Valente Como Trinta

"Whoooooopie!" ... I caught this movie for the first time on TCM early this morning and found it somewhat entertaining. Not ROFLOL slap-stick, or vaudevillian in the class of the Three Stooges or even Laurel and Hardy but that which was in it for innocent amusement. What did somewhat crack me up was when he was informed that the only costumes they had were that of Shakespeare and nothing associated or fitting the Broadway play they were performing - I believe it was a western. Yet there were some moments to suggest that I was in 1932. For one, in the restaurant the menu contained Kosher items and the comment made about a "tribe," and on the Brown's hat band, swastikas with some other symbols were briefly shown. Not really sure what that was all about but it reminded me a bit of when the Three Stooges poked fun at the threat in Europe that was emerging at the time. Nevertheless it was a fun movie and to see a young Ginger Rogers was well worth it. I'm certainly glad to have experienced it and the script alone was worth commendation. It wasn't great but it was fair.

Comedian Brown gets a showcase here. As a swaggering wealthy Texan, he visits New York where he gets involved with con men using a Broadway show to fleece him. Good thing Rogers is on hand to help him out. Generally, the movie gets better as it goes along, even though Brown's style of humor is mainly a matter of taste. The first part has him practically yelling his lines and mugging it up mercilessly as he establishes his rustic character. Frankly, I found much of this annoying. But as the plot takes over, his character settles down some, but without losing his comedic shtick. Sorry to say, Rogers is largely wasted as the assertive secretary, but it's still early in her illustrious career. There's one scene that's a real grabber, coming near the end. Brown's on a horse chasing the baddies in a car down a city street. But it's a real city street not a backlot set. There's a lot of weaving back and forth, the car even going down a city sidewalk. I'm surprised any LA jurisdiction would let them take liberties like that. Still, it's a grabber in what's otherwise a fairly static story. All in all, the movie should please fans of the big-mouth funny man; for others, it's mainly a matter of taste.

Joe E. Brown stars as a cowboy duped into financing a Broadway show. Ginger Rogers is the city girl who tries to help him. How much you'll like this depends on how you feel about Joe E. Brown. His comedy is basically all rubberfacing and a silly voice. I'm not big on Brown and this did little to change my opinion of him. However, it's one of his less obnoxious movies. When he's playing straight instead of doing shtick, he's affable and pleasant to watch. I am a fan of Ginger Rogers and it's always good to see a movie of hers I haven't seen before. This is early Ginger but she's still the best part of the movie. It's a pretty forgettable film but if you're a fan of Brown's you will probably enjoy it a little more.

One of many comedies made by Joe E. Brown for Warner Brothers/First National during the thirties, The Tenderfoot lacks much of the physical stunt work that features in many of the athletic Brown's films but compensates with a cleverer than usual plot that apparently originated in a Kaufman play, The Butter and Egg Man. The idea of producing a play so bad that it's taken as satirical and becomes an unexpected hit would reach fruition in The Producers. The Tenderfoot is not quite up to that deliriously brilliant work, however.

One problem is that, while the best scene in the whole picture is Brown explaining to a prospective investor, i.e., the latest sucker, the plot of this 'masterpiece', which turns out to be a rural melodrama old hat by 1914 or so, we never actually see it presented on the stage. I guess the budget wouldn't allow for it. An early and hilarious musical number is obviously lifted from some other film which may be a hint as to the constraints under which director Ray Enright was working.

Simple comedies such as this live or die on their performers. Brown is in fine form as the unlikely Texas cowboy come to the city to make his fortune. He's supported nicely by Ray Cody as a sleazy producer looking for funds and by the young Ginger Rogers playing Cody's secretary and Brown's love interest in an unusually fiery role for those functions. Ginger is also the recipient of a couple of the nicest closeups that she would ever receive courtesy of cinematographer Greg Toland no less, famous for his later work on Citizen Kane among other masterpieces. The Tenderfoot is no masterpiece, but it does have its moments.

"The Tenderfoot" is from the days just before the Hollywood Production Code became strictly enforced in 1932. Primarily family fare, a few words and themes are slipped in that would become taboo within a few months and for decades to come. None of these should preclude a family audience today.

Examples include a cowboy, who upon arriving in NYC, spots a group of men in cowboy suits who turn out to be obviously gay chorus boys. Later in the film, he malaprops "ejaculation," instead of "salutations!" Yes, there's plenty of innuendo--much of it sophisticated and/or subtle, but nothing that isn't heard (ahem, recycled) on U.S. network primetime/family television today.

Ginger Rogers appears as Brown's feisty love interest, but don't expect her to sing, dance or wear ostrich feathers. Still, she's charming and more interesting here than in her Oscar-winning role in 1940's "Kitty Foyle."

Joe E. Brown, who is probably best remembered today for his turn as Osgood Fielding III in "Some Like It Hot," plays the cowboy broadly. Still, he's much more palatable than in other frequently seen performances (reference Flute in 1935's "A Midsummer Night's Dream).

In addition to the historical interest, the film is an enjoyable and well produced piece of fluff. The short 70-minute run time seems even shorter to me. Hope you enjoy it!