Classic Films in Focus: THE BEAUTIFUL BLONDE FROM BASHFUL BEND (1949)

If you know much about writer and director Preston Sturges, you might well go into The Beautiful Blonde from Bashful Bend (1949) expecting too much. Sturges, after all, was the brilliant creative force behind smartly daring comedies like The Lady Eve (1941), Sullivan’s Travels (1941), and The Miracle of Morgan’s Creek (1944), but this Western musical comedy starring Betty Grable lacks the punch of those classic films. Despite that, The Beautiful Blonde from Bashful Bend is still amusing enough to be worth watching, especially because of a sprightly supporting cast and several instances of Sturges’ typically outrageous humor.

The story follows Freddie Jones (Grable), a feisty singer in a frontier saloon who gets into trouble when she accidentally shoots a judge in the rear end while aiming for her faithless lover, Blackie (Cesar Romero). Freddie and her pal, Conchita (Olga San Juan), hightail it out of Bashful Bend and impersonate a schoolteacher and her Native American maid in another town further down the railroad line, where Freddie entertains the advances of a wealthy local (Rudy Vallee). Trouble pursues the girls when Blackie discovers their hiding place and the resulting shenanigans cause a shootout in the town.

Grable is fetching as the trigger happy heroine, and her musical number early in the picture is fun, especially as her backup singers react to her plans to finish the song with a bang. Cesar Romero projects his customary charm as her roving paramour, and Rudy Vallee is reliably cast as the fussy golden boy. The romantic relationship between Freddie and Blackie sadly lacks development, and the joke about the judge’s posterior gets old by the end of the picture, but Sturges’ usual crew of character actors liven things up, and Sterling Holloway is hilariously weird as a crazy local youth. There’s also a great cameo appearance by Margaret Hamilton early in the movie. Upstaging all of these comedians is the simply delightful Olga San Juan as Freddie’s Mexican friend, Conchita. Whatever the other failings of the picture might be, her knowing, naughty performance makes the whole thing worthwhile.

Be sure to catch the strains of the old murder ballad, “Frankie and Johnny,” in the score whenever Freddie and Blackie get together. Look for more of Betty Grable in Down Argentine Way (1940), I Wake Up Screaming (1941), and How to Marry a Millionaire (1953). Best remembered today for his role as the Joker on the 1960s Batman series, Cesar Romero can also be found in Wee Willie Winkie (1937), Orchestra Wives (1942), and Vera Cruz (1954). Rudy Vallee plays similar characters in The Palm Beach Story (1942) and The Bachelor and the Bobby-Soxer (1947). Olga San Juan never became a star, but you can find her in a couple of comedies, including Blue Skies (1946), Variety Girl (1947), and One Touch of Venus (1948). Finally, ask the kids if they recognize the distinctive tones of that maniacal redheaded fellow; Sterling Holloway provided the voice for several memorable Disney characters, including the Cheshire Cat and Winnie the Pooh.

An earlier version of this review originally appeared on Examiner.com. The author retains all rights to this content.

Classic Films in Focus: ALICE IN WONDERLAND (1951)

As a longtime devotee of Lewis Carroll, I'm well aware that Disney's Alice in Wonderland (1951) takes some liberties with its source material, but it remains one of my favorite classic Disney films nonetheless. It's certainly one of the weirder Walt pictures, thanks to Carroll's strange characters and penchant for Victorian nonsense, but it paints a vibrant, memorable picture, and it also offers some fiendishly catchy tunes and a number of great voice performances from classic character actors like Sterling Holloway and Ed Wynn. More importantly, Alice in Wonderland breaks away from Disney's princess in peril tradition to depict a determined heroine making it through her adventures all by herself, without a single prince in sight.

Like Carroll's original story, the Disney adaptation follows the adventures of young Alice (Kathryn Beaumont) as she chases the White Rabbit (Bill Thompson) into Wonderland. Once there, Alice encounters all sorts of odd inhabitants, including the grinning Cheshire Cat (Sterling Holloway), the Mad Hatter (Ed Wynn), and the Caterpillar (Richard Haydn). She also makes the acquaintance of the murderous Queen of Hearts (Verna Felton), who invites Alice to play croquet but also threatens to cut off her head. Alice wants to return home, but first she must stand trial before the Queen's court and confront her strange adversaries.

Carroll's two books, Alice's Adventures in Wonderland and Through the Looking-Glass, revel in in-jokes and clever wordplay, and most of this gets streamlined or eliminated in the Disney film, although the core story about a girl's adventure remains the same. Alice is grappling with the strangest adventure of all, that of growing up, and to her the world of adults is as bizarre and incomprehensible as anything Wonderland has to offer. Like Wendy in Peter Pan, Alice stands on the edge of leaving childhood behind, but unlike Wendy Alice doesn't have to play second fiddle to any boys. She must navigate complex social rules, conquer etiquette, and learn to deal with false friends. That might not sound as exciting as fighting pirates or slaying a dragon, but for Alice it turns out to be quite a challenge, and her reward is not a prince but a reclamation of herself and her place in the real world. In an era when most Disney heroines passively waited for their princes to save them, Alice's story makes a very refreshing change.

Aside from its proto-feminist heroine, Alice in Wonderland offers plenty of charms in its bouncy tunes and crazy characters. "A Very Merry UnBirthday," "I'm Late," and even "Painting the Roses Red" have an infectious energy that makes them irresistible earworms (don't let your kids watch the picture if you aren't prepared to listen to them sing the songs for days afterward). Kathryn Beaumont, who would also provide Wendy's voice for the 1953 Peter Pan, gives Alice a very proper English accent without laying it on too thick, but the veteran character actors steal the show, especially Sterling Holloway as the mischievous Cheshire Cat. Ed Wynn, Verna Felton, and Richard Haydn are joined by Heather Angel, Thurl Ravenscroft, J. Pat O'Malley, and The Mellomen as some of Wonderland's other residents, and hardcore Disney fans will have no trouble recognizing most of their voices.

Alice in Wonderland has been adapted many times both before and after the 1951 Disney version, with the most recent big screen treatment also coming from Disney in 2010. For the sake of comparison, you might also have a look at the 1985 and 1999 TV movies, although the 1933 version might appeal more to classic movie fans, since it features W.C. Fields as Humpty-Dumpty and Cary Grant as the Mock Turtle (Sterling Holloway is in it, too, but in this earlier outing he plays the Frog). Brooke Shields plays Alice in a quick but crazy adaptation on a 1980 episode of The Muppet Show, and that's a fun one if you can track it down. Listen for Verna Felton as unpleasant matriarchal types in Dumbo (1941) and Lady and the Tramp (1955) and as the sweeter Fairy Godmother in Cinderella (1950). Don't miss Ed Wynn in Mary Poppins (1964), and be sure to appreciate Sterling Holloway's distinctive rasp in Dumbo, Mickey and the Beanstalk (1947), and, of course, the original Disney stories about Winnie the Pooh.

Classic Films in Focus: DUMBO (1941)

Disney classics are probably the one group of “old” movies that many people see even if they aren’t particularly enthusiastic about film. After all, these movies surround us throughout our lives, thanks in part to relentless Disney marketing. They inspire theme park rides and countless toys, harried parents trot them out to entertain moody toddlers, and they have become such a part of American childhood that you’d worry about a kid who doesn’t know who Dumbo is. With familiarity, however, comes apathy, if not actual contempt. We might easily take a movie like Dumbo for granted, especially because even the very youngest viewers seem attracted to it, but this 1941 animated feature can speak just as eloquently to a thoughtful adult who is willing to give it some time and attention.

You probably know the story. Dumbo is a baby elephant born into the circus, where his oversized ears become a source of embarrassment and endless abuse. As much as his mother loves him, she cannot protect him from the cruelty of others, and eventually she winds up imprisoned. Poor Dumbo, alone and frightened, has to find his own place in the circus, but he gets some help from a tiny mouse named Timothy and a flock of friendly crows. When Dumbo finally discovers his talents, he’s ready to confront those who mistreated him and take pride in his unique identity.

It seems like a simple story, and it is simply told, but there’s a lot of heartbreak and soul-searching in Dumbo. Anyone who has ever been teased or bullied will recognize the psychological damage that Dumbo endures. His mother’s peers criticize and reject him, the circus patrons mock and provoke him, and the clowns assume that nothing they do to him matters because “elephants ain’t got no feelings.” Dumbo is the individual as outcast, the lonely soul cast adrift on a cold sea. Neither his innocence nor his youth protect him. Difference marks him as the object of scorn and derision, and thus the little elephant stands in for all of the oppressed. His moment of terror and sacrifice, high on the burning circus platform, might as well be a crucifixion.

Think that’s reading too much into a children’s film? Look at Dumbo’s cinematic peers. Like Charlie Chaplin’s Little Tramp, he is a silent everyman, sweet-natured but suffering. Compare him to the iconic martyr in The Passion of Joan of Arc (1928); clown makeup takes the place of shorn hair and a straw crown. Despite his appeal to preschoolers, Dumbo is a deep character, embodying existential and spiritual questions of the most profound nature. His happy ending is hard won, and maybe even at odds with his essence, but that’s the one place where the story defers to its audience’s desire for poetic justice. Before that triumphant finale, Dumbo will break your heart, and that’s what makes it such a powerful and enduring film.

Forgive the stereotyped crows (at least they sing well), and listen for Disney voice regulars Sterling Holloway and Verna Felton as Mr. Stork and the elephant matriarch. Dumbo won an Oscar for Best Musical Score, and it should have won Best Original Song for “Baby Mine,” which could wring sentimental tears from a turnip. For more circus stories, see Chaplin’s The Circus (1928), the Marx Brothers’ At the Circus (1939), The Greatest Show on Earth (1952), and Jumbo (1962).

Classic Films in Focus: DANCING LADY (1933)

There's something of a kitchen sink feeling about Dancing Lady (1933) that is bound to pique the interest of any classic film fan. You want Busby Berkeley style musical numbers with lots of skin? Done. How about Joan Crawford, Clark Gable, and Franchot Tone in a steamy love triangle? Yes, you can have that, too. But wait, you say you want more? How about the official screen debut of Fred Astaire? Dancing Lady has that covered, as well. Just for kicks, it also throws in the Three Stooges yukking it up, Nelson Eddy singing, Sterling Holloway pitching a fit, and Eve Arden and Lynn Bari making early uncredited appearances. If it's not the best of the 1930s musicals (and it's definitely not), all of these goodies at least make Dancing Lady one of the most jam-packed, and certainly entertaining enough to be worth watching.

Joan Crawford stars as Janie Barlow, an aspiring dancer who gets a lucky break when a wealthy admirer named Tod Newton (Franchot Tone) helps her escape the burlesque shows for more legitimate theater. Tod has plans to make Janie the star of his bedroom as well as the stage, but Janie's gratitude only goes so far, especially after she meets Patch Gallagher (Clark Gable), a temperamental director who realizes that Janie has real talent. Tod ups the ante by proposing marriage, but Janie feels torn between her dreams of stardom, her feelings for Patch, and her opportunity to trade everything else for a life of leisure as Mrs. Tod Newton.

The story works well enough as a romantic drama, although Franchot Tone's character is rather hard to pin down; should we think he's a manipulative heel or a smitten guy just trying to get the girl by any means necessary? The real chemistry is clearly between Crawford and Gable, but there's still enough heat coming off of Crawford and Tone to keep things up in the air. In real life, Crawford carried on affairs with both Gable and Tone, and she actually married Tone in 1935 (they would divorce in 1939). Crawford is at her best in passionate clinches with both of her leading men, but her brief scenes with Astaire reveal the limitations of her abilities. He floats away, while she stomps out a hoofer's heavy beats, leaving the audience wondering exactly what kind of talent the show's managers think they see in her.

In keeping with its kitchen sink ambitions, Dancing Lady throws in musical numbers and comedy in more or less equal amounts with its drama. Imitating the successful 42nd Street (1933), which had come out earlier the same year, the movie offers a lot of chorus girls in weirdly suggestive outfits doing some very improbable dance routines, and this is certainly entertaining in its own way, although the choreography is not as eye-popping as that done by Busby Berkeley. Equally weird, and perhaps more entertaining, are the scenes featuring Ted Healy and the Stooges, especially the "brush-off" segment with the Stooges wrecking Janie's audition. Janie's sidekick, Rosette (Winnie Lightner), also provides some memorable laughs, as does May Robson as Tod's mostly deaf grandmother. Eve Arden and Lynn Bari appear only briefly, although Arden does get a few good lines. Sterling Holloway enjoys a more noteworthy role in which he huffs and puffs in vain at Clark Gable's Patch.

If you want to see more films directed by Robert Z. Leonard, try The Great Ziegfeld (1936), Ziegfeld Girl (1941), and In the Good Old Summertime (1949). For other Joan Crawford films with Clark Gable, see Possessed (1931), Love on the Run (1936), and Strange Cargo (1940). Franchot Tone earned an Oscar nomination for Best Actor for Mutiny on the Bounty (1935), in which Gable also stars, but you can also catch him with Jean Harlow in The Girl from Missouri (1934) and with Bette Davis in Dangerous (1935). If you can't get enough of the early 1930s musical style, move on to 42nd Street (1933), Gold Diggers of 1933 (1933), and Footlight Parade (1933).