in Hollywood filming her radio show and Arnaz was on the road, touring with his band.  Ball, seeing an opportunity to work with her husband and keep him home, told CBS that she was interested in the offer, but only if Arnaz could star as her husband.  CBS balked, thinking that the American public would not accept that their star, Lucille Ball, was married to a Cuban.  Of course, CBS was completely wrong, but to prove it, Ball and Arnaz concocted a vaudeville routine and took their act on the road.  People across the country loved them and soon CBS had to relent and give Ball and Arnaz the go-ahead.

In March of 1951, Ball and Arnaz filmed their pilot.  It was filmed in kineoscope.  Kineoscope was a method of filming a live performance.  A camera lens would be focused on a video screen, which would record the performance as it was being recorded.  This footage would later be re-broadcast to other markets.  Typically shows were filmed in New York, as this is where a majority of the population lived in the late 1940s-early 1950s.  If you have ever seen a YouTube video where someone has made a video of a movie, show, concert, etc. playing on their TV,  you know that the sound is muffled and tinny and the picture is blurry.  This is exactly what it was like to watch a kineoscope show if you didn’t live near New York.

To see a couple examples of Kineoscope, go to You Tube and search for: “I Love Lucy Pilot,” and “Lucille Ball and Desi Arnaz on The Ed Wynn Show.”

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Lucille Ball and Desi Arnaz on the “I Love Lucy” Pilot

Above is a screenshot from the I Love Lucy pilot episode.  Ball wears a housecoat and big baggy pants for much of the episode because she was pregnant with Lucie Arnaz.  The Ricardos live in a completely different apartment and the Mertzes haven’t been created yet.  I Love Lucy episode #6, “The Audition” is essentially a re-do of the pilot.  In the pilot episode, Ricky schemes with his agent, Jerry.  In the I Love Lucy episode, Jerry’s lines are given to Fred Mertz.  The pilot episode was a success and Ball and Arnaz were given the green light to start their series.

To produce their series, Ball and Arnaz formed Desilu Productions.  Arnaz was president and Ball was vice-president.  They hired the writers from Ball’s radio show, My Favorite Husband. Many of the crew members they hired were acquaintances from Ball’s radio program and from Ball and Arnaz’ movie and music careers, respectively.  For the Mertzes, they originally wanted Bea Benederet (Betty Rubble in The Flintstones and Kate Bradley in Petticoat Junction) and Gale Gordon (Mr. Mooney in The Lucy Show and Harry Carter in Here’s Lucy).  However, Benederet was under contract to The Burns and Allen Show and Gordon was on Our Miss Brooks.

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William Frawley and Vivian Vance as Fred and Ethel Mertz

One day, William Frawley, an old acquaintance of Ball’s from her movie days, called Ball and asked if there was room for him on her show.  Leery of his reputation as a hard-drinker, Arnaz and Ball met with him and decided he was perfect.  Ball later said: “William Frawley was ‘Fred Mertz,’ period.” Frawley was cast on the condition that he always show up to work sober.  He would be fired on the spot if he ever showed up to work intoxicated.  During all six seasons of I Love Lucy and the three seasons of The Lucy-Desi Comedy Hour, Frawley kept his promise.

Casting Ethel Mertz turned out to be more of a chore.  Ball originally wanted to throw the job to her old friend, Barbara Pepper (Mrs. Ziffel on Green Acres), but CBS said no.  Much like Frawley, Pepper had a drinking problem too, but hers was much more severe.  Then I Love Lucy director Marc Daniels (who directed the first season) suggested an actress he worked with in New York, Vivian Vance.  Vance had a successful Broadway career and had spent twenty years on stage acting in various plays until re-locating to Hollywood in the late-1940s.  She appeared in a couple films, but by 1951, she was still relatively unknown outside of the Broadway circle.  She just happened to be appearing in a revival of Voice of a Turtle in La Jolla, California.  Arnaz and head writer, Jess Oppenheimer, drove down to see Vance and hired her on the spot. Vance was reluctant to give up her stage career for the unknown medium of television, but friend Daniels convinced her it’d be her big break–and it was.

With all the pieces put in place, it was time to start producing I Love Lucy.  Desilu purchased two soundstages and tore down the dividing wall to create one large room that could hold four separate stages.  The Ricardos’ living room was the larger, permanent stage.  The Ricardos’ bedroom was typically in the smaller stage to the left and the kitchen was the small stage to the right.  The other stage would often be the Tropicana.  The walls of the small stages had wheels that allowed them to move around.  Oftentimes, when a scene with a large amount of action was filmed, the walls of the set would be rolled in front of the Ricardos’ living room set.  Case in point, there is a blooper in the famous Vitameatavegamin episode (#30 “Lucy Does a TV Commercial”).  When Lucy comes staggering out of her dressing room (plastered on Vitameatavegamin, alcohol 23%) and the stage hands are searching for Ricky, you can see the Ricardos’ living room between the Vitameatavegamin set and Ricky’s set where he performs.

CBS wanted Arnaz and Ball to use the cheaper kineoscope and to film their show in New York.  Arnaz and Ball informed CBS that not only did they plan on remaining in Los Angeles, but they also wanted to film their program on 35mm film, the same film used by the motion picture studios.  They wanted the whole country to see their program clearly, not just the East Coast and they wanted to have copies of their program–figuring that if it bombed, at least they’d come away with some “home movies” for their children. CBS complained initially about the increased cost of the film, but Arnaz, the shrewd negotiator he was, offered to deduct $1000/week from his and Lucy’s salaries in exchange for the right to use film and the rights to their show. CBS, figuring that this whole thing will never work, agreed.

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The “I Love Lucy” set.  This is an early season 1-2 episode based on the floral love seat in the living room.

Arnaz knew that Ball performed best in front of a live audience.  To accommodate a live audience, Arnaz had to equip his soundstage with bleachers.  He was also required by the fire marshall to bring the building up to code by adding bathrooms and other modifications required of a facility that is going to hold large groups of people.  In order to ensure that the cameras didn’t block the audience’s view of the action, Arnaz, along with Academy Award winning cinematographer, Karl Freund, devised the three camera technique.  This camera, nicknamed “the three-headed monster,” would film the action from three angles.  Then after production, the editors would splice together the footage to create the final show. This technique is still in use today.

The very first episode of I Love Lucy, that aired, was actually the second episode filmed.  Episode #2, “The Girls Want to Go to a Nightclub” is the first of many “versus” episodes.  In this case, it’s the men versus the women.  Lucy and Ethel want to go to a nightclub for the Mertzes’ anniversary and Fred and Ricky want to go to the fights.  Lucy and Ethel declare that they will find their own dates who will take them to the club.  Ricky informs Lucy that he and Fred will do the same.  Enlisting the help of an old friend, Lucy gets herself and Ethel set up as Ricky and Fred’s blind dates.  Except, the girls aren’t just coming as themselves, they show up dressed as hillbillies.  This is the first of many episodes where Lucy tries to pull a fast one on Ricky.  Arnaz made it clear to the writers from day one that while Lucy can play tricks on Ricky, he didn’t want Ricky to look like an idiot.  Ricky either needed to be in on the joke from the beginning or figure it out before Lucy succeeded.  In the case of this episode, Lucy blows her cover by offering to go grab cigarettes for everyone, stating that she knew where they were.  Ricky tells Lucy he knows it’s her and Ethel, they make up and all is well–except that the men end up at the fights with the ladies dressed to the nines.  Let’s just hope that a compromise was reached and maybe they went to the fights and the nightclub that evening.

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“Lucy Goes to the Hospital”

I Love Lucy was a success and was at the top of the ratings 4/6 years it was on television.  In 1953, Ball found out she was pregnant (with Desi Arnaz Jr.) and she, along with Arnaz, thought it was the end of the program.  However, it was decided that Lucy Ricardo would be pregnant too.  Desilu hired a priest, rabbi and minister to read the scripts and highlight any objectionable content.  All three religious leaders could not find any issues.  CBS allowed Ball and Arnaz to go ahead with their plan and Lucy Ricardo was set to have a baby.  The only stipulation being that the word “pregnant” could not be used on the show.  They had to opt for the funnier ‘spectin coming from Ricky.  Words and phrases like “infanticipating” and “having a baby” were used instead.  The episode where Lucy gives birth to Little Ricky was the highest rated episode of any television show (at that point) and even got a higher rating than Dwight Eisenhower’s inauguration that took place the following day after Little Ricky was born. During this time, Arnaz invented the re-run by re-airing old episodes of I Love Lucy.  He wanted to give Lucy time to recover.  To make the episodes “fresh,” he and Frawley and Vance filmed new flashback scenes to introduce the episodes.  When these repeats garnered the same or higher ratings than the original airing, it was decided to forgo the new flashback footage and just re-air the episodes as-is.

I Love Lucy enjoyed huge success during its original six year run, winning multiple Emmy Awards and achieving high ratings.  It ended its run #1 in the ratings.  However, I Love Lucy has achieved even greater success in the decades since.  It is estimated that I Love Lucy has never been off the air since its debut in 1951.  Ball’s face is one of the most widely recognized faces in the world.  There are new generations of fans discovering I Love Lucy each and every day.  It is truly an indelible part of pop culture and television history.

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My Top 5 Favorite Episodes of I Love Lucy:

1) Episode #114, “L.A. at Last!”

The Ricardos and Mertzes finally make it to Hollywood.  After checking into their hotel at the Beverly Palms Hotel, Lucy and the Mertzes are on the prowl for movie stars.  They decide to go to “the watering hole,” aka The Brown Derby for lunch and celebrity spotting.  Ethel manages to embarrass herself in front of Eve Arden and Lucy ends up embarrassing herself in front of William Holden.  The true gem of this episode is later, when Ricky, newly employed at MGM, meets Holden.  Holden offers to give him a ride to his hotel.  Ricky, unknowing about what transpired at the Brown Derby earlier that day, asks Holden if he’d mind coming in to meet Lucy.  Lucy, understandably freaked out, but forced into meeting Holden, tries to disguise herself with a scarf, glasses and fake putty nose.  The funniest part of the entire episode is the look on William Holden and Desi Arnaz’ faces when Lucy turns around after having re-shaped her nose.

2) Episode #147, “Lucy Gets a Paris Gown”

In Paris, Lucy makes it known to Ricky that she wants a Jacques Marcell dress.  Ricky, not wanting to pay the huge price tag, says no.  Lucy, not willing to give up, stages a convincing hunger strike in protest of Ricky’s decision.  Ricky, feeling bad for Lucy, buys her the dress, but then discovers that Ethel has been sneaking food to her.  The dress is returned and Lucy is fuming. To appease Lucy and “cure” her of her desire for high-end French fashion (which Ricky and Fred think is ridiculous), they find some potato sacks, a horse’s feedbag and a champagne bucket and have two Parisian original gowns designed and created: one for Lucy and one for Ethel.  The funniest part of this episode is when Lucy and Ethel realize that they’ve been duped and attempt to hide under a tablecloth, that they apparently steal from the restaurant as they run away.

3) Episode #81, “The Charm School”

After an upsetting party where Lucy and Ethel feel ignored by their husbands, especially when the date of another guest attracts all their attention, Lucy and Ethel decide that their husbands are bored with them.  Lucy finds out that the woman who came to her party the night prior had just finished a course at “Phoebe Emerson’s Charm School.” Lucy and Ethel sign up and are put through a charm regiment that involves learning to walk, speak and dress like a charming lady.  The time comes for the big reveal and Ricky and Fred are speechless.  The funniest part of this episode is when Lucy opens the door to let glammed-up Ethel in.  As she opens the door, there’s Ethel leaning against the door frame, dressed in a one-strapped, skintight, leopard print dress with a cool snake-like thing around her arm.

4) Episode #23, “Fred and Ethel Fight”

The Mertzes are fighting (because Ethel said that Fred’s mother “looked like a weasel,” to which I say: “Fred’s mother is still alive?”) and Lucy decides to invite each one over for dinner without the other one knowing.  She lets Ricky in on the plan.  Ricky works with Lucy trying to get Fred and Ethel back together, but during course of conversation, he and Lucy end up getting in a fight.  Now it’s Ethel and Fred’s turn to try and get Ricky and Lucy back together! The climax of the episode is when Ricky stages a fake fire in the apartment, so that he can “save” Lucy and be a hero.  The funniest part of this episode is when Lucy wants to pretend like she was hit by a bus and has Ethel help her put on casts and a metal arm brace thing and then Ricky stages the fake fire which Lucy doesn’t know is fake.  Lucy freaks out trying to grab things, casually tossing them out her 4th story window.  She grabs some dresses and her huge jug of henna rinse. Then she makes a rope with a bedsheet and ties it around herself, but neglects to tie the other end to anything.

5) Episode #122 “The Star Upstairs”

Lucy discovers that she has met 99 movie stars and wants to meet one more so she can have an even hundred.  She reads a blind item in the paper that a big star is staying in the penthouse of a local hotel for some rest and relaxation.  Lucy instantly jumps to the conclusion that the star is in her hotel, and after pressing the bellboy for details, her assumption is confirmed–Cornel Wilde is staying in the penthouse right above the Ricardos’ hotel room! Lucy blackmails the bellboy into letting her borrow his outfit so she can deliver the paper.  That scheme fails wholeheartedly.  In the next attempt, Lucy hides under the bellboy’s cart.  Through the course of events, Wilde ends up thinking that Bobby is a really talented ventriloquist who can throw his voice across the room.  The scheme comes off well, but Lucy ends up being left behind in Wilde’s room.  Desperate to get out, she attempts to climb down the balcony using a makeshift rope that she crafts out of a beach towel.  The funniest part of the entire episode is Ethel trying to distract Ricky from seeing Lucy’s legs dangling from the balcony.

The Busby Berkeley Blogathon– “Pettin’ in the Park”

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I’ll admit that Busby Berkeley isn’t one of my favorite figures from the classic era of Hollywood.  While I recognize that his choreography is unique and very creative, sometimes I find it a little tedious when there is a lot of it present in one film.  Some of the kaleidoscope numbers seem to just go on and on.  However, in the terms of the modern movie musical, Berkeley is a pioneer.  Not only for uniting song and visuals together, but also for his technical work when bringing the musical number to life on screen.  As a choreographer,  Berkeley didn’t just merely have the chorus girls tap out a syncopated beat and move left to right within the constraints of the stage.  Berkeley had elaborate soundstages built to showcase his numbers.  Other routines he created featured large winding staircases, large sets of risers to feature multiple layers of dancers, enormous fountains and more.  Berkeley’s set pieces not only made use of the stage itself but all the vertical space above.  The dance numbers are always over the top and very much in rhythm.  Berkeley’s heyday was in the early 1930s, before the production code was enforced (this era is also known as “pre-code”).  Many of Berkeley’s dance numbers can also feature some racy elements that many people may find surprising for an eighty-plus year old film.

One of Berkeley’s raciest pre-code films is undoubtedly 1933’s The Gold Diggers of 1933 and despite what I said about not being a huge fan of Berkeley, I love this film.  Starring the usual Berkeley pre-code musical suspects: Dick Powell, Ruby Keeler, Ginger Rogers, Ned Sparks, and Joan Blondell, The Gold Diggers of 1933 features Powell as a songwriter who is hired to write the music for girlfriend Keeler’s new show.  The opening number, “We’re in the Money” performed by Rogers, is pretty racy for a 1933 film as the girls appear to only be clad in a coin cape and bra with a large coin serving as a pair of panties.  Rogers’ large coin is ripped off her after the number when the costumes and set pieces are repossessed.  Despite the scantily clad dancers in this number, this is hardly the raciest production in the film–that honor goes to “Pettin’ in the Park.”

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Ruby Keeler and Dick Powell are “pettin’ in the park.”

“Pettin’ in the Park” features Dick Powell and Ruby Keeler “on a date” with Powell reading an excerpt from the book, Advice to Those in Love.  The main crux of the advice is that spending time outside with your partner is a sure-fire way to get them “in the mood.” Powell starts crooning a catchy tune while Keeler clomps around on stage (I don’t think she’s a good dancer, definitely not graceful).  The song Powell is singing is a little ditty entitled, you guessed it, “Pettin in the Park.” Keeler joins in on some of the verses. It features immortal lyrics like this:

Pettin’ in the park…bad boy
Pettin’ in the dark…bad girl!
First you pet a little
Let up a little, and then you get a little kiss!

Suddenly a box of animal crackers (that Keeler had on her person for whatever reason) transforms into a zoo with a park scene.  There are dozens of couples on screen “petting” one another.

Then, this is where the musical number gets bizarre.  Powell starts really taking the petting advice from his self-help book to heart, and he gets a little too “handsy” for Keeler’s taste in the back of a car.  She bails on him, on a pair of roller skates no less, and heads home.  Suddenly a whole line of roller skating policemen emerge, along with a “baby” played by Billy Barty.  He is wearing a big bonnet and sitting in a baby carriage. He then rolls through the scene while shooting spitballs.  Barty is absurd, because it’s obvious he’s not a baby–but rather a little kid (Barty was born a dwarf.  His full adult height was 3’9).  The cops then go after the baby.  They try to grab him, he ducks and they roll past him and away.

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“Baby” Billy Barty

Next, we’re treated to a scene of this park as it progresses throughout all the seasons.  We first see the chorus girls sporting winter fashions while they brave a snowstorm.  Then the scene progresses into the spring and summer.  We see all the petting couples lying on benches.  The women are wearing flimsy white dresses.  Everyone’s in blissful “Pettin’ in the Park” glee, until oops, it’s fall now.  A rainstorm breaks out and the women run for cover, hiding behind a series of dressing rooms located behind one large curtain–it looks like separate rooms though.

The women remain in silhouette as they remove their wet clothing and get into something more comfortable.  This is probably one of the most risque scenes that has ever appeared in a pre-code film.  It is obvious that most of the women are topless or maybe even nude, as they change into something more comfortable.  Lecherous baby Billy Barty is back, this time sporting rain gear.  With a mischievous grin and shifty eyes, he raises the curtain.   The ladies’ bare legs slowly come into view and they are now sporting sexy new outfits.  Except the outfits are not sexy at all.  All the ladies emerge from the curtain wearing metal clothing.  Almost a literal chastity belt, if you will– the perfect outfit for any “pure” woman.

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One of the raciest scenes in pre-code

The men are understandably a little disappointed and perhaps are in a little bit of pain, physically.  We’re back to Powell and Keeler, who is also now sporting metal clothing.  Billy Barty is to the rescue however, as he hands Powell a can opener.  The number ends with a suggestive shot of Powell cutting Keeler’s “dress” with the can opener.

This number would never be accepted today.  With today’s intense focus on sexual harassment, consent, and women’s roles in society, this number would have probably spawned numerous boycotts, social media diatribes, statements from the filmmakers expressing regret for having ever conceived of the number, hashtags, and everything else that could be done to express rage or apologize.  It is important to look at this number from a 1933 perspective, however.  It is a perception that people used to be a lot more prim and proper “back in the day,” or at least until the Sexual Revolution of the 1960s and subsequent Women’s Rights movement in the 1970s.  However, it is obvious that even in 1933, the ideas about sexual roles were around even then–men are the pursuer and the women are the ones being pursued.  Sex was also on the forefront of almost any romantic couple’s minds.  Were the couples that were “pettin’ in the park” married? Probably not.  Powell and Keeler’s characters were not, yet off goes the chastity belt (though they marry by the end of the film).  One of the great things about “Pettin’ in the Park” is that the film is so delightfully indiscreet when it’s putting on the guise of being discreet–the perfect quality in any pre-code film, in my opinion.

Pettin’ in the park… bad boy!
Pettin’ in the dark… bad girl!
Dad and mother did it,
But we admit it,
I’m pettin’ in the park with you.