Category Called Comedy #7

 

CCC: A&C Celebrate Strange Birthday, For Harold's Sake, Ty and Loretta's Second Honeymoon, and Stooge Inflected 3-D

HAPPY BIRTHDAY FOR THEM --- The cake and cutting and (maybe) eating was genre all its own where selling meant anything to arrest eyes traveling over newspapers, magazines, print media of any sort. You may bet that far more saw these birthday snaps than paid to see Abbott and Costello Meet Frankenstein, consumption of movies by most seldom rising to anything past moment’s glance at silly stills in a morning edition and then off to activities, or recreation, other than filmgoing. Anxiety to draw patronage was profound. Was Glenn Strange as the Frankenstein monster cutting his cake with A&C incentive enough to go? Unless you were predisposed to attend Abbott and Costello Meet Frankenstein, probably not. To pose for publicity in whatever capacity, and there was myriad of capacities, was in ways harder work than performing for the camera. It certainly took as much time, for stills were never caught on a fly. They had to be lit, composed to convey what was needed, specific purpose always to be served. Images here commemorate what is presumably Glenn Strange’s birthday, but we assume more than two were taken. Completists may have a dozen different captures, each closely wed to the other, all bound for print publication in advance of playdates. Bud and Lou might well have asked, Of what use is this?, but being pros they were, there was no need to wonder. Months later glance through a day’s delivery would reacquaint them with the hour or so spent on set to celebrate Glenn’s natal day. Always I ask: Did anyone eat the slices served? Cake ladled with lard click always for me, supermarket baked sections generous with them. All hail this underappreciated treat.

FOR HEAVEN’S SAKE (1926) --- A smaller Harold Lloyd feature, like Hot Water more a matter of shorts stitched together, in this case the second half less inspired than the first. Buster Keaton had emphasized from his full-length start that two-reel formats would not work if grafted onto six-reels. His and Lloyd’s tended toward brief as result, especially where stories were slight and narrative was carried by situation alone. For Heaven’s Sake sees wealthy wastrel Harold, that character again, supporting a settlement house so he'll have access to Jobyna Ralston, their mid-way misunderstanding readily resolved and wedding to proceed, so why last-minute race to reach the alter with guests willing to wait however long it takes, Girl Shy minus suspense and better gags that lent urgency to the previous feature. Herding a trolly filled with drunks may have seemed promising to gagman meetings, but outcome doesn’t always fulfill promise, too little at stake to sustain humor hoped for. For Heaven’s Sake plays like Lloyd filling volume’s order, his yield overall good, maybe best of then-popular comedians. Whatever disappointment crowds felt would be forgiven come a next Lloyd feature, in this case The Kid Brother and then Speedy, both improvements upon For Heaven’s Sake. Ask anyone, especially Harold adherents, if For Heaven’s Sake is funny, and they will say yes, moments splendid throughout and there are plenty of them. Maybe that is all to count in a long run, especially where end result lasts below an hour with standards more/less met. For Heaven’s Sake has not surfaced so far on Blu-Ray. Maybe Criterion opted out of further Lloyd releases, their having quit short of everything being released (none of the talkies so far). TCM fortunately uses For Heaven’s Sake enough for it to stay viable, theirs the estate-authorized and preferred, meanwhile PD uploads spread over You Tube, mute since underlying music is protected, so viewing will require needle-drop to whatever is handy. Good luck with that.

SECOND HONEYMOON (1937) --- Fox makes Code-era argument for adultery and crack-up of marriages that stand in a way of pretty people Tyrone Power and Loretta Young coupling at close. What’s so the matter with Young’s spouse, Lyle Talbot? Nothing to start … just wait for him to commit small wrongs that will make OK renewed union of wife Loretta with playboy rascal and her ex Ty, Second Honeymoon further instance of stars mesmerizing to us being irresistible to each other, vows taken an obstacle easily overcome in spite of what we imagine was Codes of conduct otherwise enforced. I’m seeing more and more rules bent to bring together screen lures whatever the morality of their actions. There’s always the goat, well-intentioned or not … remember Otto Kruger giving up Joan Crawford to Clark Gable in Chained as if he had any other choice to make? Same with Lyle Talbot, however dull or business-obsessed, yet hardly deserving a mate so blithely snatched by Tyrone Power, marriage an elastic bond where Power and Loretta Young are parties predestined to merge. Might male audience members resent Power for husband-be-damned outlook? And Young’s character … did extraordinary looks spare her seeming a slut given this circumstance? Implications were diluted, very much deliberate, by comic support to keep audience eyes off the ball, thus Stuart Erwin, Marjorie Weaver, Ed Bromberg … each unreal as to distract from reality of a marriage playfully dismantled. Pictures like Second Honeymoon were not meant to be delved so deeply, but issues are there for the delving. I’m just surprised the PCA let so much of this go by without objection. Second Honeymoon hasn’t shown up on TCM to my knowledge, though there is a DVD in one of the Tyrone Power box collections, and it looks OK enough.

PARDON MY BACKFIRE (1953) --- May finally comprehend my problem with the Stooges. Their gagging is grotesque. Look at Larry pulling a wire into his ear, through his head, and out his nose as thanks to 3-D we clearly see the paste-on device he’s using to affect the effect. But is this funny or what they nowaday call “cringe”? I always thought Moe had a mean face. It helped to learn later what a nice offscreen guy he was. Did fans really wander into his yard to be greeted warmly when Moe detected them? Pardon My Backfire was watched because of 3-D, being an extra with Twilight Time’s The Mad Magician. Private sellers at Amazon want $55 for a second-hand disc, which many would give for Backfire and Spooks alone (both the 3-D Stooges are there), and never mind Vincent Price. The boys have a garage from which they don’t wander (no exteriors), sixteen minutes of them capturing a trio of robbers plus moll. Countless gags feature objects, eye pokes, etc. thrust forward to the camera, fun when the films were fresh, but how many theatres in benighted days of depth got projection right as in two-print synchronized right? Too few from what reading on the period suggests. I’d guess Pardon My Backfire was a bigger spend than customary for the Stooges, though chances are some patrons went, especially children, just to see what their favorite team would do with the process. If idea is to demonstrate your 3-D for guests, then Pardon My Backfire is undoubted best for what the gimmick could give within short term of time and patience. Being asked to switch off before those sixteen minutes are up may be cue to chuck future runs of 3-D and the Three Stooges. For a meantime however, keep Pardon My Backfire in reserve if screening novelty calls for it.