The Beautiful Blonde from Bashful Bend

When you hear the name Preston Sturges you expect great things, but this isn't one of his best efforts. Yes, for the gentlemen viewer it has Betty Grable in a range of corsets playing a pseudo Annie Oakley, and for the ladies it has Rudy Vallee (admittedly rather past his prime). For comedy value it has the peerless Sterling Holloway, but this isn't his finest hour.

Plotwise there isn't much here. Grable has an on-off relationship with Cesar Romero which sometimes causes her to go off toting a gun. Twice in a row Porter Hall's judge is in the way, and off she goes on the run with her Mexican friend to impersonate a schoolteacher. And that's it.

There's a couple of songs, but Grable and Vallee's musical talents are wasted and the only real pull of this film is the fact it is in Technicolor. Given the number of second-rate features which were at the time this was made, that's no draw. And even Grable misses her target here.

'The Beautiful Blonde from Bashful Bend' could and should have been good. One does indeed expect quite a lot from Preston Sturges, whose prime period was one of the best of any director with particularly the likes of 'The Lady Eve', 'The Miracle of Morgan's Creek', 'Hail the Conquering Hero' and my favourite of his 'Sullivan's Travels'. And from a cast that includes Betty Grable, Cesar Romero and Sterling Holloway.

It is unfortunate that instead 'The Beautiful Blonde from Bashful Bend' was a big disappointment, as an overall film and when you take into account what it had going for it. It is not difficult to see why it was considered a major disappointment with critics at the time, and it is especially a big disappointment by Sturges standards (being the film that was his career death knell somewhat, and of all of the films seen of his, which is nearly all, it does get my pick for his worst). Will agree though with others that 'The Beautiful Blonde from Bashful Bend' is not that awful or that it is that much of a catastrophe (so agree far more with its slightly improved over-time re-appraisal), but it is severely wanting in too many areas and is not a good representation really of all involved.

Despite the disappointment felt watching 'The Beautiful Blonde from Bashful Bend', there are things that make it watchable. The closest the film gets to being beautiful is the production values, with the truly lavish Technicolor, Sturges' first Technicolor film on a side note, being the main reason to see it. The production design and photography are fabulous. The songs may not be exactly memorable, but they are fun and pleasant. Particularly "Every Time I Meet You", which is charming and a welcome lighter moment. "In the Gloaming" is close behind.

A few funny moments here and there, though they are too far and between, particularly with Hugh Herbert and the fantastically nuts finale. The cast generally do well with what they have, with Grable particularly shining followed by suave Cesar Romero and wonderfully daffy Herbert. Margaret Hamilton is also amusing, who also bags one of the funnier moments at the start.

Sterling Holloway however was never more irritating than here, playing one of the Basserman Boys characters, characters so grating and unbearingly over-played that they very nearly single-handedly bring the film down. They don't quite though because there are other things wrong. It is hard to believe that 'The Beautiful Blonde from Bashful Bend' is a Sturges film in direction and writing, his direction is very heavy-handed and suggestive that he was both not interested in the material and struggling to control it, attributes that are not like him at all. The script is little better, the wit, sharpness, bite, sophistication and cynical slyness are barely there and even less so the natural wackiness and daring, instead the dialogue and gags on the most part are far too vulgar, brash and over-time feel so stretched beyond the limit that much of the humour falls flat.

Few amusing and charming moments aside, the story has moments where it is far too slight and then there are other times where one really wishes that the film was longer and had a slower pace. Because much of it is too rushed and the mounting complications get increasingly absurd and confused and it becomes exhausting. The characters were either bland or irritating, and little more than caricatures. Most of the cast have far too little to do, Rudy Vallee especially is wasted.

Concluding, watchable but very underwhelming. 5/10 Bethany Cox

If you look at Preston Sturges' "Miracle at Morgan's Creek," 1943, staring Betty Hutton as Judy Kockenlocker, you will see how incredibly perverse it was considering the moral standards in the movie industry at the time. You have a movie suggesting that a woman getting drunk and sleeping with a soldier and becoming pregnant without even remembering his name was a hilarious situation. Sturges took delight in repeating her name over and over again, obviously finding it hilarious that it sounded like the painful situation of a "cock-in-locker." This movie is just as hilarious with its outrageous humor, having multiple and deliberate jokes about a judge who gets shot in his buttocks.

Unfortunately, this film came out in 1949, the year that produced the most film noirs and a year where Congressional investigations into Hollywood political transgressions were taking a horribly serious turn.

One can see this film and Preston Sturges as being the victim of the new politics of the time.

Betty Grable looks sexy in every scene and often adjusts her clothes (taking them on or off) to look even more sexy. Her blatant sexuality comes through in the metaphor of her being able to handle a gun better than any of the men in the picture. Never has the penis/gun equation been more straight forward.

If this movie had come out in 1944 or 1954, it would have been hailed as a masterpiece, but in 1949, the U. S. was preparing for a new world war which was expected to be a lot worse than the last one. The last thing the government (issuing daily warnings about impending world war wanted was an outrageous sex comedy filled with double and triple entendres like this film.

Don't miss it, especially if you are a Preston Sturges or Betty Grable fans. Fans of 1930s and 40s comedies will be happy to see at least half a dozen minor comedy stars, like Hugh Herbert, El Brendel, Sterling Holloway, and Porter Hall, plying their trade with obvious skill and joy,

I loved this movie--but I love most old films better than the newer ones. This one was hilarious and timeless. Any schoolteacher should really love and appreciate this hilarious film. I had the great honor of meeting Mr. Romero also one time, and he was the most friendly, gracious (and good-looking) man. I didn't know he had once been a big star at one time! Ms. Grable showed she had fantastic comedic timing in the hilarious well-colored flick. If you love to laugh like I do--watch it! Shows Ms. Grable had brains, as well as looks!

About 55 years ahead of its time and as rude and silly as if it were made today. It does have a very modern feel about it and shows really how staged other 40s films were. Occasionally when loose behavior and honest rudeness was allowed, or got through or whatever, the films looks and sounds like 2006 not 1949. Just like this one. It very funny and like an 80's Zucker Bros western..or as someone else said here, very Coen Bros....anyway, as I was saying, modern, vulgar and silly. Later, in the late 50s similar cartoony western comedies like LI'L ABNER with censorship busting names (eg: Appollonia Von Climax) and characters appeared (Julie Newmar stepping from a rocket clad in almost nothing) and of course all of BLAZING SADDLES in the 70s. We are in that territory, folks.