Diplomaniacs

A pacifistic Indian tribe sends two zany barbers to be its envoys at the Peace Conference in Geneva. The DIPLOMANIACS soon find themselves up against the machinations of spies working for a powerful munitions company who have a vested interest in seeing that war continues the demand for their explosive bullets.

Wheeler & Woolsey take a plot ridiculous even by their standards and manage to get some solid laughs out of it. The Boys (Bert Wheeler is the little fellow with the curly hair; Robert Woolsey is the skinny guy with the cigar & glasses) are always tremendous fun to watch, but the viewer who tries to find anything meaningful or coherent in this film would be wasting their time. However, in its own goofy way, DIPLOMANIACS holds its own against DUCK SOUP & MILLION DOLLAR LEGS, two contemporary films with which it shares an hysterical point of view.

The Boys are given a fine supporting cast, each of whom get to shine for a few moments, as they are given no chance for any real character development: Louis Calhern as the suave master spy; Edgar Kennedy as the harried head of the Peace Conference; elderly Richard Carle as an inebriated ship's captain; spunky little Marjorie White as Wheeler's violent love interest, choking him into submission (a very funny comedienne nearly forgotten today, a tragic car wreck would claim her life two years after the release of this film); and Hugh Herbert as an inscrutable proverb-spouting Oriental. Movie mavens will spot Charlie Hall as an eager beaver valet.

Wheeler & White fight their way through `Sing To Me' - while the Boys vocalize with `On The Boulevard' and `No More War.'

Chiefly because of Joseph L. Mankiewicz' free-association punning dialogue and his gags based on literal interpretations of clichés (not to mention the presence of Hugh Herbert), this comes across as a low-rent MILLION DOLLAR LEGS, Mankiewicz's manic comedy of the previous year. But Wheeler, Woolsey and White are no substitute for Fields, Oakie and Roberti! Unlike the earlier film, this follows a simple stage structure, with conventionally placed songs and musical numbers. The pre-Code elements--scanty costumes and the occasional off-color line ("They didn't want to sign, but we made 'em. The women were tough at first, but we...")--haven't got any freshness. There's a certain interesting tension between the cerebral Mankiewicz word-play dialogue and its absolutely mindless delivery by these journeymen comics, and it has what would be described as a "breezy" pace, so it's enjoyable to watch. But to say that it may be of the best Wheeler-Woolsey films doesn't take it very far.

Wheeler & Woolsey have been about as ill-used & forgotten as Shakespeare's Rosencrantz & Guildenstern from the play Hamlet. In the abyss of the Great Depression our country turned to its clowns for solace and distraction from calamity. They did not disappoint us, keeping us howling with mirth lest we howl with despair. In return a grateful nation has given most of them an icon sheen, reviving their films, putting their visage on posters & t-shirts, and encouraging savants, pedants, and just plain journalists, to turn their histories into myths, and their myths into history. All of them, it seems, but Wheeler & Woolsey. These two fine cuckoos have been relegated to the basement of the Museum of Comedy. Their movie Diplomaniacs shows them to be sassy, musical and self-aware comics of the first water. So why is their memory as dead as the Firestone tire? Because the American public and its media minions insist on a simplistic & single view of our great clowns. No ambiguity need apply, seems to be the sign posted on the windows of our souls. Con man & boozer? Why that's W.C. Fields, only. Wisecracker? Groucho! Silly silent girl chaser? Harpo! Wistful vagabond? Only Chaplin. We have forgotten, or never knew, that there is a common gene pool for all great clowns and their comedy. Stan Laurel chased girls in early L & H ventures. Harold Lloyd portrayed a homeless stumblebum before inventing his glass character. And so it goes. Wheeler & Woolsey practised well and wisely the common foibles of the great-hearted boobies -- they drank to excess, warbled irreverent ditties, ogled the girls, and cracked wise at the drop of a pun. But they never got a RESERVED spot in the Hollywood parking lot. Groucho, Buster, each of you can make a little room for 'em, can't you? Your brother fools? Maybe Hollywood can even make amends by filming THE WHEELER & WOOLSEY STORY, with Jim Carrey & Steve Martin. I'd pony up the bucks for that!

DIPLOMANIACS is a really really funny 1933 film drawing happy comparison to Marx Bros and Euro-operetta farces of the Depression era. Deliberately as silly as possible with every race stereotype copping a hilarious racist pre code raspberry... even the squadron of French maids who un dress W&W out of their nighties and into hideous check streetwear and stovepipe hats. Everyone cops it and every character is playing unrestrained lunacy to the hilt. Instead of me carrying on about it, make sure you read the 'moviediva' link in the external comments panel along with the very informative other comments here. There is a wealth of information and insight into this forgotten but genuinely hilarious comedy team who seemed to toss very camp humor, cross dressing, insults, demented songs and skirt chasing into every conceivable mix in all their films. I have managed to see about 7 of their films and this so far is the best, fastest and outrageous. They often screen on late night TV in Australia where one channel seems to have almost every RKO pic from 1929-1946. DIPLOMANIACS has a terrific cast and a strong music score. I also love the Monogram pic of 1934 KING KELLY OF THE USA which joins this and DUCK SOUP with MILLION DOLLAR LEGS which you can read all about in other comments and the moviediva link. Enjoy!

"Diplomaniacs" is a funny, uneven and very politically incorrect film. It also happens to be one of Wheeler & Woolsey's better movies. It's also very, very unusual in many ways. There's even more singing than usual, cute Dorothy Lee (who is in nearly every one of the boys' films) isn't in this one, and it has a very, very dark ending...surprisingly dark for a comedy.

The story begins with the pair lamenting their opening up a barber shop on American Indian land. The natives don't have beards and don't need their services...but they do, for some inexplicable reason, want Willy and Hercules (Wheeler & Woolsey) to represent them at the Geneva peace conference. After all, they wonder why the Indian nation isn't being represented and they want peace. However, a baddie (Louis Calhern) is bent on preventing the pair from addressing the conference, as he wants war...though they never really say why!

The film is, like "Duck Soup" from the Marx Brothers (which debuted a few months later), a film that is actually deadly serious. It makes fun of the peace conferences of the day because they pointed out that these conferences really achieved nothing to protect mankind...and the film even ends on a very, very dark note. In many ways, it's very intelligent in addressing this YET it also is very dopey and filled with tons of jokes...many of which fall a bit bit flat. It's also very unusual in that the film's dialog is often sung. Overall, a good film that occasionally misses the mark...but also often succeeds.

By the way, I need to address the proverbial elephant in the room with this film. It is filled with politically incorrect stuff that will horrify some viewers. Hugh Herbert plays a Chinese man, the American Indian tribesmen are walking stereotypes and are ridiculous...and the final scene at the peace conference is a giant black-face number!! It is offensive....a product of its times, of course! But, all in all, I still enjoyed it in spite of everything....but you should be forewarned.