Spotlight Scandals

"Spotlight Scandals" is a film starring Frank Fay and Billy Gilbert. While many will recognize Gilbert from his many supporting performances with the like of Laurel & Hardy and the Three Stooges, Fay has become a very obscure performer...mostly due to his abrasive personality. Just read up on the guy....you'll understand what I mean.

When the film begins, Frank is out of work and about to be tossed out of his room. However, he's a fast-talker and manages to stay afloat....barely. When he meets Billy, he thinks they'll make a good comedy team and very soon, they're a huge success with their own variety show. What's next for this talented duo? See the film.

The best reasons to see the movie is to see Fay, Gilbert and Harry Langdon as well as a brief role by Snub Pollard. Apart from that, honestly, it's TOUGH going and it's like being forced to see a local talent show. The impersonators (both Jose and the comedy trio) are, at best, annoying and awful. The singing and dancing numbers are not particularly good either. I assume much of this is because it's a Monogram film....and Monogram was a so-called 'Poverty Row' company because of their very limited budgets and low production values. They simply couldn't afford better.

So is this worth seeing? Probably not unless you are interested in seeing old-time comedians. As for me, I think Gilbert came off best as he had a very likable screen persona. At best, a time-passer for most.

I love these quickly-made, short little features from the 1940's and 1950's. They all have a certain feel to them, and it's a good feeling. It's perfect for late nights when you're having trouble sleeping or just don't want to go to bed yet!

In my lifelong festival viewing all films Monogram, I have been twice 'lucky' to see SPOTLIGHT SCANDALS. Once when I was ten years old. Now, 43 years later I now know why I couldn't remember it. Another comment here offers excellent insight into Monogram production methods and the stars of this haphazard but very entertaining film. But also very forgettable because it is just like a dozen other Monogram films which looks and sounds like this one. However, there is some outstanding elements: Basically the film has a very funny script. Actual 'laugh out loud' quips and reactions... and the casting is effective with Fay and Gilbert making a great opposites/pairing. The ghastly rough delivery from Iris Adrian lends her usual buzz saw brashness which is fun in a sort of hick Eve Arden way and sad clown from the 20s Harry Langdon makes a final appearance - or next to it - as someone's manager. The orchestra scenes are set with the usual plain curtains and a few tables and chairs, but the songs are good and the lively music (of mostly unheard of tunes) interesting only because you might never have ever heard of them before or since. I liked this film but found it also so familiar in its Monogram cheapness.... which, even for a real fan like me is actually wearing thin... like the fabrics here seen again and again, crumpled and draped on anyone and anything.... I think the most outrageous offense is in the genuinely threadbare musical ZIS BOOM BAH which offers a crumpled clumsy finale even out maneuvering Monogram into a cheapness that defies belief. SPOTLIGHT SCANDALS is a near barrel bottom scraper. But a good script and fun characters and good music. The only real scandal evident was the production itself.

From Sam Katzman's "Banner Productions" (of Bela Lugosi and East Side Kids fame--in one scene the movie poster from Katzman's Lugosi film "Bowery At Midnight" is seen in a theatre lobby) comes this vaudeville "review" which mixes up on-stage comedy and music with backstage antics (featuring, among others, the dynamic comedienne Iris Adrian, and in one of his final roles the great Harry Langdon as a stage director) and a plot about the rise and success of an ill-matched vaudeville duo, Frank Fay and Billy Gilbert. The film begins with Fay sneaking out of a hotel without paying, but getting caught. He goes to get a haircut from barber Billy Gilbert, and after trying to cheat Gilbert out of money, Fay and Gilbert become friends when Fay visits his home and hears him sing. They create an act together, and the film charts the gradual success of their act. As they play various venues, we see various little-remembered music and comedy acts (The Three Radio Rogues, who do impressions, Wee Bonnie Baker ("the tiny little girl with the tiny little voice"), Henry King's swing band, etc.) doing their acts. While Gilbert and Fay (who play versions of themselves) are very talented people, their "act" is not that good and it's hard to believe they'd get the offers that they do (one comes from Wheeler Oakman, not listed in the cast list). Still, the film is a nice window into an age long-gone, and it's interesting to see Frank Fay playing himself in the latter stages of his career. He had been a successful Broadway and vaudeville star in earlier days, but was on the way down at this time (why else would he be in a Monogram film!) and his legendary unpleasant personality (depicted here in the film by his conceited view of himself, his attempts to cheat others, and his two-faced character)probably didn't help him get work. As he is considered an influence on Jack Benny and other important comedians of that era, getting to see him while he was still somewhat in his prime is a treat. We also get to see his legendary routine of mercilessly picking apart the lyrics of songs sung by the vocalists who had the misfortune of appearing on the same bill with him. The few references I've seen to this film are because of Harry Langdon's presence, but unfortunately Langdon is not in the film that much (although his scenes are spread throughout the film)and he is not given an opportunity to engage in any extended comedy or to develop his character much. The pairing of Langdon and Iris Adrian could have been amazing, but they mostly play second banana to OTHER characters and don't get much interplay between themselves...unfortunately. Adrian gets more screen time than Langdon, as there is a subplot involving her and Fay (including an incredible scene on an apartment balcony that completely changes the course of the film, sending it into melodrama!!), and she's at her shrewish best. Had this been an MGM film, it would probably be slick and unwatchable, but the Monogram cheapness and slapdash production quality actually make the film far more watchable today. One scene worthy of praise is where Billy Gilbert suggests to Fay that they break up the act, for reasons that Fay does not know at the time. This is beautifully played by both of these old pros and actually brought a tear to my eye. Also, the film ends somewhat abruptly, but it's an ending that is moving and emotionally satisfying (I won't give it away)and works far better than any "traditional" ending I could imagine. Not a film that you need to track down (unless you are a Harry Langdon or Iris Adrian completist, or you are a student of Broadway who wants to see Frank Fay "playing himself"), but if you have a chance to see it, there are worse ways of killing 80 minutes (for instance, 15 of the 16 films playing at your local multi-plex!).