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Myrt and Marge (1933) - Ted Healy and His Stooges

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Offline metaldams



      MYRT AND MARGE is a 1933 Laemmle, Jr. era Universal b film that has amongst it’s cast members Ted Healy, Bonnie Bonnell and some dudes named The Three Stooges.  Very much like with TIME OUT FOR RHYTHM, I am mostly going to review this from a Stooge perspective.  I’ll briefly say from a non Stooge perspective, the film is a pre code, backstage comedic musical about a failing ensemble production that is trying to survive.  There are a lot of different characters, a bunch of leggy chorus girls doing synchronized dance routines and even an openly homosexual character named Clarence who is quite funny.  His role would never be allowed, at least as openly, in code era Hollywood and frankly, he has more individual character than Moe, Larry and Curly do in this feature.

      Yes, this is a Healy era performance and the boys are simply Healy’s Stooges.  Not much is done to make Moe, Larry and Curly stand apart from each other.  They play stage hands and Healy is their boss.  They do get a lot of screen time, so that’s a definite plus.  The majority of the film is them spewing out lines and Healy gives them a quick back hand slap, gag over.  It could be any Stooge dishing out any line, it doesn’t matter, they’re mostly interchangeable at this point.  It’s all very random and more proof the boys needed to get away from Healy to develop their on screen characters.

      There is one part, earlier in the film, where Moe does talk about being the boss and taking things over.  Curly and Larry even agree, but Healy quickly shuts them down and we’re back to normal Healy era stooging.

      Healy himself does get a musical number with the boys playing musical accompaniment, including Larry on the violin.  It’s a Jolson like number with “Sammy” and “Mammy” bits similar to what we’ll see Curly do in ALL THE WORLD’S A STOOGE.  There is also another musical number later in the film where Healy and the boys sing background harmony.

      The best Stooge moment is about the last five minutes or so, and there is no Healy to be found.  The big dance and musical finale has this giant cake like spiral thing that spins around and has all the chorus girls dancing down.  Curly at one point gets tossed inside in a slapstick manner, revealing Moe and Larry maneuvering the thing from the inside so it spins.  At one point, all three are sitting down dancing in harmony only for Moe to give Curly a well timed poke.  There are also windows where the boys can see the outside.  The sea of chorus girl legs is what can be seen and Curly pokes his head out excitedly.  Moe drags him in, Curly gets smacked and then they do the routine where they blow something out of Curly’s ear.  This all goes by very fast, but these brief Stooge moments are the most Stooge like things in the entire film.

      MYRT AND MARGE is definitely proto-Stooges, they aren’t in prime form yet.  Still fascinating to watch once for any Stooge fan and if you like pre code back stage musicals, perhaps more than once.
   
- Doug Sarnecky


Offline Big Chief Apumtagribonitz

Somebody at some point added Columbia sound effects for the stooge stuff.  This is as good as Bonny ever got - she's not bad at all.  The spiral "cake-like" thing is a coiled snake, I think, and Healy is revealed as the head.  Metal, it might interest you that you can youTube Trixie Friganza playing bass fiddle.  She plays it very much like W C Fields does in The Barber Shop.  Who got that technique from whom is a question that probably does not need answering.


Offline metaldams

Somebody at some point added Columbia sound effects for the stooge stuff.  This is as good as Bonny ever got - she's not bad at all.  The spiral "cake-like" thing is a coiled snake, I think, and Healy is revealed as the head.  Metal, it might interest you that you can youTube Trixie Friganza playing bass fiddle.  She plays it very much like W C Fields does in The Barber Shop.  Who got that technique from whom is a question that probably does not need answering.

Agreed about Bonnie here.  I neglected to mention her other than the fact she appears, but she seems more comfortable in front of the camera versus the MGM shorts.  She’s great trying to steal the spotlight from the chorus girls and seems comfortable in the dialogue scenes.

Wasn’t able to find Trixie’s bass fiddle scene.  If you can find the link or title of the video I’d be much obliged.  Music style compared to Fields aside, do her bass fiddles pro create?
- Doug Sarnecky



Offline metaldams

Type her name in on youTube, it's the first thing that comes up for me.

Ah yes, now I see it.  I was previously being too complicated and typed in “Trixie Friganza bass fiddle.” 
- Doug Sarnecky



Offline Big Chief Apumtagribonitz

I would say, in fact, that in a movie full of very lame jokes, where unfortunately Healy gets a lot of the lamest, the Bonnie/Clarence exchanges, though no classics,are about the sharpest in the whole picture.  Gracie Allen style, and not as good as Gracie, it goes without saying, but unique enough that you can fairly call them Bonnie style.


Offline HomokHarcos

Moe, in his autobiography stated that when they broke off with Ted Healy they were very close to working for Universal. Thankfully that never happened and they went to Columbia and worked in their short films. If they ended up at Universal they might have been fortunate enough to be starring comedians like Abbott and Costello were, although not up to their two reel standards, or they could be used as comic relief like here. This movie is not too memorable, it was made to show off Myrt and Marge on the big screen, a radio series from the time. It's odd seeing Moe get bossed around. The plot kind of reminded me of Room Service with the Marx Brothers, about a struggling group trying to put on a show.


Offline Dr. Mabuse

Moe, in his autobiography, stated that when they broke off with Ted Healy they were very close to working for Universal. Thankfully that never happened and they went to Columbia and worked in their short films.

When it came to sound, Universal did not thrive in the two-reel comedy market and the unit folded in 1934. Carl Laemmle's studio had one short-subject star during the 1930s:  Oswald the Lucky Rabbit.  We can be grateful that the Stooges and the Columbia Shorts Department arrived at the right time.


Offline metaldams

I was researching Universal’s short subjects department recently.  Slim Summerville made about 20 shorts, but yeah, they’re impossible to find these days.  They did indeed fold.

Watching the new Charley Chase set, I also heard Richard Roberts commentaries.  He said when Roach’s shorts department folded, the only studios making two reel comedies were Columbia, RKO and Educational.  Educational was gone in 1939, so going into the 50’s, the only choice for The Three Stooges for two reel comedies besides Columbia was RKO.
- Doug Sarnecky


Offline HomokHarcos

I think Columbia started their two reel department right after Sennett closed his.


Offline metaldams

I think Columbia started their two reel department right after Sennett closed his.

I removed all the excess posts for you, Homok.  You’re right, Sennett closed in 1933 and Columbia shorts started around the same time.
- Doug Sarnecky


Offline Big Chief Apumtagribonitz

It occurs to me suddenly, speaking of Bonnie and Gracie Allen, that Burns and Allen's breakout hit was a routine called Lamb Chops, written by Al Boasberg, who was also Jack Benny's head gag-man during Jack's radio breakthrough, and who was also the script doctor credited with making A Night at The Opera the smash that it was.  Al Boasberg is the credited director of Myrt and Marge.  My five bucks says that Boasberg was very involved with Bonnie's Most Improved Player performance here in Myrt and Marge.


Offline metaldams

It occurs to me suddenly, speaking of Bonnie and Gracie Allen, that Burns and Allen's breakout hit was a routine called Lamb Chops, written by Al Boasberg, who was also Jack Benny's head gag-man during Jack's radio breakthrough, and who was also the script doctor credited with making A Night at The Opera the smash that it was.  Al Boasberg is the credited director of Myrt and Marge.  My five bucks says that Boasberg was very involved with Bonnie's Most Improved Player performance here in Myrt and Marge.

Interesting connections and I knew the name Al Boasberg was familiar somewhere.  Interestingly enough, I will be reviewing INTERNAtIONAL HOUSE next, which has Burns and Allen - amongst others.
- Doug Sarnecky