Bessie Love shines in a cute fantasy short film

The Little Knight (aka "The Adventures of Prince Coraguous: The Litte Knight") (1923)

Starring: Bessie Love, Arthur Trimble, Monte Collins, and Charles Belcher

Directors: Fred Becker and Charles R. Seeling

Rating: Seven of Ten Stars

A wandering knight (Belcher) is cursed by an evil witch to appear to all who see him as a little boy (Trimble). He soon meets and falls in love with Princess Bernice (Love) who is being forced into an arranged marriage with the cowardly, villainous Duke Craven (Collins). Will our hero overcome his curse, rescue the damsel in distress, and win her heart?  

"The Little Knight" is a fun fantasy short film that was intended to be the first in a 12-part series meant primarily as a vehicle for child actor Arthur Trimble (and produced by a film company bearing his name). Ultimately, only three were finished and released. 

Sharing top billing with Trimble was Bessie Love who in 1923 was near the top of her all-too-brief stint as a Hollywood superstar. While everyone else in the picture can be described giving adequate performances, Love is as attention-commanding as ever when she's on screen. Only Monte Collins comes close to rivaling her in being remarkable as he hams it up as the film's main bad guy. But, Love's cuteness, if not her acting skills, are eclipsed by Little Arthur Trimble; it's easy to see why he was tapped for child-stardom. 

A few plot threads are left dangling when "The End" flashes on the screen, but what we have is still basically a complete story. If you like classic fantasy and can get past the opening swordfight with the world's smallest giant, I think you'll find the 16-minutes you'll devote to watching "The Little Knight" time well spent.

And if you've made it this far, why don't you click below to check out "The Little Knight" and see if you agree with our take on the film. And please let us know with a comment, either here or on the video itself.

'Show Business' is full of funny business

Show Business (1932)
Starring: ZaSu Pitts, Thelma Todd, Anita Garvin, Monte Collins, and Otto Fries
Director: Jules White
Rating: Seven of Ten Stars

A pair of vaudevillians and their singing monkey (Pitts and Todd) get a last minute gig as a replacement act in a touring show. Things start to go wrong even before they set foot on stage, as they end up at odds with the show's ego-maniacal star (Garvin).

At the center of "Show Business" is a professional lifestyle that was coming to an end by the 1930s--that of a member of a traveling variety show that criss-crossed the nation on any number of theatrical circuits. Muscians, chorus girls, actors, and comedians... all would travel together from engagement to engagement, essentially spending their lives on the road (or, more specifically, on the train tracks). Headliners would often be fixed, but smaller acts would drop in and drop out, which is where our heroines enter the picture

After a weak beginning that should have just been used to set up the monkey and the excuse for later showing viewers Thelma Todd walking around in a hat and her underwear, but which is crippled by Pitts doing some unfunny prop comedy involving a telephone and a half-eaten apple, followed by a just-as-unfunny bit involving a dresser drawer, the film really takes off. From the moment the action changes to the train station, and we're introduced to the film's antagonists, Anita Garvin and her manager Monte Collins, through to the final fade-out, we are treated to hilarious chaos and some fine comedic acting.

In "Show Business", Thelma Todd gets to show off what made her such a fantastic screen actress (and I'm taking about the skimpy outfit she's almost not wearing in the pseudo-catfight at the train station). There are multiple in this picture where her face says everything that's going through the character's mind, and just watching Todd's facial expressions change (as she goes from confused to angry, or self-righteously indignant to embarrassed) provide some of the film's funniest moments.

Anita Garvin also shines in this picture, playing a variant of the shrewish wife she'd portray in several Laurel & Hardy pictures, but here the main target of her ire is her manager played by Monte Collins while Todd and Pitts and their mon inadvertently make both their lives very difficult. It's a common in these kinds of shorts to see self-important characters be humiliated by the bumbling clowns with whom the audience's sympathies rests, and Garvin is so good at playing an obnoxious, self-entitled primadonna that her unraveling is extra satisfying. Meanwhile, Collins occupies an interesting place in the configuration of characters, swinging from threat to our heroines to an almost ally, as he tries to get them settled in the train so he can be spared any more abuse from Garvin.

The only disappointing member of the main cast here is ZaSu Pitts, but I don't think it's her fault. For the most part, she was stuck doing unfunny prop comedy, and her fidgety character seemed out of place surrounded by all the loud, overly theatrical types that occupy the rest of the film. That said, she had a couple shining moments in the part of the film at the train station, as she is trying to convince a police officer (Otto Fries) why it's a bad idea for him to make Thelma take off her coat; and later after she and Thelma wake everybody up on a sleeping car while trying to get into their bunk themselves.

Despite its weak opening, and a couple minor hiccups along the way (there is a point where some time must pass between scenes, but there's no indication of it, so the film feels a bit disorganized for few moments) "Show Business" is a fun entry in the Todd/Pitts series of comedies that benefits both for a strong script and the fact that most of its cast is in parts that let them play to their strengths as performers. (Although it's a shame that we never get to hear the monkey sing.

"Show Business" is one of 17 shorts contained in a two DVD set that features all of the films Thelma Todd and ZaSu Pitts made together.

'It's a Cinch' is amusing but unremarkable... except for a really bizarre directorial choice

It's a Cinch (1932)
Starring: Monte Collins, Phyllis Crane, Tom O'Brien, and Richard Powell
Director: William B. Goodrich (aka Roscoe Arbuckle)
Rating: Five of Ten Stars

When a dance instructor (Collins) is tricked into facing a prize fighter (O'Brien) in the boxing ring, his girlfriend (Crane) devises a plan to turn the odds in his favor.

"It's a Cinch" is a mildly amusing short film with a fast-moving story performed by a pleasant but  unremarkable cast. They are, sadly, made even more unremarkable by the degraded state of the of the film the DVD transfer was made from. The sound quality is okay, but the picture is so washed out and blurry that I couldn't even capture a good image with which to illustrate this review. (Hence, the use of a head shot of actress Phyllis Crane.)

"It's a Cinch" is perhaps of greatest interest to modern viewers because it is the last film directed by Roscoe "Fatty" Arbuckle. In 1921, he had been accused of rape by a woman who died before an investigation of her charges could even be properly begun, the prosecutor decided to link the two events and Arbuckle was tried for murder.

Although he was ultimately and emphatically found not guilty by a jury (so emphatically, in fact, that the jury felt obligated to issue a letter of apology to him with their verdict), Arbuckle's career was in ruins, because he had already been tried and convicted in the media. He could no longer get work as an actor, but he turned to directing under the pseudonym William B. Good. By the time work wrapped on "It's a Cinch", however, the murder trial was far enough in the past that Arbuckle's acting career began to revive and he stepped back in front of the camera.

Why am I rattling on about Roscoe Arbuckle? Because the only gripe I have about this picture leaves me wondering about the choices he made as a director.

"It's a Cinch" opens with a scene at the dance academy where the main character is an instructor that consists mostly of lingering shots of the dancers' chests and legs. Now, I don't usually have issues with cheesecake (as there is plenty of evidence for here and here), but those shots made me feel awkward, almost embarrassed, to be watching. What's more, these shots were completely out of tone with everything else that followed in the picture. In the final analysis, that opening scene almost made me knock the film down to a Four Out of Ten Star rating, but since the film was fun enough otherwise I held it to a low average rating. (I just wish I could figure out why someone thought that opening scene was a good idea... especially from a director who'd been accused of rape and who's pseudonym was Will B. Good. And my initial reaction wasn't even colored by that; it wasn't until I was starting this review that it registered who had directed the film.)

"It's a Cinch" is one of six short comedies included in the "Ultra-Rare Pre-Code Comedies Vol. 4" collection. The degraded quality of the original from which it was transferred is about the same as the others in the set--most have decent sound but awful picture--but this is a case where you get what you pay for. (Near as I can tell, this disc is also the first time these films have been available to the public for a long time.)

It's a pain for the butler, but you'll laugh while he suffers

Just a Pain the Parlor (1932)
Starring: Harry Sweet, Monte Collins, Cecil Cunningham, Billy Gilbert, and James Donlan
Director: George Marshall
Rating: Six of Ten Stars

A butler (Collins) must try to make an Olympic athlete, who is the very definition of a dumb jock (Sweet), presentable for a high society party.

"Just a Pain in the Parlor" is a silly little movie that runs 20 very fast minutes. It consists mostly of slapstick humor revolving around servants attempting to clean up a simple-minded houseguest so he be shown off at a can party being hosted by the snooty lady of the house (Cecil Cunningham). If you're a fan of Laurel & Hardy shorts, I think you'll like this one. As it was unfolding, I was put in mind of Hardy playing the beleagured butler and Laurel the dimwitted athlete. The only part that of this that didn't feel like a Laurel & Hardy film was the ending.

Since this isn't a Laurel & Hardy film, how did the actual performers do? Everyone did a fine job, and although the story and situation put me in mind of a Laurel & Hardy film, none of the performances did... well, almost none. Harry Sweet does a bit where he jumps up and gloms onto people who touch his tie that really put me in mind of Stan Laurel due to the rest of the film. One thing I particularly appreciated was the understated way Monte Collins behaved throughout the picture. He was mostly calm and steady and in control of himself (if not the situation he'd been thrust into), just like you'd expect a butler to be. Collins isn't the usual type of actor who played butlers in these kinds of comedies, but I think that made him even more effective as the film's only straight man.

The only negative with this movie is that the gags get repetative. I know comedy can be about repetion, but with "Just a Pain in the Parlor", they don't only milk some of the gags until dry, they salt them and smoke them and turn them into joke jerky. This problem is not severe enough to ruin the film, but it did keep me from giving it a Seven Rating.

'Ticklish Business' is a snappy early talkie

Ticklish Business (1929)
Starring: Monte Collins, Vernon Dent, Addie McPhail, Phyllis Crane, and William Irving
Director: Stephen Roberts
Rating: Seven of Ten Stars

The psychotically jealous wife (Crane? McPhail?) of a would-be professional songwriter (Collins) would rather squash his career before it starts than risk him being around sexy chorus girls. Even if she has to kill him and the buddy (Dent) who's always encouraging him.

Phyllis Crane played the psycho wife in "Ticklish Business". Or did she?

"Ticklish Business" is a nearly forgotten film that was in the first wave of pictures made with sound in mind from start to finish. In it's ca. 20-minute running-time, it's got two songs, a musical number, a gag involving a piano, and lots of snappy dialogue. It also features remarkably naturalistic performances. I'm used to films from this period featuring a combination of the exaggerated physical acting of a silent picture and overly stilted, stagy delivery of the spoken lines, but with the exception of a couple reaction shots, neither is present here. In fact, the performances here would have been right at home in a sit-com from the 1970s or 1980s.

I think the only weak spot of "Ticklish Business" is that every attempt it tries at physical humor falls completely flat. While the physical routines weren't good to begin with, I suspect I may have viewed them in an even dimmer light, because during them, Collins and Dent reminded me of Laurel & Hardy, and they come up short by comparison.

"Ticklish Business" is one of six comedy short films found on the "Ultra-Rare Pre-Code Comedies Vol. 4" DVD from Alpha Video. Sadly, while it has a near crystal-clear soundtrack, the film from which the DVD transfer was made was degraded and blurry to the point where most faces of the actors are impossible to make out. This is why I am unsure of who played the jealous wife and who played the flapper chorus girl who rouses her wrath; they're both brunettes and their facial features are mostly blurred in the film. (I went looking online for a better copy of the film to view, but was unable to locate one. It appears that Alpha Video may well have made this film widely available for the first time in several decades.)