After Thelma Todd's untimely and tragic demise in 1935, Patsy graduated from ding-a-ling to a take charge, tough-talking wisecracker. She became more responsible, the mistress of her own domain, the leader of her own destiny. And after a few misfired pairings with blonde replacement Pert Kelton, Bohemian girl Lyda Roberti took over for Kelton, and soon after, Kelly's two-reeler adventures came to an end. Hers weren't the only ones. Everyone at the Roach studio (with the lone exception of his Rascals) had to now make the transition to features only. Charley Chase was dismissed from the studio without so much as a by-your-leave after he proved he couldn't do it. Even the Rascals were given their own full-length feature, just in case: 1936's civil war playlet "General Spanky." This cuddly, yet uneven picture preceded "Gone With The Wind" by three years and may have even given David O. Selznick the divine inspiration to create his masterpiece, with great expense.
I find this picture almost as wonderful as Laurel and Hardy's 1937 feature "Way Out West." That film always worked better in color. I'm sure you'll agree, also! Who can forget their exciting romp through Brushwood Gulch? The Avalon Boys (who provided the music for their silly little dance) make a brief appearance at the very beginning here, sans cowboy hats and guitars. Though "Nobody's Baby" is in black and white, it comes off as one of the most charming and engaging of all of Roach's full-length efforts. In fact, I probably regard it as the finest non-Laurel and Hardy picture to have been released from that studio with the exception of the John Steinbeck classic "Of Mice and Men" starring Burgess Meredith as George and Lon Chaney Jr, as Lenny. This powerful drama is just as profound today as it was back then, and is considered a turning point for Roach, proving he could deliver a well-wrought drama just as well as he could deliver a well-wrought knockabout comedy.
It makes this humble reviewer sad to learn that Kelly turned from "The Queen of Wisecracks" to "The Queen of Misfortune" when several of her associates and co-stars died before their time. These unfortunate casualties included Todd, Jean Harlow, Lyda Roberti, her frequent director Gus Meins, and female-impersonator Jean Malin. Her reputation as a jinx in Hollywood steadily grew over time, and by 1943 she was blackballed. Her erratic behavior and wild exploits off-screen, coupled with several dalliances and flings she had with other women didn't help matters much. But I wouldn't blame her for these demises if I was you, fellow film buff. Many creative people in her sphere died younger than what is deemed acceptably normal back then.
Charley Chase died soon after his brother, L&H director James Parrott did in '39 and '40, both victims of alcoholism. Her frequent co-star alkie Arthur Houseman died in '42. Our Gang member Chubby Chaney died as early as 1936, and didn't even live long enough to see the release of this film. Forsooth, it seems most of the Little Rascals were cursed in one form or another, with the exception of Spanky who lived to a ripe old age.
Meins was the one who sat in the director's chair for this one, and I think it might have been the last time him and Patsy worked together after a fruitful association.
So.... Do I recommend it? Yes. "Way Out West" is the undisputed perennial classic and favorite, but "Nobody's Baby" is just a shade or so below that.
