Felix the Cat learns the Black Bottom

We've all heard of the Charleston dance, and seen it performed in numerous movies, but by 1927, that dance had been replaced as a favorite among America's Dancing Daughters by the Black Bottom. .

The Black Bottom is based on a dance that had been around in black communities of the South since at least the early 1900s--and as it began to gain national popularity, one dancer stated that it was "as old as the hills." It came to national attention when it was performed in variety shows in Harlem and on New York City's Broadway. The most famous performer of the Black Bottom at the time was Ann Pennington, an already famous dancer who rode the Black Bottom craze to even more fame, including numerous bit-parts in films throughout the 1930s.

As the national Black Bottom craze was still climbing--and even going international--Ann Pennington did a shoot for "Photoplay" magazine in which she taught Felix the Cat how to performe the dance. The photos appeared on a two-page spread in the issue of "Photoplay" cover-dated January 1927.

You can read more about the Black Bottom at Wikipedia. Meanwhile, here's Ann and Felix performing the Black Bottom!

Hop down front then doodle back.

Mooch to your left...

...  then mooch to your right.

Do the mess around.

Break a leg until you're near the ground [this is a hobbling step]

Finally, here's video showing performances of both solo and couples versions of the Black Bottom.

This early fantasy film is hokey but still fun

The Wonderful Wizard of Oz (1910)
Starring: Bebe Daniels, Robert Z. Leonard, Alvin Wyckoff, Hobart Bosworth, Winifred Greenwood, and Olive Cox
Director: Otis Turner
Rating: Seven of Ten Stars

Dorothy Gale (Daniels) discovers a scarecrow (Leonard) near her home is alive and aware. She unties him from the frame he's on, and he saves her, her dog Toto, and a pair of farm animals from a sudden cyclone that sweeps everyone off the strange and magical land of Oz. Here, they make new friends and enemies, including the evil witch Momba (Greenwood).

"The Wonderful Wizard of Oz" is reported to be one of four different film adaptations that were released in 1910, and it is the only one that survives to this day. The version I watched is a bit blurry and is missing both opening and closing credits/title cards, but it is in much better shape that films of more recent vintage I've sat through. It's either been restored, or film-lovers had the extra-ordinarily good luck of a copy having been kept somewhere under the exact right conditions for preservation.

Seeing that this film is almost 110 years old as I write this review, it's tricky for me to pass judgement on. For example, to my eyes, the film feels like a community theatre performance--a well-staged and elaborate community theatre performance but still at the level of community theatre--and that feeling is enhanced by the fact that the film consists entirely of static long shots with each scene framed as if it was unfolding on a stage... as well as the costumes worn by the actors playing the Cowardly Lion and the farm animals that are following Dorothy. Most of the special effects in the film are also mostly of the kind that would work well during a live stage performance, and I found myself chuckling more than I suspect the director would have liked during the scene where the cyclone spirits Dorothy, the Scarecrow, and the random farm animals following her around to Oz.

Still, this is a very entertaining film, even if I wonder about some of the choices that its writer/director made back then. At 13 minutes, this is more of an outline (or a highlight reel) of a Wizard of Oz movie than anything else, and while most of the iconic characters are here, some might have been best omitted since, to viewers with no prior knowledge of the Wizard of Oz novels, they seem to serve no purpose other than being weird for the sake of being weird. For example, Glinda the Good Witch shows up (levitating with a hilariously bad bit of wire-work), turns Toto into a giant dog that puts the Cowardly Lion in his place. Since neither Toto nor the Cowardly Lion do anything noteworthy outside this scene, and the Good Witch is never explained nor appears again in the film, the smart thing to do would have been to just omit those characters and have spent more time on the scenes in and around the castle of  Momba the Evil Witch. (What we do see is some of the neatest and funniest bits in the film; I wish there had been more of it.)

Another curious thing about the film is that it includes brief three song-and-dance production numbers... you know, the sort of thing you see in musicals. In a silent movie. They're fun to watch, but their presence still baffles me.

In the final analysis, this film is a bit of weirdness that I can think of three reasons you might want to check it out. First, if you're interested in early silent movies, you'll enjoy the artistry that went into making the sets, the costumes, and the special effects. Secondly, if you're a fan of the Wizard of Oz--especially the well-known 1939 film starring Judy Garland, you should see this movie, because it obviously served as a major inspiration for the costume designers 25+ years later. (The Scarecrow, the Cowardly Lion, and especially the Tin Man, all strongly resemble their counterparts in the more famous effort.) It's also fun, because of the differences that exist between it and the 1939 film... I especially liked the flying lizardmen that this film has. Finally, any lover of classic cinema needs to watch it, because it's the first starring role for Bebe Daniels, an actress who is little known today but who was a veritable superstar in the 1920s. She starred in this film at the age of 9, and it's a testimony to her talent that she first transitioned from child actor to adult roles, and then successfully made the leap to sound films in the late 1920s. Given that her overcame the obstacle that kill film careers to this very day--moving from child to adult actor in films--and her star continued to ascend through the 1930s (at which point she transitioned again to a career in radio plays), it's a shame that the passage of time has obscured her reputation. (I will make a point of seeking out more of her films to review in this space.)

Meanwhile, you can watch "The Wonderful Wizard of Oz" right here, on this blog, via this embedded YouTube video.

I want to warn you off of 'Midnight Warning'

Midnight Warning (1932) (aka "Eyes of Mystery" and "The Midnight Warning")
Starring: William Boyd, Hooper Atchley, Huntley Gordon, Lloyd Whitlock, Claudia Dell, John Harron, and Phillips Smalley
Director: Spencer Gordon Bennett
Rating: Four of Ten Stars

After Dr. Walcott (Atchley) is nearly killed by a sniper, ace detective Thorwalt Cornish (Boyd) sets out to find the culprit, as well as why someone would want to assassinate his good friend. He discovers that the staff of hotel is keeping a secret... a secret someone is apparently willing to kill for.

For about half of its running time, "Midnight Warning" is a by-the-numbers detective film, with William Boyd serving as a low-rent Sherlock Holmes and Hooper Atchley doubling as the Dr. Watson figure and the crime victim that is "the client." Then, as one mystery is solved, the film moves into thriller territory, as the heroes uncover an apparent and mysterious conspiracy between hotel managers and city officials that involve a vanishing guest and an apparent effort to make the world believe that Enid Van Buren (Claudia Dell) insane, to the point of attempting to drive her truly mad. Finally, as the conspiracy begins to unravel, the film moves into horror territory, as the conspirators make one final push to keep their secret and silence Enid for good.

The progression through genres as the plot evolves is interesting and it would make for an excellent movie if not for two reasons: First, the horror portion of the film comes with a level of silliness that must have been eye-rolling even back in the 1930s; and, second, the film's ultimate resolution is so outrageous that it should offend the sensibilities of even the most hardcore believer in the notion that the government and our "betters" are always right. I'm going to break with habit and spoil the ending of the film and reveal that not only do the villains get away with their abuses, but virtually every character in the film becomes aware of the full scope of what they did, and they all apparently go "oh, okay... whatever."

No matter how generous I try to be, I can't suspend my disbelief to accept that a woman who was deliberately targeted for destruction by a group of rich and powerful men would just let them get away with it; I can't believe that her protective fiance would just let them get away with it; I can't believe a police consultant they manipulated to further their ends would just let them get away with it; and I can believe the seemingly upright Dr. Walcott would let them get way with it. I CAN believe that the Great Detective of the story would let them get away with it, because, while he seems to be in the Sherlock Holmes model, he seems to be utterly lacking in Holmes' sense of morality and desire to see justice done. He seems more interested in just solving mysteries and seeing his name in the papers. I can easily accept this character taking the stance that the hotel owners and city officials should get away with a cover-up and trying to destroy an innocent woman's life and sanity, because he has all of them over a barrel for future blackmail.

"Midnight Warning" is, until its last few minutes a moderately entertaining film that gets a bit wobbly towards end... and then goes off the rails like a train crashing into an oil refinery and exploding. I have a sequel in my head where Enid and her fiance (possibly aided by Walcott) take their revenge, and that imaginary film is probably why I'm rating this the lowest possible Four. The ending is so atrocious that it soured me on everything that came before.

This is not a film I can recommend... unless you've set yourself the goal of watching every Claudia Dell movie, or are doing a scholarly paper on the differences in films from before and after the implementation of the Hays Code for production standards.

The stars of 'Corsair' give strong performances, but are let down by a flawed script

Corsair (1931)
Starring: Chester Morris, Thelma Todd (as Alison Loyd), Frank McHugh, Mayo Methot, Fred Kholer, Ned Sparks, and Emmett Corrigan
Director: Roland West
Rating: Six of Ten Stars

It's Prohibition Era America. John Hawks (Morris), a one-time college football star grows angry and disgusted with the predatory business practises of his investment banker boss (Corrigan), and the way his boss's daughter, Alison (Todd), seems to treat him like her property and possible living sex doll, he decides to turn the tables on them by becoming a predator himself: Teaming up with the mistreated and disgruntled employees (Sparks and Methot) of bootlegger Big John (Kohler), with whom the banker is secretly in business, Hawks launches a pirating operation geared toward intercepting Big John's shipments and selling the stolen booze to the investment banker, thus making him pay for the same illicit goods twice.

As the summary above might indicate, "Corsair" is a complicated story. It is full of twists and turns and reversals. Some of these are surprisingly tragic. It's also a story that's populated with great characters... but, unfortunately, the most important of these characters are not developed to their full potential--the two main characters, John Hawks and Alison Corning.

Thelma Todd is best remembered today for her roles in comedies, but she proves in "Corsair" that she could tackle dramatic roles with just as much effectiveness. Her man-eating character in this film is so cold and self-assured that she doesn't even try to hide her dark heart and lusts. While watching the film, I had the sense that Todd's character was more than just a spoiled rich girl with a wild and independent streak, but was actually a sociopath or perhaps even a psychopath.

Unfortunately, we never see enough of Todd interacting with other characters to really know if my interpretation of her is right or wrong. She comes onto Hawks, who sees her for what and who she is and rebuffs her advances again and again. This only makes her come at him harder, and it's what eventually puts her in the middle of Hawks piracy operation, and everyone in danger (including herself and her feckless fiance).

Speaking of John Hawks, as mentioned, his character is woefully underdeveloped. We know he's an ex-football star, we know he's a man of high morals and is willing to stand by those morals... but it's never made obvious why he goes to the extremes he does, becoming a pirate with the express purpose of robbing a powerful and dangerous bootlegger just so he can stick it to a rich banker who happens to have a sociopathic daughter who set her sights on him. Maybe something happened between  Alison and John during the months he worked for her father that we aren't privy to, or maybe John saw more dirty dealings on the part of his employer beyond hard-selling little old ladies on risky investments that made more money for the firm than for them? Who can say, because there's nothing in the film to give a clearer reason for why John does what he does.

This lack of depth to John and Alison, or any dimension to their relationship with each other, makes them boring lead characters, and it causes them to be overshadowed by John's "insiders" in the bootlegger's operation--a couple, Sophie and Slim (played by Mayo Methot and Ned Sparks), who help John rob their boss because their cut will allow them to escape the yoke of crime they are laboring under. Methot, for example, has a couple of really effective scenes that deftly define her character's motivation, her relationship with Sparks, as well as inspire a great deal of sympathy from the viewers. If only Todd or Morris had been given such well-crafted scenes to perform.

Aside from the underdeveloped main characters, "Corsair" is mostly an excellent film. It's a different sort of gangster movie that's beautifully and creatively filmed--with some surprisingly modern-seeming techniques given that this is a film from 1931, from a director whose career was over at this point--and it delivers tension and suspense found all-too-rarely in the B-pictures of this period.

I say "mostly excellent" because the great parts of the film are sandwiched between absolute dreck. The opening scene is dragged out and annoying because the filmmakers obviously and clumsily try to conceal Thelma Todd's identity for as long as they could--she made this film under what was supposed to be her "new stage name", so I suspect they were going for a Big Reveal and failed. And the film's finish is absolutely awful and out of step with the rest of the movie. I won't say anything more, for risk of spoiling it, but Morris and Todd's final scene together is perhaps one of the worst bits of cinema the public has ever been subjected to.

All in all, the good in "Corsair" outweighs the bad, and I think it's worth checking out for anyone who likes 1930s crime dramas. It's also worth watching for the performances given by Ned Sparks and Mayo Methot, as well as those of Chester Morris and Thelma Todd. In each case, we get to see them play types of roles that they were rarely seen in... and they get to show that they were actors with greater range than their professional pigeon-holes allowed them to show. (One can only imagine how great Morris and Todd could have been if they had been graced with the sort of material that Sparks and Methot had to work with.)




Trivia
Alison Loyd is better known as Thelma Todd. This was the one and only time she used that "stage name", reportedly at the urging of her boyfriend, director Roland West, and a numerologist who claimed it would help her career.

Also, this was the first film role for Mayo Methot. She would go onto have a minor film career that would be over by 1940, thanks to her alcoholism and bad temper. (Once, in a drunken rage during her short marriage to Humphrey Bogart, she threatened him and dinner guests with a loaded gun.)

Finally, "Corsair" was director Roland West's last movie. His career had been waning since silent movies fell out of favor, and in 1934 he went into business with Thelma Todd as co-owner of a cafe. Following her death in 1935, he broke for good with everything Hollywood related. 

Princesses of Mars, Part 29

Sometimes, a Martian Princess needs a Prince (or maybe just a man)....

By Ed Benes

By Mike Hoffman

By Thomas Yeates

By Ron Adrian

By Emanuela Lupacchino

Musical Monday: Everything She Wants

This week, it's 35 years since Wham!'s third consequetive hit song debuted in the U.S. Check out the song and the video... and don't let the monstrous mullets scare you too much!

Who is Wham! you ask? Well, it's where George Michael got his start as one half of a duo. You can read all about it by clicking here.

It's Sunday with Spider-Woman!

It's time for another visit with the original (and best) Spider-Woman, Jessica Drew! (Although it looks like she's still finishing her breakfast...)

By Tyler Kirkham

By Gary Martin

And then, Black Widow decided to ruin the peaceful day by proving that while she may know Spider-Woman, she doesn't fear her!

By George Perez

'Whispering Whoopee' is lots of fun

Whispering Whoopee (1930)
Starring: Charlie Chase, Dolores Brinkman, Anita Garvin, Thelma Todd, Eddie Dunn, Carl Stockdale, Dale Henderson, and Tennen Holz
Director: James Horne
Rating: Nine of Ten Stars

Charley (Chase) hires three escorts (Brinkman, Garvin, and Todd) to service three members of the Rockaway Chamber of Commerce (Henderson, Holz, and Stockdale) to help him close a land sale. After it initially seems his plan is doomed to failure, the party gets wilder than Charley anticipated.

"Whispering Whoopee" is a straight-forward comedy with a simple plot and mostly straight-forward, simple jokes, but every one of those jokes lands perfectly, and every cast member is great in their parts. The picture was written and filmed on a very tight schedule, as it was conceived in order to keep cast and crew working, and the Hal Roach Studio's release schedule on track, when bad weather delayed filming of the many outdoor scenes in the golfing-based comedy "All Teed Up". Given the circumstances under which it was created and filmed, it's really impressive how perfect everything seems. The pinnacle of the film is a scene where all the characters are spraying each other with seltzer water, and there's a bit in there that makes fun of synchronized swimming/ice dancing that underscores the simplicity of the movie's humor but also that the exactness in its delivery makes it exceptional. 

While Charley Chase is the lead in the film, it is also very much an ensemble comedy. Each actor gets to do their own bits, or a bit with a partner. Among Chase's co-stars, Dolores Brinkman gets some of the best lines, and she shows herself to have plenty of screen presence and comedic timing. It's a shame that she never managed to propel her acting career above the level of bit parts, because, based on what I see her, she had plenty of talent. She also plays the role in this film that I would assume would have been filled by Todd if this film had not been inserted into the production schedule the way it was; Todd is seen in fewer shots than other cast members, and of the ladies in the film she has has the fewest lines; I assume she may have been going to other sets even while working on "Making Whoopee".

Getting back to Brinkman for a moment: As things would turn out, her role in "Making Whoopee" would be her final screen appearance. Interestingly, Chase's co-star in "One of the Smiths", Peggy Howard, was also a pretty actress who never "made it", and who's last credit was in a Charley Chase film. I wonder if I will find this to be pattern as I watch more of Chase's films from the early 1930s. Together with Hal Roach, Chase was in the process of turning Thelma Todd into a hugely popular comedienne... perhaps they were trying to capture that same magic with another actress? This seems like a reasonable idea to me, since, mere months after this film was made, Todd would be headlining her own series of comedic shorts. Perhaps Chase and Roach were perhaps looking ahead to fill Todd's role in the line-up of performers working with Chase? Perhaps they were looking for someone to team with Todd in the series of films that Roach was already considering--films starring the "Female Laurel & Hardy"?

I confess that I have neither the historical knowledge, nor the drive to do the research, to elevate anything in the previous paragraph past the level of speculation. Over the next few months, however, as I watch more Charley Chase and Thelma Todd films, as well as a smattering of Laurel & Hardy and other Hal Roach productions, and do my usual superficial research into the actors appearing in them, maybe I'll find something to either prove or disprove the speculation above.

All that is tangential to "Whispering Whoopee", which is a hilarious comedy that makes it easy to see why Charley Chase was second only in popularity to Laurel & Hardy when it came to Hal Roach's galaxy of stars. It's a shame that he and his work is mostly forgotten, but it's also easy to see why: His films are more rooted in the culture of the time within which they were made than the Laurel & Hardy pictures were. Comedies driven by Chase were focused more around social situations, while those with Stan Laurel's brain behind them were more about the human condition, so the latter have stood the test of time better. Nonetheless, a 90-year-old Charley Chase film is more finely crafted and funnier than many modern comedies, and I'll take a quickie production like "Whispering Whoopee" over almost any modern sit-com I've sampled in recent years.

"Whispering Whoopee" is one of 17 short films starring Charlie Chase that are included in the two DVD set Charley Chase at Hal Roach: The Talkies 1930 - 1931. Many of them also feature or co-star Thelma Todd, James Finlayson, and other popular Roach regulars.

Picture Perfect Wednesday: Real or Photoshop?

Marilyn Monore: Real or Photoshop?
Leave your opinions in the Comments Section if you want to play!

No cheers for 'Cheers of the Crowd"

Cheers of the Crowd (1935)
Starring: Russell Hopton, Harry Holman, Irene Ware, Bradley Page, John Dilson, Wade Boteler, John Quillan, Roberta Gale, and Betty Blythe
Director: Vin Moore
Rating: Four of Ten Stars

When a publicity stunt staged to save an failing Broadway show succeeds beyond his wildest imagination, Lee Adams (Hopton) exposes his boss (Dilson) to blackmail by a sleazy business manager (Page); his reporter girlfriend (Ware) to career ruin; and an old friend (Holman) to possible jail-time.

"Cheers of the Crowd" has a nice set-up, unfolds in a steady fashion with complications and stakes-raisings happening pretty much when you'd expect them to, and then wraps itself up in a happy ending for all--except the bad guy. And yet, the film doesn't work, because this very well constructed frame has been draped with half-developed story elements that the scriptwriter appears to have been afraid of taking as far as they needed to go, or which go nowhere.

The perfect storm of these flaws is embodied in the film's rather unremarkable villain. There are some really interesting story elements hinted at in his actions and references made to other characters, but they aren't developed. Even his final fate at the end of the movie is half-baked and unsatisfactory (unlike the nice wrap-ups that every other character gets).

It's a shame the film has such a shoddy script, because the actors all give nice performances... and they are especially admirable since much of the cast were at the end of their careers. (It's always sad to realize that Irene Ware, who was done in not due to a lack of talent or dedication, but due to being part of failed projects. She doesn't have much to do in this film, but she brightens every scene she's in.)

"Cheers of the Crowd" can be streamed without additional charge by Amazon Prime members. I'm not sure if it's worth you time, though. It's a generally uplifting move story-wise, but the execution is sorely lacking.