Hi, Nellie

In that stretch of years between his performance in I'm A Fugitive From A Chain Gang and The Story Of Louis Pasteur, Paul Muni hit a dry patch with his home studio of Warner Brothers. They put him in a series of films way beneath his talent when you consider what he subsequently did and I'm told he particularly despised this film. From his point of view I can see why.

Still Hi, Nellie! is not all that bad, though I think Muni was definitely a second choice. James Cagney must have been doing something else at the time. The film has the feel of a project meant for Cagney.

Knowing that and knowing how much he wanted to do much more serious parts Muni pulls out all the stops and hams it up to beat the Philharmonic. I guess he had to have some fun.

Muni is your hardboiled editor of a city newspaper, a very typical part for the Thirties. But when he uncharacteristically soft pedals a story about a bank folding and a prominent civic leader disappearing, he gets himself demoted. Publisher Berton Churchill can't fire him because of a contract, but instead demotes him to the writer of the advice to the lovelorn column. That's a source of great amusement to all those who were under him before, especially Glenda Farrell who was writing that column and wanted a chance for some hard hitting journalism.

But Paul is nothing else if not resourceful and when a chance sob sister letter comes to his attention that might give him a lead on that story that he got in a sling over, he runs with it.

Warner Brothers and director Mervyn LeRoy gave Paul a really good cast to support him with Donald Meek playing the world's oldest office boy, Douglass Dumbrille as the editor who succeeds Muni, and Robert Barrat as the political boss of the city and ultimate villain of the piece.

It's not Zola, or Pasteur, but Hi, Nellie is not half bad as entertainment. Just not up to Paul Muni's exacting standards.

You know instantly from the moment you see that WB shield and hear Leo Forbstein's jaunty music that you're going to enjoy this. It's one of those typical Warner Brothers fun, upbeat stories about "ordinary people" who first encounter misfortune then work out how to make it better. In this type of picture you're not going to get anxious or worried because you just know that everything's going to work out fine for them in the end. This was exactly what was needed to cheer up the audiences of The Great Depression and this one is still as entertaining today. There's nothing really special about this but as a cinematic equivalent to eating a box of chocolates, it's brilliant and guaranteed to keep you smiling all the way through.

Why HI NELLIE is still so watchable now is because it is made so well. One of Warner's top directors, Mervyn LeRoy could turn his hand to anything and rarely made anything you would not want to see. To those of us familiar with old Warner movies, there's a few familiar faces here including the usually sombre and serious Paul Muni who is never, ever associated with light comedy. However, if you have no idea who Paul Muni was and stumble upon this, you would simply think that he'd being doing these types of light comedy roles all his life - he is absolutely superb!

There's really nothing bad to say about this - as an example of this chewing gum for the masses type of entertainment, this is just right. The story, the script, the acting and the atmosphere are all spot on. If there were any vacancies at that newspaper office I would probably apply! Maybe Glenda Farrell should have had a meatier role (like she did in MYSTERY OF THE WAX MUSEUM) since at the start of the picture she's a real go-getter reporter not afraid to get her hands dirty but towards the end, she seems to defer all the important stuff to the men - oh well, it was the thirties.

Bette Davis is quoted as once saying that the great character actor Paul Muni tried to hide himself under all kinds of makeup, so that no one would ever know who he was or what he looked like. Well, in many of his early films, the real Muni is quite visible. Here, Warner's one time "resident thespian" does a slick turn as the managing editor of a big city newspaper. He gets demoted to writing an advice to the lovelorn column and spends the rest of the film trying to get the goods on a gang of hoods, hoping it will get him his old managing editor's job back. Glenda Farrell plays his female antagonist while sour face Ned Sparks is along for the ride as a city beat reporter. A solid role for Muni, with lots of comedy, which he pulls off well. I suppose the comedy was a welcome change from his usual heavy drama, falling somewhere between "I Was a Fugitive From a Chain Gang", "Scarface" and "Louis Pasteur." Watch and enjoy Muni's talents. His 5 Oscar nominations should speak for themselves, but it seems, over 30 years after his death, he's not as well remembered as several of his contemporaries, which is a shame.

Paul Muni has to get used to hearing "Hi, Nellie!" when he's demoted to the Heartthrobs column in this 1934 film also starring Glenda Farrell and Ned Sparks.

When bank official Canfield disappears at the same time as $500,000 and the bank has to close, all the other papers print that Canfield took the money. Managing editor Brad Bradshaw refuses to tie the two incidences together without proof - thus, the demotion. The current Heartthrobs (Farrell) gets a news beat.

This is one of those fast-talking '30s films, probably in response to the MacArthur-Hecht "The Front Page" from 1931.

It's all pretty routine except that it stars Paul Muni who, as Brad/Nellie, is a wisecracking, sarcastic editor now mercilessly teased by his cronies.

Muni, well known for his dramatic work, shows his expertise at comedy here. Also it's a rare chance to see how handsome he was as he wore so much character makeup and so many costumes throughout his career. He is very good as the determined managing editor turned lonelyhearts columnist. Farrell is her usual sharp-mouthed self; this isn't much of a departure from other roles for her.

Recommended if you want to see Muni in something approaching a comedy.

HI, NELLIE! (Warner Brothers, 1934), directed by Mervyn LeRoy, is an interesting newspaper story starring Paul Muni in his third film for the studio. Having achieved great popularity in the title role of I AM A FUGITIVE FROM A CHAIN GANG (Warners, 1932), also directed by Mervyn LeRoy, HI, NELLIE not only has the distinction of being one of Paul Muni's lighter films of the period, but also the movie that reunites him with his CHAIN GANG co-stars as Glenda Farrell, Berton Churchill, Douglass Dumbrille and Edward Ellis. While CHAIN GANG has remained a classic thanks to frequent television broadcasts throughout the years, HI, NELLIE! is rarely shown and discussed among Paul Muni's resume of movie credits. Often classified as a comedy, it's far from a laugh-out-loud one in the screwball sense, but more of a grand mix verbal humor with melodrama and mystery combined.

Plot Summary: Samuel M. Bradshaw, better known as "Brad" (Paul Muni), is the pipe-smoking managing editor of the Time Star whose working desk is usually filled with paper note clutter. Also at the newspaper establishment are Harvey Dawes (Douglass Dumbrille), the city editor; "Shammy" McClaw (Ned Sparks), Brad's associate; Mr. Durkin (Donald Meek), the oldest copy boy of forty years; Fullerton (Hobart Cavanaugh), a reporter who's always asking Gerry Krale (Glenda Farrell) out for a date, but never gets anywhere. Gerry happens to be the "advise to the lovelorn" columnist known to all as "Nellie," a job title she hates. With the latest news of a bank closing due to a half a million dollar shortage, and Frank J. Canfield, head of the government investigating committee mysteriously disappearing, Brad, who finds no evidence against Canfield, writes nothing about the story as a front page spread as rival newspapers have done. For this, the Star's publisher, John L. Graham (Berton Churchill) has Brad fired. Because Brad has a contract with the Time Star where he cannot quit or get fired, the only thing that can be done is demote Brad to Gerry's old job on the "Hi, Nellie!" columns, with Gerry promoted to a better job. Having his pal, Shammy (Ned Sparks) continue to investigate the Canfield story, Shammy comes up with enough evidence to have Brad join forces with him on further investigations to prove Brad's intuitions are correct, followed by unsuspecting results. Also in the cast are: Robert Barrat (Beau Brownell, gang leader); Dorothy LeBaire (Rosa Martinello); Marjorie Gateson (Mrs. Canfield); George Meeker, Frank Reicher, Sidney Miller, Harold Huber and Allan Vincent.

HI, NELLIE! must have been successful enough for Warners to remake this more than once, as LOVE IS ON THE AIR (1937) with Ronald Reagan; YOU CAN'T ESCAPE FOREVER (1942) with George Brent, and THE HOUSE ACROSS THE STREET (1949) starring Wayne Morris. Yet it's the 1934 original that succeeds most due to LeRoy's fast-paced direction set in the newspaper world. While Glenda Farrell, who specialized in newspaper material playing the categorized term of "sob sister" as in MYSTERY OF THE WAX MUSEUM (1933) followed by subsequent "Torchy Blane" movie series (1937-1939), her role as "Nellie" offers some amusements, but not enough action in the manner of the dominating Paul Muni character, who's the sole attraction here.

For anyone familiar with Paul Muni's acting style as a prestigious actor in such landmark films as THE STORY OF LOUIS PASTEUR (1936), THE LIFE OF EMILE ZOLA (1937) and JUAREZ (1939), HI, NELLIE is a little movie (75 minutes) that offers more of Paul Muni's character than the character behind the heavy make-up of historical figures. Aside from never playing the same type of character twice, Muni would go on for developing his craft in challenging roles as his two 1935 releases of accented speaking characters as the Mexican lawyer in BORDERTOWN or Swedish bo-hunk in BLACK FURY before finding his mark for which he very much prefered rather than those that suit him best.

Though not the best movie title depicted, HI, NELLIE!, which could have starred the likes of a James Cagney or Lee Tracy in the cast, ranks one of the finer, yet most underrated newspaper stories of the 1930s that can be seen and rediscovered occasionally on Turner Classic Movies. (***) -30-