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The Cuckoos (1930) - Wheeler and Woolsey

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Offline metaldams

      (Bert) Wheeler and (Robert) Woolsey.  Say the names to anyone but the most dedicated old film comedy aficionado and you’ll be met with a blank stare.  However, in their day, they were RKO’s big comedy team and were serious box office competitors with Laurel and Hardy and The Marx Brothers. The start of their film career can also draw some parallels to Abbott and Costello.  Both teams first film appearance were as comedy relief in a film they did not star in.  1929’s RIO RITA was to Bert and Bob what ONE NIGHT IN THE TROPICS was to Bud and Lou.  In RIO RITA’s case, it happened to be RKO’s biggest box office hit ever until KING KONG topped it four years later in 1933.  So after a lot of red tape and delays, Bert and Bob, both solo stage comedians who teamed up for one previous play and film, were now an official comedy team and would remain so for 21 films.  THE CUCKOOS is their first film where they get star billing and like with Bud and Lou in BUCK PRIVATES, elements of what would make Bert and Bob work are there, but are not used in full confidence.

      The romantic couple.  The bane of many a comedy feature.  Yes folks, they’re here too.  They do get a couple of big musical numbers together and yeah, Wheeler and Woolsey do help them in their plight.  The Marx Brothers did it, Abbott and Costello did it, Laurel and Hardy did it - it became a part of film comedy when silent cinema died and the stage and music became more an influence.  The thing with Wheeler and Woolsey is it was possible to have the romance and music without having to resort to bland romantic couples.  Both comedians are more than capable of doing unique song and dance numbers and in the case of Bert Wheeler, being a romantic leading man himself.  In fact, his regular leading lady, Dorothy Lee is also in this film and Bert and Dorothy do get a few delightful scenes together.  The musical number by the apple tree is great fun to watch as is their first kiss scene and beats the heck out of the humorless couples we get most of the time in scenes like this.  Dorothy Lee was petite and gorgeous with a high pitched voice reminiscent of Betty Boop.  A total cutie who would go on to make many Wheeler and Woolsey films more enjoyable.  As petite as Ms. Lee was, Bert Wheeler was about the same size.  Wheeler had an athletic build and was a good physical comedian, the two displayed a pleasant innocence together that doesn’t work as well when the glamorous types try it.  So yeah, that outside romantic couple is completely unnecessary and in future Wheeler and Woolsey films, we’ll be seeing less of their type. Bert and Dottie will do just fine.

      Robert Woolsey usually gets a more over the top comic romantic partner.  Another diminutive comedian, he’s a cigar chomper and master wisecracker - think a mix of Groucho Marx with the look of an older George Burns.  In THE CUCKOOS, his romantic partner is played by the much taller Jobyna Howland.  Woolsey only falls for her when he finds out she is loaded with money.  A marriage proposal to Howland from Woolsey consists of him asking to marry him so he won’t have to work anymore!  Familiar concept?  Yeah, speaking of Groucho, very Groucho and Margaret Dumont like.  The big difference is Dumont’s contribution to the comedy is keeping her dignity and acting appalled at the mischief surrounding her.  Ms. Howland joins in on the fun, eventually aggressively kissing Woolsey after he asks a couple of times and even manages to lift him high in the air - with the aid of a hook and wire, of course!  Not better or worse than the way Dumont handles this kind of thing, but different and all in good fun.

      There are a few other good comedy scenes.  One thing about Wheeler and Woolsey films are they are very pre code.  There is a scene at a slot machine where a very attractive woman, played by Lita Chevret, manages to get lucky with winnings at said machine and keeps her earnings in her stocking.  She has no problem exposing her shapely leg, yet when Bert and Bob find ways to pay attention to it, she’ll do what she can to hide it.  The fun continues when jealous of her ability to get money out of the machine, Bert and Bob both wrestle her to the ground trying to get as many quarters for themselves as they can.  There is also a fun scene where Bert and Bob are in bed trying to get some sleep and get interrupted by a wide variety of people, including some non PC caricatures like a Mexican Bandolero and a knife wielding Chinese man, the latter of which they wonder if they forgot to pay the laundry bill.  Earlier in the film they have a trippy discussion with a couple of young ladies at the breakfast table where Wheeler informs them he’s wearing poison ivy on his suit in honor of mother in law’s day.  They then go into the musical number, “Oh! How We Love our Alma Mater,” a number which would have fit in fine in any Marx Brothers Paramount film and shows how entertaining both comedians are working in a comic music and dance environment. Really good stuff.  There is also a scene where Bert is trying to sneak a beer barrel in his jacket across the border.  When asked about it, Robert Woolsey’s reply is, “goiter.”  BEER BARREL POLECATS, anyone?

      While there is plenty to recommend about THE CUCKOOS it works better as an introduction to Wheeler and Woolsey if you also happen to like very early talkies with straight, non comic musical numbers.  If not, you may want to start with other films.  THE CUCKOOS clocks in at 97 minutes versus the comfort zone of 60 - 80 minutes that usually works for films of this type and yes, there are a lot of musical numbers not involving the comedians where your mileage may vary.  Some of them are even shot in technicolor.  One such scene shows a score of scantily clad women in devil outfits managing to show lots of hip, leg, and fire and brimstone.  Thank God Joseph Breen saved us from such things a few years later!   [pie] Oh yeah, there’s also Bert Wheeler’s big finale cross dressing and attracting other men as a trick, not a favorite comic device of mine.  Again, your mileage may vary.  But yeah, if pre code, music and comedy are your thing, check this one out right away.  I will link below the DVD collection it is available.  If just comedy is your thing, start with other Wheeler and Woolsey films first, but you’ll enjoy this one once you work your way into it.

      A few more things.  Though uncredited, Roscoe “Fatty” Arbuckle did direct some scenes in this one and Bert Wheeler, years later, had nothing but nice things to say about the man.  Also, from Edward Watz, the same author of THE COLUMBIA COMEDY SHORTS book, is the definitive Wheeler and Woolsey book, which I will also link to below.  A lot of information in this and future Wheeler and Woolsey reviews will be from that book, which I can’t recommend enough.

      Since I don’t think many people have seen this one, my question is what have you seen from or know about Wheeler and Woolsey? 

https://www.amazon.com/Wheeler-Woolsey-Vaudeville-1929-1937-McFarland/dp/0786411414/ref=sr_1_2?crid=23FLMGTQ0DDH5&keywords=wheeler+and+woolsey&qid=1579229899&s=books&sprefix=Wheeler+%2Caps%2C173&sr=1-2

Edward Watz Wheeler and Woolsey book link

https://www.amazon.com/Wheeler-Woolsey-Comedy-Classics-Collection/dp/B01LTHLW8Q/ref=sr_1_5?keywords=wheeler+and+woolsey&qid=1579229962&s=movies-tv&sr=1-5

Buy THE CUCKOOS plus five other films here









- Doug Sarnecky


Offline Umbrella Sam

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I really should check out more of Wheeler and Woolsey’s films because I have liked all the ones I’ve seen so far. As you know metaldams, I really like COCKEYED CAVALIERS and, though I didn’t think it was great, I still enjoyed MUMMY’S BOYS (having read the Watz book, I was expecting that one to be really terrible). While THE CUCKOOS isn’t perfect, it does still show that these two had good chemistry together this early on.

Alright, I’ll start with the musical numbers. I like some of them, particularly OH! HOW WE LOVE OUR ALMA MATER, I’M A GYPSY, and, yes, even one of the numbers by the romantic couple: ALL ALONE MONDAY. None of them are as memorable as the songs in COCKEYED CAVALIERS (I swear, I’ll have AND THE BIG BAD WOLF WAS DEAD stuck in my head for the rest of my life), but they’re still nice and there’s a lot of energy in the dance routines. The other numbers aren’t necessarily terrible, but there are so many of them and a lot of them really feel like filler (seriously, what was the point of DANCING THE DEVIL AWAY?)

The romantic couple isn’t particularly memorable, and for that matter the main villain, the baron, isn’t all that interesting either. Thankfully, though, as the film goes along the focus becomes less and less on them and more on Wheeler and Woolsey. You make a really good point about the comparison between Jobyna Howland and Margaret Dumont. It’s an interesting take on that formula and it works very well. I also really like the scene that Wheeler has with her; it goes to show that Wheeler and Woolsey were great not just as a team but also as individual performers.

Mitchell Lewis makes for an intimidating secondary villain and Dorothy Lee is also good in her role. Like Wheeler, she has a bit of a childish approach to her performances, but she can also some add in funny lines. I particularly like the beginning when she tells Julius to not kill Wheeler, yet also tells him she’s totally OK with him killing Woolsey.

The comedic highlights for me include the scene where Wheeler pretends to be in a trance and the “Crazy House” like scene at the hotel. The scene with them and the beer is also good in that it wasn’t what I was expecting. It wasn’t just the officer coming back to catch them; they actually did throw in a funny, suspenseful twist with the other guy who wants to cross the border. Just about all of Wheeler and Woolsey’s routines hit the mark comedically, now that I think about it.

So, yeah, this is another good Wheeler and Woolsey film, even if there are a lot of filler musical numbers. It really is a shame that these guys are so forgotten compared to the other big comedy teams.

8 out of 10
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline metaldams

I really should check out more of Wheeler and Woolsey’s films because I have liked all the ones I’ve seen so far. As you know metaldams, I really like COCKEYED CAVALIERS and, though I didn’t think it was great, I still enjoyed MUMMY’S BOYS (having read the Watz book, I was expecting that one to be really terrible). While THE CUCKOOS isn’t perfect, it does still show that these two had good chemistry together this early on.

Alright, I’ll start with the musical numbers. I like some of them, particularly OH! HOW WE LOVE OUR ALMA MATER, I’M A GYPSY, and, yes, even one of the numbers by the romantic couple: ALL ALONE MONDAY. None of them are as memorable as the songs in COCKEYED CAVALIERS (I swear, I’ll have AND THE BIG BAD WOLF WAS DEAD stuck in my head for the rest of my life), but they’re still nice and there’s a lot of energy in the dance routines. The other numbers aren’t necessarily terrible, but there are so many of them and a lot of them really feel like filler (seriously, what was the point of DANCING THE DEVIL AWAY?)

The romantic couple isn’t particularly memorable, and for that matter the main villain, the baron, isn’t all that interesting either. Thankfully, though, as the film goes along the focus becomes less and less on them and more on Wheeler and Woolsey. You make a really good point about the comparison between Jobyna Howland and Margaret Dumont. It’s an interesting take on that formula and it works very well. I also really like the scene that Wheeler has with her; it goes to show that Wheeler and Woolsey were great not just as a team but also as individual performers.

Mitchell Lewis makes for an intimidating secondary villain and Dorothy Lee is also good in her role. Like Wheeler, she has a bit of a childish approach to her performances, but she can also some add in funny lines. I particularly like the beginning when she tells Julius to not kill Wheeler, yet also tells him she’s totally OK with him killing Woolsey.

The comedic highlights for me include the scene where Wheeler pretends to be in a trance and the “Crazy House” like scene at the hotel. The scene with them and the beer is also good in that it wasn’t what I was expecting. It wasn’t just the officer coming back to catch them; they actually did throw in a funny, suspenseful twist with the other guy who wants to cross the border. Just about all of Wheeler and Woolsey’s routines hit the mark comedically, now that I think about it.

So, yeah, this is another good Wheeler and Woolsey film, even if there are a lot of filler musical numbers. It really is a shame that these guys are so forgotten compared to the other big comedy teams.

8 out of 10

As far as DANCING THE DEVIL AWAY, I think it was an excuse to show off the technicolor, give Dorothy Lee a little something extra to do and to put a bunch of chorus girls to work.  In 1930, I think audiences were still beyond enthralled with musical numbers for their own sake. To me it’s a  fascinating look at a bygone age, yet if the scene were cut - I’d live.  But hey, as a window of pre code film, it works.  Girls would have to wear more 1934 - 1968 and could wear much less after.  That’s an example of what makes pre code so fascinating to me, it’s this in between envelope pushing world that only existed for a few years.  Wheeler and Wolsey in general were a big part of that world.

As far as Wheeler and Woolsey being forgotten, I almost wanted to say it’s because they never made shorts to air to baby boomers, but then again, neither did The Marx Brothers.  There really is a lot of old school music and dance involved with Wheeler and Woolsey, same with The Ritz Brothers.  It’s almost like one has to be weened into them.
- Doug Sarnecky


Offline metaldams

....and speaking of pre code and envelope pushing, I’m thinking of reviewing TROUBLE IN PARADISE soon. A very adult film. Curious to see how people on this site react to screwball comedies.
- Doug Sarnecky


Offline GenoCuddy

I really should check out more of Wheeler and Woolsey’s films because I have liked all the ones I’ve seen so far. As you know metaldams, I really like COCKEYED CAVALIERS and, though I didn’t think it was great, I still enjoyed MUMMY’S BOYS (having read the Watz book, I was expecting that one to be really terrible). While THE CUCKOOS isn’t perfect, it does still show that these two had good chemistry together this early on.

Alright, I’ll start with the musical numbers. I like some of them, particularly OH! HOW WE LOVE OUR ALMA MATER, I’M A GYPSY, and, yes, even one of the numbers by the romantic couple: ALL ALONE MONDAY. None of them are as memorable as the songs in COCKEYED CAVALIERS (I swear, I’ll have AND THE BIG BAD WOLF WAS DEAD stuck in my head for the rest of my life), but they’re still nice and there’s a lot of energy in the dance routines. The other numbers aren’t necessarily terrible, but there are so many of them and a lot of them really feel like filler (seriously, what was the point of DANCING THE DEVIL AWAY?)

The romantic couple isn’t particularly memorable, and for that matter the main villain, the baron, isn’t all that interesting either. Thankfully, though, as the film goes along the focus becomes less and less on them and more on Wheeler and Woolsey. You make a really good point about the comparison between Jobyna Howland and Margaret Dumont. It’s an interesting take on that formula and it works very well. I also really like the scene that Wheeler has with her; it goes to show that Wheeler and Woolsey were great not just as a team but also as individual performers.

Mitchell Lewis makes for an intimidating secondary villain and Dorothy Lee is also good in her role. Like Wheeler, she has a bit of a childish approach to her performances, but she can also some add in funny lines. I particularly like the beginning when she tells Julius to not kill Wheeler, yet also tells him she’s totally OK with him killing Woolsey.

The comedic highlights for me include the scene where Wheeler pretends to be in a trance and the “Crazy House” like scene at the hotel. The scene with them and the beer is also good in that it wasn’t what I was expecting. It wasn’t just the officer coming back to catch them; they actually did throw in a funny, suspenseful twist with the other guy who wants to cross the border. Just about all of Wheeler and Woolsey’s routines hit the mark comedically, now that I think about it.

So, yeah, this is another good Wheeler and Woolsey film, even if there are a lot of filler musical numbers. It really is a shame that these guys are so forgotten compared to the other big comedy teams.

8 out of 10

While I love Wheeler and Woolsey, I must admit to not seeing the appeal of Cockeyed Cavaliers. I have watched the film numerous times and, while it has its moments, was a disappointment to me. To me, Wheeler and Woolsey's finest work will always be the surreal Diplomaniacs, which I prefer over the more polished Duck Soup released that same year. I realize the preceding comment is sacrilege, but I am sticking to it and to let the record show, I love Duck Soup as well. As far as my favorite W&W musical number, it has to be "Ood-Gay Eye-Bay" from Diplomaniacs. "Paul Whiteman, that's the right man!"


Offline Umbrella Sam

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While I love Wheeler and Woolsey, I must admit to not seeing the appeal of Cockeyed Cavaliers. I have watched the film numerous times and, while it has its moments, was a disappointment to me. To me, Wheeler and Woolsey's finest work will always be the surreal Diplomaniacs, which I prefer over the more polished Duck Soup released that same year. I realize the preceding comment is sacrilege, but I am sticking to it and to let the record show, I love Duck Soup as well. As far as my favorite W&W musical number, it has to be "Ood-Gay Eye-Bay" from Diplomaniacs. "Paul Whiteman, that's the right man!"

To each their own, I guess. I have seen other reviews that also implied that COCKEYED CAVALIERS was overrated and that the songs weren’t as good as songs in their other films. I do still find that I enjoy the film a lot, and for some reason I find myself humming AND THE BIG BAD WOLF WAS DEAD every now and then.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

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Offline metaldams

There are films I enjoy better than COCKEYED CAVALIERS, but I do enjoy it. I do remember being impressed by the costumes and sets and finding parts funny.  Far from their worst, anyway. Been a while since I’ve seen it, overdue another viewing.
- Doug Sarnecky


Offline GenoCuddy

There are films I enjoy better than COCKEYED CAVALIERS, but I do enjoy it. I do remember being impressed by the costumes and sets and finding parts funny.  Far from their worst, anyway. Been a while since I’ve seen it, overdue another viewing.

I second this, I don't hate Cockeyed Cavaliers, I just feel it is overrated. I too enjoy the Big Bad Wolf musical number, I just didn't enjoy the movie on the level so many others do.

Now as far as Wheeler and Woolsey films that are indigestible, On Again-Off Again takes the title for me, I just did not like the idea of Bert and Bob as rivals. I realize this may have been RKO trying to revitalize, what they deemed a stale formula at the time, but it just does not work for me.

Aside from one great scene earlier in the film, and a sight gag featuring a poster for King Kong, I found The Rainmakers to be a disappointment too, the extended train sequence at the end was done much better by other comics and was draining to watch.

However, the all time worst, most maddening, anger-inducing, pile of comedy swill in the Wheeler and Woolsey filmography has to be Bert Wheeler's solo feature, Too Many Cooks. It's such a sad sack of a movie.

The whole film, aside from a few minor sequences, takes place at a construction site, so the film feels claustrophobic. Usually, I like Bert Wheeler's passive aggressive character, but his in-laws in the movie were so intolerable that I was waiting for him to give it to these folks right in the mush. That moment never came, and the last reel or so where the house is all built and Wheeler is walking through the house alone is such a dreary moment, I detested it and apparently so did he, on the set of the film he turned to Dorothy Lee and said, "Yeah, I know this picture stinks, but they aren't paying us to stand around and do nothing."

Bob Woolsey took great delight in teasing Wheeler with the bad reviews from his solo feature and I must confess, Bob's solo vehicle, Everything's Rosie, is the better film, it still isn't great, but I enjoyed it far more.


Offline Umbrella Sam

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I second this, I don't hate Cockeyed Cavaliers, I just feel it is overrated. I too enjoy the Big Bad Wolf musical number, I just didn't enjoy the movie on the level so many others do.

Now as far as Wheeler and Woolsey films that are indigestible, On Again-Off Again takes the title for me, I just did not like the idea of Bert and Bob as rivals. I realize this may have been RKO trying to revitalize, what they deemed a stale formula at the time, but it just does not work for me.

Aside from one great scene earlier in the film, and a sight gag featuring a poster for King Kong, I found The Rainmakers to be a disappointment too, the extended train sequence at the end was done much better by other comics and was draining to watch.

However, the all time worst, most maddening, anger-inducing, pile of comedy swill in the Wheeler and Woolsey filmography has to be Bert Wheeler's solo feature, Too Many Cooks. It's such a sad sack of a movie.

The whole film, aside from a few minor sequences, takes place at a construction site, so the film feels claustrophobic. Usually, I like Bert Wheeler's passive aggressive character, but his in-laws in the movie were so intolerable that I was waiting for him to give it to these folks right in the mush. That moment never came, and the last reel or so where the house is all built and Wheeler is walking through the house alone is such a dreary moment, I detested it and apparently so did he, on the set of the film he turned to Dorothy Lee and said, "Yeah, I know this picture stinks, but they aren't paying us to stand around and do nothing."

Bob Woolsey took great delight in teasing Wheeler with the bad reviews from his solo feature and I must confess, Bob's solo vehicle, Everything's Rosie, is the better film, it still isn't great, but I enjoyed it far more.

I have the second Wheeler and Woolsey RKO DVD Collection, which I mainly bought to have COCKEYED CAVALIERS on DVD. The only other films on there I’ve watched are THE CUCKOOS and EVERYTHING’S ROSIE. I do plan on watching the other ones eventually, but when I do, TOO MANY COOKS is definitely dead last on that list, and I may skip it entirely. As some of the other posters here know, I tend to usually hate in-law comedies, and the fact that Wheeler’s solo film is an in-law comedy that is already so derided does not seem promising.

I thought EVERYTHING’S ROSIE had an interesting idea for a story, but Woolsey wasn’t a very good fit for the role; I think he can pull off solo scenes without Wheeler, but he seemed a bit lost trying to sustain an entire feature by himself. Apparently this film is a rip off of a W.C. Fields musical called POPPY. Recently, I was talking about how I wasn’t very interested in Fields’s work, but I also just realized that he seems like the ideal choice for this role and I would be interested in checking out at least one of his film versions. I’m curious, does anyone recommend the silent or sound version over the other?
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

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Offline GenoCuddy

I have the second Wheeler and Woolsey RKO DVD Collection, which I mainly bought to have COCKEYED CAVALIERS on DVD. The only other films on there I’ve watched are THE CUCKOOS and EVERYTHING’S ROSIE. I do plan on watching the other ones eventually, but when I do, TOO MANY COOKS is definitely dead last on that list, and I may skip it entirely. As some of the other posters here know, I tend to usually hate in-law comedies, and the fact that Wheeler’s solo film is an in-law comedy that is already so derided does not seem promising.

I thought EVERYTHING’S ROSIE had an interesting idea for a story, but Woolsey wasn’t a very good fit for the role; I think he can pull off solo scenes without Wheeler, but he seemed a bit lost trying to sustain an entire feature by himself. Apparently this film is a rip off of a W.C. Fields musical called POPPY. Recently, I was talking about how I wasn’t very interested in Fields’s work, but I also just realized that he seems like the ideal choice for this role and I would be interested in checking out at least one of his film versions. I’m curious, does anyone recommend the silent or sound version over the other?

I admire your bravery in admitting on a forum of this caliber to not being a fan of Fields. If I am being honest and this may result in me getting ousted from this forum but, I really do not care for the Three Stooges at all. I realize this is a Stooge forum, but I am mainly here for the comedy discussion outside of The Stooges. As far as Woolsey is concerned, I think he would have had the more promising solo career of the two, if given better scripts. I love Wheeler, but my favorite of the two has always been Woolsey.

 Interesting to note as well, Woolsey had a role in the original stage run of Poppy.

Now if you'll excuse me, I must find somewhere to hide from the angry mob that will undoubtedly be approaching in the hours to come.


Offline metaldams

Geno, it’s cool you don’t like The Stooges, to each their own.  Same with Sam and Fields.  I love both.

As for Bert and Bob, funny you mention THE RAINMAKERS, it’s their only starring vehicle I have yet to see.

I do generally return to the pre codes when watching Bert and Bob.  I like them all except GIRL CRAZY.  The code films, none are unwatchable, but I return to them less.  They definitely had more an edge pre code.

Of RIO RITA and DIXIANA, the former I’ve never seen and the latter I’ve tried watching a few times but could never get through.  Not a fan of these big musicals, but I understand RITA is supposed to be a better film.

Of the two solo films, agree with your assessment, Geno.
- Doug Sarnecky


Offline metaldams

I have the second Wheeler and Woolsey RKO DVD Collection, which I mainly bought to have COCKEYED CAVALIERS on DVD. The only other films on there I’ve watched are THE CUCKOOS and EVERYTHING’S ROSIE. I do plan on watching the other ones eventually, but when I do, TOO MANY COOKS is definitely dead last on that list, and I may skip it entirely. As some of the other posters here know, I tend to usually hate in-law comedies, and the fact that Wheeler’s solo film is an in-law comedy that is already so derided does not seem promising.

I thought EVERYTHING’S ROSIE had an interesting idea for a story, but Woolsey wasn’t a very good fit for the role; I think he can pull off solo scenes without Wheeler, but he seemed a bit lost trying to sustain an entire feature by himself. Apparently this film is a rip off of a W.C. Fields musical called POPPY. Recently, I was talking about how I wasn’t very interested in Fields’s work, but I also just realized that he seems like the ideal choice for this role and I would be interested in checking out at least one of his film versions. I’m curious, does anyone recommend the silent or sound version over the other?

As far as POPPY and which version, hard to say.  Never been ideal Fields to me, but that may be a plus for you.  Fields was sick when filming the talkie version and the silent version has tons of beautiful outdoor scenery shot in that D.W. Griffith way, so I prefer the silent.
- Doug Sarnecky


Offline GenoCuddy

As far as POPPY and which version, hard to say.  Never been ideal Fields to me, but that may be a plus for you.  Fields was sick when filming the talkie version and the silent version has tons of beautiful outdoor scenery shot in that D.W. Griffith way, so I prefer the silent.

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Offline HomokHarcos

To each their own, I guess. I have seen other reviews that also implied that COCKEYED CAVALIERS was overrated and that the songs weren’t as good as songs in their other films. I do still find that I enjoy the film a lot, and for some reason I find myself humming AND THE BIG BAD WOLF WAS DEAD every now and then.
I like your Oswald picture. That (along with a big bad wolf reference) reminds me that once I finish watching the Clark and McCullough shorts, I plan on doing the massive task of watching the Walt Disney animated films (shorts and features) in chronological order (mainly just the ones produced during Walt's lifetime).

I really want to get around to watching Wheeler and Woolsey's movies. It's just that the RKO sets I bought are with my uncle right now. I've only watched Rio Rita, and since I watched that movie for Wheeler and Woolsey it felt like a lot of filler with the focus on Bebe Daniels and the leading man and I didn't like the fake Mexican accent Bebe was putting on. I enjoyed the parts with Wheeler and Woolsey.


Offline Umbrella Sam

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I admire your bravery in admitting on a forum of this caliber to not being a fan of Fields. If I am being honest and this may result in me getting ousted from this forum but, I really do not care for the Three Stooges at all. I realize this is a Stooge forum, but I am mainly here for the comedy discussion outside of The Stooges. As far as Woolsey is concerned, I think he would have had the more promising solo career of the two, if given better scripts. I love Wheeler, but my favorite of the two has always been Woolsey.

 Interesting to note as well, Woolsey had a role in the original stage run of Poppy.

Now if you'll excuse me, I must find somewhere to hide from the angry mob that will undoubtedly be approaching in the hours to come.

Woolsey’s my favorite of the two as well. It might have been possible for him to pull off his own starring vehicle, but I see him more as someone who would have been great in supporting roles. I read the Watz book and he drew a lot of comparisons to Walter Catlett there, so I could probably see him pulling off a lot of Catlett’s roles.

I also read the biography on Clyde Bruckman and in the book the author mentioned that Woolsey specifically requested being able to do the lead in a version of POPPY (Bruckman was the director of EVERYTHING’S ROSIE).
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Offline Umbrella Sam

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As far as POPPY and which version, hard to say.  Never been ideal Fields to me, but that may be a plus for you.  Fields was sick when filming the talkie version and the silent version has tons of beautiful outdoor scenery shot in that D.W. Griffith way, so I prefer the silent.

Thanks for the recommendation.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

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Offline Umbrella Sam

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I like your Oswald picture. That (along with a big bad wolf reference) reminds me that once I finish watching the Clark and McCullough shorts, I plan on doing the massive task of watching the Walt Disney animated films (shorts and features) in chronological order (mainly just the ones produced during Walt's lifetime).

I really want to get around to watching Wheeler and Woolsey's movies. It's just that the RKO sets I bought are with my uncle right now. I've only watched Rio Rita, and since I watched that movie for Wheeler and Woolsey it felt like a lot of filler with the focus on Bebe Daniels and the leading man and I didn't like the fake Mexican accent Bebe was putting on. I enjoyed the parts with Wheeler and Woolsey.

Thanks. Watching all the Disney films seems like a daunting task simply because of how many there were even when Disney was alive, but there definitely are a lot of good films so it should at least be somewhat worth it.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline GenoCuddy

I like your Oswald picture. That (along with a big bad wolf reference) reminds me that once I finish watching the Clark and McCullough shorts, I plan on doing the massive task of watching the Walt Disney animated films (shorts and features) in chronological order (mainly just the ones produced during Walt's lifetime).

I really want to get around to watching Wheeler and Woolsey's movies. It's just that the RKO sets I bought are with my uncle right now. I've only watched Rio Rita, and since I watched that movie for Wheeler and Woolsey it felt like a lot of filler with the focus on Bebe Daniels and the leading man and I didn't like the fake Mexican accent Bebe was putting on. I enjoyed the parts with Wheeler and Woolsey.

I'm personally a Fleischer guy, his Gulliver's Travels is my favorite animated feature of all time.


Offline Umbrella Sam

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I'm personally a Fleischer guy, his Gulliver's Travels is my favorite animated feature of all time.

Yeah, I like Fleischer too. GULLIVER’S TRAVELS is good, but for me their greatest work was the three Popeye Technicolor epics from the 1930s.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline Freddie Sanborn

Everything’s Rosie, Woolsey’s talkie version of Poppy, was made five years before Fields’ definitive version, so it probably didn’t seem as much of a rip-off in 1931 as it does to us today.

Woolsey’s my favorite of the two as well. It might have been possible for him to pull off his own starring vehicle, but I see him more as someone who would have been great in supporting roles. I read the Watz book and he drew a lot of comparisons to Walter Catlett there, so I could probably see him pulling off a lot of Catlett’s roles.

I also read the biography on Clyde Bruckman and in the book the author mentioned that Woolsey specifically requested being able to do the lead in a version of POPPY (Bruckman was the director of EVERYTHING’S ROSIE).
“If it’s not comedy, I fall asleep.” Harpo Marx


Offline HomokHarcos

Like a few early talkie comedies the plot doesn't seem too matter at all, it's just an excuse to move the film along in between the musical numbers and comedy set-pieces.

I've found Bert Wheeler to be very likeable as a comedian and romantic lead, he has that childlike innocence to him, and Dorothy Lee really was the perfect supporting actress for him. The "I love you" song was very endearing, it's still in my head as I type this. But, yeah, the other romantic lead was not needed at all. I almost forgot about them after watching this film.

This movie is more like Abbott and Costello's early films that it revolves around comedy sequences that aren't part of the plot, but it's fun to see them nonetheless. I had assumed that they were comedy partners for years on stage, turns out they were only in Rio Rita together, and there were no plans for them to continue on as a duo. (In fact, according to the Wheeler and Woolsey book RKO were only interested in signing on Bert Wheeler immediately). The stage play was performed with Clark and McCullough.

My favorite sequence was the bed seen near the end with all the people popping in and out of the room, with the duo reacting to them. It reminds me of Men in Black with all the goofy characters. The seen where they are getting chased by the villain and the crew only to get knocked out is very Stooge-like, and perhaps if there was a Wheeler and Woolsey short just involving that scene I think it would have been a great introduction.

I'd also liked to give a shoutout to Jobyna Howland, certainly a highlight of the film! Works well with both Wheeler and Woolsey.

These first two movies haven't been perfect, but Wheeler and Woolsey and their main supporting cast has been stellar, I'll see where they go from here. I think there's great potential.


Offline metaldams


These first two movies haven't been perfect, but Wheeler and Woolsey and their main supporting cast has been stellar, I'll see where they go from here. I think there's great potential.

I’m not a DIXIANA fan, but after that, I think Bert and Bob had a nice little run of mostly good pre code films.  They fizzle out a bit when the code kicks in, in my opinion.  I rewatched PEACH O RENO a few weekends ago and really enjoyed it.  Looking forward to your thoughts on future films.
- Doug Sarnecky