The Big Idea (1934)

 

Studio: MGM. Runtime: 19 minutes. Production Number: 628. Release Date: May 12, 1934. Director: William Beaudine. Story: Ted Healy, Matty Brooks. Screenplay:  Matty Brooks. Cast: Ted Healy (Himself), Muriel Evans (Ted's Girlfriend), Bonnie Bonnell (Cleaning lady), Moe Howard, Larry Fine, Jerry "Curly" Howard (Themselves), Lew Harvey (Machine gunner), Billy Engle (Short painter), Robert Milasch (Tall Painter), Heinie Conklin (Drunk), Buster Brodie (Bald man), Henry Taylor, Eddie Bartell, Jimmy Hollywood (Radio Rouges), The MGM Dancing Girls (Themselves), Tut Mace (Dancer). Choreographer: Sammy Lee. Songwriter: L. Wolfe Gilbert.

The last short film that Ted Healy and the Stooges made for MGM, is really more of a Ted Healy solo short with the Stooges in bit roles. 

In this short film, Ted Healy is the president and only member of "Big Ideas Theatrical Productions." However, he has yet to think of a big idea. While he tries to think of a big idea, he is constantly interrupted. He eventually comes up with a plot idea about three radio performers. We then cut to these radio performers doing impressions of various radio stars. Cutting back to Ted's office, Ted comes up with the idea that these radio performers buy their own musical show. We then cut to a musical number. The scene with the radio performers and the musical number are deleted scenes from two feature films. These feature films are Dancing Lady (1933) and Going Hollywood (1933), which starred Bing Crosby and Marion Davies (a delightful film). 

Despite the Stooges' limited screentime, there are still somethings to enjoy here. Ted Healy is excellent in this role effortlessly going back and forth between being a loud-mouthed comedian and a straight man to the zany goings on. Some of the gags are quite familiar but work thanks to Healy's execution. The Stooges appear briefly throughout the film without doing much Stooge like. Towards the end, they get a pretty decent comedy bit all to themselves. 

However, it is the use of deleted scenes from other movies that really hurts this film. Going Hollywood benefited greatly because the radio scene didn't make it into that movie. This scene just simply isn't that good. The radio imitations are okay at best and are never actually funny (even for those who know the radio performers that are being kidded). Along with this the Amos and Andy bit goes on much too long.

When this short would be released to theaters, new title cards were given. Rather than crediting "Ted Heal with Howard, Fine and Howard," the new title cards stated, "Ted Healy and His Three Stooges." 

By the time this short was released, the Stooges had already split from Healy and were beginning making their famous and beloved series of two-reel shorts for Columbia (more about that in a later post). As this was going on the Stooges were still making quite a few live performances. They made their last two live appearances with Ted Healy on January 13, 1934 (at the Biltmore Hotel in Los Angeles) and February 10, 1934 (at Loew's State Theatre in Los Angeles). These were star studded charity events. At the Biltmore Hotel, there were also performances by Russ Columbo, Bing Crosby, Jeanette MacDonald and Rudy Vallee. Even the orchestra was made up of movie stars. Charlie Chaplin played the violin, and James Cagney played the drums. Other performers at the Loew's State Theatre included Betty Grable, Leo Carillo, Billy Gilbert, George Raft and Mickey Rooney. 

The Stooges first performed live without Healy at the Warfield Theatre in San Fransico from April 20-26, 1934. Jack DeWees played the straight man role to the Stooges mayhem. Billed as "Howard, Fine & Howard," the team made quite positive impression. On April 21, 1934, the San Fransico Chronicle reported, "Ted Healy's Stooges, Howard, Fine and Howard, assisted by Jack DeWees keep the audience in gales of laughter with their nonsense." Starting in June of 1934, Howard, Fine and Howard would be performing without the aid of Jack DeWees. Beginning in October, the group would be billed as The Three Stooges for their live performances.   

Other 1934 performances of the Stooges included: April 29 at the El Campanil Theatre in Antioch, CA, May 18-24 at the Palace Theatre in Chicago, May 25-31 at the Fox Theatre in Detroit, June 25 at the Biltmore Hotel again, August 29 at the Roosevelt Hotel in Hollywood, September 9 at Wrigley Field in Los Angeles, October 3-10 at the Orpheum Theatre in Los Angeles, October 13 at the Club Ballyhoo in Hollywood, November 1-14 at the Warfield Theatre, November 10 at the Bowery Nite Club, November 28 - December 4 at the Orpheum Theatre, December 11, 17 and 21 at the Olympic Auditorium in Los Angeles, December 19 at the Shrine Auditorium in Los Angeles and December 31 at the Paramount Theatre in Seattle. 

-Michael J. Ruhland

                                                       Resources Used

The Three Stooges Scrapbook by Jeff Lenburg, Joan Howard Maurer and Greg Lenburg
A Tour De Farce: The Complete History of the Three Stooges on the Road by Gary Lassin

https://threestooges.net/filmography/view/204

 

Fugitive Lovers (1934)

 

Studio: MGM. Runtime: 82 minutes. Production Number: 716. Release Date: January 05, 1934. Director: Richard Boleslavsky. Screenplay: George B. Seitz, Frances Goodrich, Albert Hackett. Story: Ferdinand Reyher, Frank Wead. Producer: Lucien Hubbard. Cast: Robert Montgomery (Paul Porter), Madge Evans (Letty Morris), Ted Healy (Hector Withington, Jr.), Nat Pendleton (Legs Caffey), C. Henry Gordon (Detective Daly), Ruth Selwyn (Babe Callahan), Imogene Coca (Peanuts), Moe Howard, Larry Fine, Jerome "Curly" Howard (The Three Julians), Lester Allen (Parker), Wade Boteler (Policeman arresting Parker), James Burke (Joe Cobb), Walter Brennan (2nd bus driver), Syd Saylor (3rd bus driver), Don Brodie (Lefty), Al Hill (Joe), Heinie Conklin (Man at bus with Hector), Milton Kibbee, Harrison Greene (drunks), Ray Cooke (bellboy), Nell Craig (Cashier), Richard Cramer (Police Lieutenant), Frank Sheridan (Police Chief), Edward Hearn (Detective), Harry Tenbrook, Edward Gargan, Ben Hendricks, Jr. (Policemen), Louise Emmons (Newspaper hawker), Sherry Hall (Bus station clerk), Virginia Hammond (Older woman bus passenger), Carl Stockdale (Older woman bus passenger's husband), Wilbur Mack (Theatre manager), Akim Tamiroff (Deaf mute bus passenger), Red Pearson (Sailor), Leo White (passenger), DeWitt Jennings (Prison warden), Walter Long, Budd Fine (Prison Guards), Bobby Watson (Eddie), Dad Mills (Blind man), Margaret Mann (old lady), Sam McDaniel (Station attendant), Charles R. Moore (Porter), Inez Palange (Maria), Fred 'Snowflake' Toones (Driver), Maidel Turner (Mother), Delmar Watson (Tommy). Cinematographer: Ted Tetzlaff. Editor: William S. Gray. Art Director: Arnold Gillespie. Recording Director: Douglas Shearer. Set Decoration: Edwin B. Willis. Shooting Days: 10-13-1933 to 11-22-1933.

In this feature length movie, Letty Morris is a New York dancer, who runs away when gangster 'Legs' Caffey makes unwanted advances towards her. To escape she goes on a cross-country bus to Hollywood. There she falls in love with fugitive Paul Porter.

This is a flawed but fun little movie. The idea of a comedy/drama aboard a bus full of colorful characters is a marvelous one. The filmmakers take full advantage of that and many of the characters are delightful to spend time with. Ted Healy's character is a highlight here in one of his best roles as a boisterous and often drunk bus passenger. He is often funny but there is also a bit of heart to this over-the-top character that truly endear him to us. The older woman he is sitting next to is also a lot of fun and the exchanges between them are truly funny. The Stooges don't get a lot of screen time, but they are a lot of fun. Nat Pendelton (who is best known by comedy fans for playing Sgt. Collins in the Abbott and Costello films Buck Privates (1941) and Buck Privates Come Home (1947) as well as villains in The Marx Brothers movies Horse Feathers (1932) and At the Circus (1939)) however steals the show as the gangster Legs Caffey. He makes what could have been a two-dimensional villain into a fully realized three-dimensional character with massive faults but also some good points underneath. He also commands the screen whenever he is on with a strong presence. The dialogue is often sharp and quite witty.

The romantic leads are quite underdeveloped, but they are likable enough to serve their purpose. Though this is mostly due to the charms of Madge Evans and Robert Montgomery. 

Unfortunately, the final act of this film is too melodramatic and over-the-top. It also seems to throw too many story points directly at us at one time. In this last act it loses the simplistic charm that makes the first two acts so much fun. It is always a shame when an otherwise good movie loses itself in an overly complicated third act. 

Also in the cast of this film are many actors who would later appear with the Stooges in other films.

 Don Brodie (Born May 29, 1904, in Cincinnati; passed away January 8, 2001, in Los Angles) appeared with the Stooges in Turn Back the Clock (1933), Meet the Baron (1933), Hollywood Party (1934), Punch Drunks (1934), Start Cheering (1938), I'll Never Heil Again (1941) and The Ghost Talks (1949).

Lester Allen (Born November 11, 1891, in Utica, New York; passed away June 11, 1949, in Los Angles) appeared in Crime on Their Hands (1948) and in archival footage Hot Ice (1955). 

Al Hill (Born July 14, 1892, in New York City; passed away July 14, 1952, in Los Angles) appeared in Punch Drunks (1934), Good Luck Mr. Yates (1943) and A Gem of a Jam (1943). 

Hennie Conklin (Born July 16, 1880 in San Fransico; passed away July 30, 1959 in Los Angles) appeared in Soup to Nuts (1930), The Big Idea (1934), The Captain Hates the Sea (1934), Flat Foot Stooges (1938), Loco Boy Makes Good (1942), Even as IOU (1942), Back From the Front (1943), Three Pest in a Mess (1945), Micro-Phonies (1945), Uncivil War Birds (1946), Fright Night (1947), Out West (1947), Hold that Lion (1947), I'm a Monkey's Uncle (1948), Crime on Their Hands (1948), Punchy Cowpunchers (1950), Hu-La-La (1951), Pest Man Wins (1951), Up in Daisy's Penthouse (1953), Booty and the Beast (1953), Musky Musketeers (1954), Pals and Gals (1954), Fling in the Ring (1955) and Fifi Blows Her Top (1958). 

Harrison Greene (Born January 18, 1884, in Portland Oregan; passed away, September 28, 1945, in Los Angles) appeared in The Captain Hates the Sea (1934), Ants in the Pantry (1936) and Grips, Grunts and Groans (1937).

Budd Fine (Born September 9, 1894, in Hartford, Connecticut; passed away February 19, 1966, in Los Angles) appeared in The Captain Hates the Sea (1934), Grips, Grunts and Groans (1937), Back to the Woods (1937), Beer Barrel Polecats (1946), Crime on Their Hands (1948) and Hot Ice (1955). 

The Film Daily, 1934

It is always fascinating to see the ways that movies were advertised by local theaters during Hollywood's golden age. Here are some examples of how Fugitive Lovers was advertised. 

The following is from an issue of Motion Picture Herald dated January 27, 1934.

"A ten day 'search' contest put on with the New York Mirror, and a street parade of Greyhound busses were two of the high spots of the New York campaign for 'Fugitive Lovers' at the Capital Theatre.

"The newspaper tie-up was an elaboration of the identification idea with two 'fugitive lovers,' a boy and a girl, making the rounds, visiting the local stores, and appearing at different places where readers were requested to spot them, daily cash prizes and free tickets being rewarded to those who made the proper identification.

"In addition to the daily advance parades of busses in many sections of the city, each of these conveyances carried banners advertising free rides to the theatre, copy of course including mention of the attraction as well. Induvial busses were also stationed at many of the local terminals, from which many who accepted the advertised invitation were carried to the Capital.

"It is expected that many members will compete for the $200 in prizes M-G-M is offering for the best campaigns on 'Fugitive Lovers.' The contest runs until March 5th."

The following is from an issue of The Philadelphia Exhibitor dated January 15, 1934.

"George Jones, Loews Theatre, ballyhooing 'Fugitive Lovers' brightened up an old gag with a radio angle. 

"It is not the first time that the hunt for a mystery woman or man has been staged in Wilmington, so this part wasn't so original, but with the use of WDEL, and the name 'Fugitive Lovers,' new glamor was added to it. During the day on Friday, Saturday and Monday, the WDEL announcer would say mysteriously, 'Wanted the 'Fugitive Lover,' tune in at six P.M.' Then the instructions that were broadcast at that hour were that between the hours of 7 and 8 and 9 and 10 the 'Fugitive Lovers' would be in, around or not far from the lobby of Loews Theatre, and that a $10 reward would be offered for the first person who would identify the proper pair as the dupes that had been planted." 

The following is from an issue of Motion Picture Herald dated March 3, 1934.

"The 'Fugitive Lovers' newspaper contest put over by Oscar Dobb's staff on the New York engagement was adapted successfully by Manager Ben Cohen, College, New Haven, Conn., who tied the stunt in a co-op page in which 12 merchants participated.

"At the head of the page was a two-column box showing the backs of the two 'Fugitive Lovers' and copy explaining that during the day they would be seen in various stores advertised. Tickets were given to those who stopped them and said, 'You are the Fugitive Lovers coming to the College Theatre on Thursday." To further aid the search, a detailed description of the 'Lovers' was also printed." 

-Michael J. Ruhland 

Resources Used

The Three Stooges Scrapbook by Jeff Lenburg, Joan Howard Maurer and Greg Lenburg

https://threestooges.net/filmography/view/212

https://mediahistoryproject.org/

 

 

Myrt and Marge (1933)

 

Studio: Universal. Runtime: 65 minutes. Production Number F8. Release Date: December 4, 1933. Director: Al Boasberg. Screenplay: Beatrice Banyard.  Producers: Eddie Foy Jr., Bryan Foy. Executive Producer: Carl Laemmle. Cast: Myrtle Vail (Myrt Spear), Donna Damerel (Marge Minter), Eddie Foy Jr. (Eddie Hanley), Ted Healy (Mullins), Jerry "Curly" Howard, Larry Fine, Moe Howard (Themselves), Bonnie Bonnell (Suzannah), Ray Hedges (Clarence Tiffingtuffer), Thomas E. Jackson (Mr. Jackson), Grace Hayes (Grace), Jimmy Conlin (Comedian), J. Farrell MacDonald (Mr. Grady), Trixie Friganza (Mrs. Minter), Bo-Ling, Bo-Ching (Themselves), The Colenette Ballet (Dancers), Peter Lind Hayes (OGOK Announcer). Cinematographer: Joseph Valentine. Editor: Arthur Hilton. Art Director: Merrill Pye. Choreographer: Jack Haskell. Musical Director: Paul Van Loan. Songwriters: M. K. Jerome (music), Joan Jasmyn (lyrics).

Though nearly forgotten today the Myrt and Marge radio show was very popular in its day. First airing on November 2, 1931, the show was created by one of its stars Myrtle Vail (Born January 7, 1888, in Joliet, Illinois; passed away September 18, 1978, in Kansas City, Missouri), who also wrote many of the episodes. Myrtle had been a former vaudevillian and thought a radio show based on her life in vaudeville might be successful. The plot of the show had the older and more experienced Myrt (Myrtle) taking a younger vaudevillian Marge under her wing. To play the younger vaudevillian Myrtle chose her own daughter, Donna Damerel (born July 8, 1912, in Chicago, Illinois; passed away February 15, 1941, in Englewood, New Jersey). The show became one of radio's most popular soap operas and ran into 1942. However, tragedy struck in 1941 when Donna Damerel died giving birth to her third son. She was only 28. There was storyline in which Myrt had to hide out in the hills until a murder could be resolved, which would allow the character of Marge to be briefly written out. By the time this storyline was over Helen Mack (Born November 13, 1913, in Rock Island, Illinois; passed away August 13, 1986, in Beverly Hills, California) had been given the role of Marge. Helen Mack is best remembered today for her roles in the classic films His Girl Friday (1940) and Son of Kong (1933). Comedy fans might also know her for her role in the Harold Lloyd talkie, The Milky Way (1936). Even with Mack as the replacement the show would only last a few more months. However, in 1946 the series had a short revival, with new episodes starring Myrtle Vail and Helen Mack. Myrtle Vail would find a later career as a character actress. She is best remembered for the beloved low-budget horror films, A Bucket of Blood (1959) and The Little Shop of Horrors (1960), both of which were written by her grandson Charles B. Griffith (Born September 23, 1930, in Chicago, Illinois; passed away September 28, 2007, in San Diego, California).

With the success of this radio show, Universal decided to make a feature film version. In this film, Myrt (Myrtle Vail) knows she has a hit Broadway revue on her hands, yet she lacks the money to fund it. Selfish and predatory producer Mr. Jackson (Thomas E. Jackson) agrees to fund the show. However, what he is really interested in is the young actress, Marge (Donna Damerel).

This movie is quite entertaining despite its storyline. The basic storyline is pure soap opera nonsense. Despite being named Myrt and Marge, the title characters are the blandest part of this film. The storyline revolving around their romances and backstage drama are difficult to become invested in. These characters are bland and unable to inject any emotional connection in with this cliché-ridden story. The dialogue they are given is too sappy and melodramatic to be taken seriously. 

Yet what makes this movie with watching are the comedy and musical numbers. Despite this being so early in their movie careers, Ted Healy and the Stooges get quite a bit of screen time here. They completely steal the show. Many of their scenes here are pure classic Stooges. I found myself constantly chuckling when they were onscreen.  Bonnie Bonnell and Ray Hedges also supply some good laughs here. While the musical numbers may not be especially memorable, they are fun. The songs are very pleasant and enjoyable to listen to. All the performers do a great job with each of these songs, bring even more fun to them. Eddie Foy, Jr. is especially fun to watch, and it is easy to tell that he descended from vaudeville royalty. The final musical number is definitely a highlight with its Busby Berkley inspired visuals. 

This movie also has a very charming ending, where the stars briefly step out of character to say goodbye to the audience. 

Director Al Boasberg (born December 5, 1892, in Buffalo, New York; passed away June 18, 1937, in Los Angeles, California) had worked on some real comedy classics, mostly as a writer. For instance, he was a writer on Buster Keaton's silent masterpiece The General (1927), Harold Lloyd's Speedy (1928), Wheeler and Woosley's Cracked Nuts (1931) and The Marx Brothers' A Night at the Opera (1935). As well as his career on films he also worked with Jack Benny, Bob Hope and Burns and Allen on radio. 

This is a rare major role for actor Thomas E. Johnson (born July 4, 1886, in New York City; passed away in Hollywood), who mostly played supporting character roles during his prolific movie career. Though he was rarely in leading roles Johnson had been in such beloved Hollywood classics as Little Caesar (1931), The Thin Man (1934), The Call of the Wild (1935), Angels With Dirty Faces (1938); Beau Geste (1939) and The Woman in the Window (1944). 

J. Farrell MacDonald (born April 14, 1875, in Waterbury, Connecticut; passed away August 2, 1952, in Hollywood) was another actor with a very distinguished career, though mostly in supporting roles. His filmography includes such classics as The Iron Horse (1924), Sunrise: A Song of Two Humans (1927), The Cat's-Paw (1934), Topper (1937), Meet John Doe (1941), Sullivan's Travels (1941), The Palm Beach Story (1942), My Darling Clementine (1946), It's a Wonderful Life (1946) and Superman and the Mole Men (1951). 

Bo Ling (born November 15, 1908, in Alameda County, California; passed away March 18, 1999, in Granada Hills, California) and Bo Ching (born April 21, 1911, in Alameda County, California) were sisters born Berenice Park (Bo Ling) and Winnie Park (Bo Ching). The sisters had a stage act with performer Helen Wong Jean. The act was described as a "three-gal act, singing, dancing, and playing piano and accordion." Despite not being the same age, the sisters sometimes performed together on stage credited as "The Chinese Twins." They were the daughters of actors Edward and Florence Park, who both can be seen in some of the Charlie Chan films. These parents encouraged their daughters to sing, dance and play piano at an early age. They can be seen in such films as Golden Stairs (1929) and the madcap comedy masterpiece International House (1933). Bo-Ching would much later appear in the Star Terk the Next Generation episode, Violations (1992). 

Universal Weekly, 1933

Here is a 1936 article from Radio Stars magazine about the Myrt and Marge radio show. If you have trouble reading it, click on the pages below and use your touch screen to zoom in. 

Ray Hedges, who acts in this film, was also a regular on the radio show. Here is a 1935 article from Radio Mirror magazine that talks about him and the role he was known for. If you have trouble reading, click on the pages below and use your touch screen to zoom in. 

If you want to watch this movie, you can do so below. 

-Michael J. Ruhland'

Resources Used

The Three Stooges Scrapbook by Jeff Lenburg, Joan Howard Maurer and Greg Lenburg

https://threestooges.net/filmography/view/211/

https://memory-alpha.fandom.com/wiki/Bo_Ching

https://books.google.com/books?id=b3AbAgAAQBAJ&dq=%22bo+ling%22+leroy+mason&pg=PA30#v=onepage&q=%22bo%20ling%22%20leroy%20mason&f=false

https://ericbrightwell.com/2009/05/02/asian-american-cinema/

https://everything.explained.today/%5C/Myrt_and_Marge_(radio_series)/

https://travsd.wordpress.com/2014/01/07/stars-of-vaudeville-854-myrtle-vail/

https://mediahistoryproject.org/

Dancing Lady (1933)

 

.Studio: MGM. Runtime: 94 minutes. Production Number 694. Release Date: November 24, 1933. Director: Robert Z. Leonard. Screenplay: Allen Rivkin, P.J. Wolfson, Robert Benchley. Based on a novel by James W. Bellah.  Executive Producer: David O. Selznick. Associate Producer: John W. Considine. Assistant Director: Joseph Boyle. Cast: Joan Crawford (Janie Barlow), Clark Gable (Patch Gallagher), Franchot Tone (Tod Newton), Winnie Lightner (Rosie LaRue), Ted Healy (Steve), Larry Fine (Harry), Moe Howard (Stagehand), Jerry Howard (Stagehand), Gloria Foy (Vivian Warner), Grant Mitchell (Jasper Bradley, Sr.), Maynard Holmes (Jasper Bradley Jr.), Robert Benchley (Ward King), May Robson (Mrs. Todhunter), Nelson Eddy (Himself), Art Jarrett (Himself), Fred Astaire (Himself), Jack Baxley (Burlesque Barker), Harry Leroy (Burlesque patron), Jean Howard (Girl with Tod), Pat Somerset (Tod's Friend), Tom Mahoney (Police Sergeant), Frank Hagney (Policeman), Tenen Holtz, Charles Williams (Men arrested in burlesque house), Ferdinand Gottschalk (Judge), Lee Phelps (Bailiff), Blanche Payson (Jail matron), Eve Arden (Marcia), Matt McHugh (Marcia's Agent), Jess Mendelson (Choreographer), Charles Sullivan (Taxi driver), Stanley Blystone (Traffic Cop), Isabelle Keith (Miss Allen), Florine McKinney (Grace Newton), Sterling Holloway (Pinky), Harry C. Bradley, John Sheehan (Pinky's Pals), Robert Lees (Cuban nightclub dancer), Charles C. Wilson (Joe, club manager), Bill Elliott (Man in cafe), Victor Potel (Worker), Larry Steers, C. Montague Shaw (First nighters), Bonnie Bonnell, Ruth Moody, Marion Weldon, Chicquita Marcia, Muriel Evans, Peaches Jackson, Shirley Chambers, Fay Estelle, Lynn Bari, Shirley Aaronson, Mary Wilbur, Veleda Duncan, Irene Thompson, Ardelle Unger, Dale Dee, Geneva Sawyer, Kay Gordon, Lorena Carr, Linda Parker, Miriam Marlin, Esther Brodelet, May Packer, Bonita Barker, Iris Nicholson, Jean Alden, Margaret McConnell, Anita Thompson, Shirley Deane, Patsy Lee, Edith Haskins, Eleanor Edwards, Lucille Miller, Zelda Webber, Gail Arnold, Nadine Dore, Mary Halsey, Marjorie Timm, Dalle Dean, Frances Sawyer, Dorothy Dearing, Edna Callahan, Jackie Page, Katharine Barnes, Patsy O'Dea, Lee Bailey (chorus girls), Earl Blackwell, John Fulso, Wilburn Riviere, Alan DeAstray, Lester Ostrander, Louis Delgado, Frances Belmont (chorus boys). Cinematographer: Oliver T. Marsh. Assistant Cameraman: Kyme Meade. Editor: Margaret Booth. Art Director: Merrill Pye. Interior Decoration: Edwin B. Willis. Recording Director: Douglas Shearer. Conductor: Louis Silvers. Songwriters: Burton Lane, Jimmy McHugh, James P. Johnson, Lorenz Hart, Richard Rodgers, Nacio Herb Brown, Harold Adamson, Dorothy Fields, Arthur Freed. Wardrobe: Dolly Tree.  Gowns: Adrian. Shooting Days:1933-06-26 to 1933-10-06.

During their juncture at MGM, it seemed as if the studio didn't quite know what to do with the Stooges. Because of this you will occasionally find the Stooges in movies, you wouldn't associate them with. For instance, no one would expect to see our favorite knuckleheads in a romantic musical starring Joan Crawford (Born March 23, 1904–1908 (year depends on the source) in

San Antonio, Texas; Passed away May 10, 1977, in New York City) and Clark Gable (Born February 1, 1901 in Cadiz, Ohio; Passed away November 16, 1960 in Los Angeles, California). Yet they find their way into the delightful and often overlooked pre-code gem Dancing Lady. 

In this film, a young and talented dancer (Joan Crawford) is rescued from jail by a rich man (Franchot Tone) and given a chance in a Broadway show, where she falls in love with director Patch Gallagher (Clark Gable). 

This is a true hidden Hollywood gem. The story itself may be familiar, but it unfolds at a fast pace and is never once anything less than completely entertaining. The opening scenes with the main character going to court for being a part of a striptease show is an example of Pre-Code Hollywood at its best. The scene is delightfully risqué and full of snappy dialogue that is full of a certain hard-boiled wit. This snappy dialogue stays through much of the film. Joan Crawford's character gets many delightful wisecracks throughout the movie. Speaking of Joan Crawford, she is often great in the main role getting both a lot of emotion and humor out of a very simple character. As a dancer she is no Cyd Charisse, but she doesn't embarrass herself on the dance floor either. It is still hard to believe that all these characters are actually that impressed with her dancing. Clark Gable is simply wonderful as a leading man commanding the screen whenever he is on and showing us why he is the perfect example of what a movie star is. The two also have great chemistry with each other, especially during the delightful gym scene. The musical numbers may not be especially memorable, but they are a lot of fun. The songs are very pleasant and the cinematography, sets and chorography during these scenes are very well done. The last two musical numbers are especially charming and fun in the best old Hollywood way. The last musical number has some delightfully creative Busby Berkley inspired imagery that is still a joy to look at. 

Though the Stooges have smaller roles here, they do get some good laughs. Their couple of scenes with Joan are really fun. Also getting some fine laughs here is humorist Robert Benchley, who, like in many of his film appearances, wrote much of his own dialogue.      

Motion Picture Daily, 1933

This film was based on a novel of the same name by James Warner Bellah, which was serialized in the Saturday Evening Post from April 30 to June 4, 1932. Fans of director John Ford (and how could anyone not love the films of John Ford) will be familiar with the work of James Warner Bellah. He wrote the stories which Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950) were based off of. Along with Willis Goldbeck, Bellah co-wrote the screenplays for the John Ford movies, Sergeant Rutledge (1960) and The Man Who Shot Liberty Valance (1962) (one of the greatest westerns ever made).

This film was originally going to have had Robert Montgomery playing the role of Tod Newton. Some sources state that he was not able to do the picture because he had not completed filming Another Language (1933). 

Director Robert Z. Leonard (Born October 7, 1889, in Chicago, Illinois; Passed away August 27, 1968, in Beverly Hills, California) is not especially well known today but he had a long and varied career beginning in the early 1910's and lasting until the late 1950's. His filmography includes such movies as The Cardboard Lover (1928), A Lady of Chance (1928), The Divorcee (1930), Strange Interlude (1932), Peg o' My Heart (1933), The Great Ziegfeld (1936), Pride and Prejudice (1940), In the Good Old Summertime (1949) and The Clown (1953). He has a star on the Hollywood Walk of Fame located at 6370 Hollywood Blvd.

Early during the production of this movie, Clark Gable was hospitalized because of a high fever. His illness turned out to be much worse than just a fever. He learned that due to his rotting teeth and gums, he had pyorrhea and this was spreading throughout his body. All his teeth would have to be removed, and he had to wait two weeks for his gums to heal so that he could have dentures. While he was gone some scenes that didn't include him were shot. 

Some sources state that the higher ups at MGM were skeptical about Gable's illness, thinking that he was not as sick as he was letting on. According to these sources in order to punish Gable for this he was loaned out to make a picture for Columbia (at this time Columbia was considered to be a lesser Hollywood studio). The movie he would make at Columbia would be It Happened One Night (1934), which would end up winning Best Picture and give Gable a Best Actor win. Other sources however give the reason that Gable was loaned to Columbia as being that he refused to play a tough guy role that MGM heads wanted him to play.

In the film, the characters played by Joan Crawford, Clark Gable and Franchot Tone (Born February 27, 1905, in Niagara Falls, New York; Passed away September 18, 1968, in New York City) were engaged in a love triangle. This is not all the different from what happened with the actors themselves. When production on this movie began, Clark Gable and Joan Crawford were in the middle of a love affair. However, when Gable returned after his illness, he found that Crawford had fallen for Franchot Tone and that this attraction was mutual. Joan Crawford and Franchot Tone would marry in 1935 and divorce in 1939. 

An issue of Variety dated December 5, 1933, stated, “A Hitler gag was cut out of ‘Dancing Lady’ by Metro. Jerry Howard of Howard, Fine and Howard, Ted Healy’s stooges, is shown working on a jigsaw puzzle all through the picture until finally supplying the missing piece. He jumps up registering a sick expression, exclaiming, ‘I've been working on this for five weeks and look what I finally got, Hitler.’ To which Healy replies, ‘What did you expect, Santa Claus?’ The Santa tag is in plus the business, but Hitler is out.” Variety got the Stooge in question wrong as it was actually Larry, not Curly (at this time Jerry) that was doing the jigsaw puzzle. In the released film there is a running gag of Larry working on a jigsaw puzzle. However, that gag has no pay off in the actual movie. This is because the ending of the gag was excised from the negative before the film was actually released. 

Though The Stooges have supporting roles in this movie, you do get to see some of their regular comedic bits here.

The gag of the keyboard lid of the piano gets slammed on Larry's fingers as he is playing would later be used in the short films, Loco Boy Makes Good (1942), Brideless Groom (1947) and Hula-La-La (1951). 

At one point the south is mentioned. The boys put on a southern accent and start shouting "Hallelujah." They had previously done this in the short film, Plane Nuts (1933). The boys would later do this in the shorts, Uncivil Warriors (1935), Pardon My Scotch (1935), Don't Throw That Knife (1951) and Hula-La-La (1951). 

At one point the Stooges respond to being told what to do with "Right...right...right...right...right." They are then asked, "Everything alright?" The boys respond in unison "right." The Stooges would repeat this bit in the short films Half Shot Shooters (1936) and Three Little Twirps (1943) as well as the feature length movie, Have Rocket -- Will Travel (1959). 

The Stooges sing, "You'll never know, just what tears are..." The boys had previously sung this song in the feature length movie Soup to Nuts (1930) and the short film Beer and Pretzels (1933). They would later perform the little tune in the feature length movie, Fugitive Lovers (1934) and the short films Horses' Collars (1935), Half Shot Shooters (1936) and A Ducking They Did Go (1939). 

Probably this movie's greatest historical significance is that it features the film debut of Fred Astaire (Born May 10, 1899, in Omaha, Nebraska; Passed away June 22, 1987, in Los Angeles, California). Astaire would of course go on to be one of the greatest dancers the movies would ever see, and his films are just as wonderful and delightful today as they were back then. Producer David O. Selznick convinced his former studio RKO to sign the Broadway star. However, the studio was unsure how to best use the dancer. When David O Selznick moved to MGM, he decided to borrow Astaire from RKO for this movie. This would be Astaire's last movie for MGM until The Broadway Melody of 1940 (1940). Later the same year Dancing Lady was released Fred Astaire would launch to movie stardom due to a memorable supporting role in the delightful RKO musical Flying Down to Rio (1933). Though that movie starred Dolores del Río and Gene Raymond, it is best known today for the first film in which Fred and his most popular dancing partner Ginger Rogers would be teamed. The scene where Fred and Ginger danced the Carioca stole the show and the dancing team soon would star in their own movies. 

Fred Astaire's role in Dancing Lady is brief; however, it is one of the film's highlights. He plays the main character's dancing partner, who happens to be named Fred Astaire. With this role he gets some great dance sequences and of course steals the show with them.  

The song Everything I Have Is Yours would become a hit song. In this movie it is sung by Art Jarrett. However, it would later be recorded by artists like George Olsen, Rudy Vallee, Eddie Fisher, Al Bowlly, Billie Holiday and Patti Page. The song was written by Burton Lane (music) and Harold Adamson (lyrics).

This film was a massive success upon its release. Some sources state that was one of Joan Crawford's most popular films and was considered a comeback after the box office failures of Rain (1932) and Today We Live (1933). For years it would be considered a yardstick by which future Joan Crawford movies would be measured. 

Here is a review from Photoplay magazine dated February 1934. 

"Top notch entertainment that should please the majority of movie-goers. A musical production with the usual backstage atmosphere–which differs only in that it has an interesting story woven through it.

As Janie, a young dancer who makes her way (through the kindnesses of Franchot Tone, wealthy playboy) from burlesque to lead in a Broadway musical directed by Patch Gallagher, Joan Crawford gives an admirable performance.

Clark Gable, as the hardboiled director, is well cast. May Robson, Minnie Lightner, Sterling Holloway, Ted Healy and his stooges all do fine work. Art Jarrett and Nelson Eddy lend fine vocal accompaniment.

The dance scenes are dazzling in extravagant splendor. Fred Astaire and Joan are a perfect complement."

Here is a review from Screenland Magazine, also dated February 1934.

"This is the picture that took so long to make that it kept your Joan Crawford off the country’s screens for almost eight months. Was it worth it? Well, I can say honestly that it’s a glittering and rather gorgeous movie that it will bring back the Crawford you seem to prefer, the colorful heroine of “Our Dancing Daughters,” and that it will not fail to entertain you. Yes, it’s another musical—but it’s one of the best. And it’s novel to see a star of Crawford’s caliber actually dancing, and effectively, too. The film opens with Joan doing a 'strip tease' in a burlesque show. The theatre is raided and our heroine is jailed until Franchot 'Park Avenue Playboy' Tone comes to the rescue. She then battles her way to Broadway stardom under the tutelage of Clark Gable, who plays a hard-boiled dance director. And incidentally, Gable gives one grand performance here. Ted Healy and his stooges are priceless. But the film is mostly Crawford—practically a one-girl show! Grand if you like the star. A good show even if you don’t. You’ll like seeing Joan and Gable together again."

Here is an article from Silver Screen magazine dated November 1933. This article is about Joan Crawford and mentions Dancing Lady multiple times. If you have any trouble reading these pages, click on them and use your touch screen to zoom in. If you don't have a touch screen, click here.

-Michael J. Ruhland

Resources Used

The Three Stooges Scrapbook by Jeff Lenburg, Joan Howard Maurer and Greg Lenburg

https://threestooges.net/filmography/view/208/

https://dearmrgable.com/?page_id=3941

https://mediahistoryproject.org/

https://walkoffame.com/robert-z-leonard/

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