It's every mother's worst nightmare come true: Popeye the Sailor as babysitter. But, who knows? Maybe he'll turn out to be good at it after all... For some reason, stories of redemption have flown from my mind. All I can think of is Rodney Dangerfield in Easy Money and the time Homer Simpson gave up deer for a month.
ACT ONE
The opening theme music sets the stage, playing a variation of 'Rock-a-Bye Baby' with loud thumps interspersed throughout at critical points. This much seems to be true: infinks trumps Popeye.
The cartoon proper: Popeye's opening theme being sung as he pushes a baby carriage back and forth. There's a sleeping toddler inside of it. After finishing his theme song, he quietly tiptoes up to the baby. He listens to the baby's snoring... to emphasize this, his ear turns into a Victrola horn. Is there any sweeter sound in this world than the sound of a baby sleeping? Am I right, new parents?
Just then, we hear heavenly harp music... oh, wait. It's just Harpo. For some reason, Harpo appeared in a lot of Disney cartoons in the 30s, and not so many Warner Brothers cartoons. Groucho's in this one; they've got a lot of short clips of it on YouTube, but not the whole thing... I apologize, I didn't read the whole Wikipedia article. I forgot about the bubble girl!
Anyway, Popeye tries to get Harpo to stop playing, but to no avail. The animators gave up trying to animate all the dialogue at this juncture, so Popeye's mouth doesn't move much. The baby wakes up, which tears it. Popeye decks Harpo, and Harpo floats heavenward with his harp, of course. I wonder why the Marx brothers never tried to pull that one off... too many wires involved, I guess.
Back to the baby, who socks Popeye in the jaw twice. A chip off the old block! Popeye gives the baby a ukulele... oh boy, now we're gonna see some sh... stuff! This is what cartoons are all about! Dancing skeletons and what-not. The baby tunes its cry to the ukulele, then starts playing what will someday be the hot new hip-hop song. For now, Popeye's holding his ears, so he takes the ukulele back and tries his own lullaby. Not bad!
ACT TWO
Now comes the part that's cut out of broadcast television. The baby's not so interested in Popeye's lullaby, but he is interested in Popeye's pipe, which he starts smoking from. The baby likes it! The baby laughs! The baby blows a giant smoke ring, then a smoke chain with four links. After that, it gets to be too much, and the baby's eyes turn into rippling pools as it slinks off to sleep... can't argue with results, right? Popeye takes his pipe back, and we can return to broadcast television safety, confident in the soporific power of ukulele lullabys (wink, wink).
Now comes the part that parents old and new can take issue with. Popeye tiptoes quietly along but makes the mistake of walking past a loud raucous music school. He leaves the baby and the carriage on the sidewalk, and runs upstairs to quiet everyone down, one room at a time. First up: a damn dirty trombone player. Note to self: don't use the word rusty, for God's sake! Popeye politely tries to shush the guy, but the player of the trombone doesn't take his eyes off the sheet music! Rudeness incarnate. You think a guy could memorize "Pop goes the Weasel," but that's why he's stuck at music school. Popeye gives the trombone a right good punch at the "Pop!" part of the song, turning the trombone into a... well, the trombone's a wreck, but the trombone player finishes the song with trumpet notes coming out of his ears. That's more like it! Sorry, the old high school band rivalries rear their ugly heads once again.
Next up: a douchebag playing a cello. Popeye doesn't even bother telling the guy to shush this time, and just goes right in for the punch. As it turns out, Popeye's work is not yet done: the cello starts playing itself!!!!!!!!!!!!!! Time for another punch. The cello turns into four self-playing violins!!!!!!!!!!!!!!!!!!!! Popeye scares these creatures into the cello case. On to the next room. We hear piano music before Popeye gets there, so it must be piano smashing time.
Next scene: yup. Some guy at a piano. Spoiler alert: they turn out to be Russian nesting pianos. After the fourth piano, Popeye decides to shoot the piano player... I mean, punch the piano player.
As it turns out, that was just a warm-up, or a prelude, if you will. Popeye uses his head to break through to the roof of the music school. I now betray my ignorance as a non-New Yorker, as I don't know what you call one of those U-shaped buildings. Turns out the music school is one, and there's music students up the yin-yang, sticking out the windows like so many ripe targets. Popeye quickly picks them off with the use of a flagpole, then quickly gets himself ground-side back to the baby carriage. Reminds me of The Paneless Window Washer to a degree.
ACT THREE
A perfect time for an act break, as a diagonal line transitions from one scene to the next. Next scene: Popeye walks by a ship, singing his fool head clean off. That pipe must've really knocked the baby out good! Suddenly, the ship's whistle begins to blow. This may be one of the two or three greatest moral dilemmas Popeye's ever had to face: does Popeye, as a sailor, defer to the ship and maybe just try to get away from the whistle as quickly as possible? Or does he take a different approach? Spoiler alert: Different approach it is. Don't worry, folks, the ship was empty; the Navy was just testing a new remote whistle system. Popeye returns from the water and dries himself off on the pier like a dog. None of the flying water droplets wakes up the baby.
Next up: a loud radio. Popeye sends an electric punch through the air back to the radio station!!!! How does that song go? "Welcome to me from out of nowhere?" A perfect radio song for the time. Good luck finding that with Google. To see if we're paying attention, the background skips twice subtly (one and two?), then once not subtly at all as the punch goes from countryside to The Big Apple in a flash, the rate at which electricity normally travels.
Up next: construction on a new building. Normally, Popeye would be chasing a baby or a sleepwalking Olive Oyl throughout a construction site, but not this time. Is it just me, or do the construction workers sound a bit like Popeye himself? Anyway, you might think Popeye will respect the sanctity of a new building, but the dude just sank a giant ship a minute ago. And so, down quickly comes the whole building, much like the first bridge in Bridge Ahoy! But at least they try to get some 3D perspective out of it this time. But I will criticize the animation, as the grid holes in the ground keep scrolling after Popeye's stopped his punch-walking. Don't worry, all the workers are okay, because they were wearing their parachutes, and mostly because they're just cartoon characters.
Time for the big finale? No sooner is Popeye walking away from the wreckage he's just created than a cacophony of car horns rises from nearby. The baby in the carriage is now surrounded on all four sides by stopped traffic, all honking their horns. The horns stretch from the cars and point right at the baby! Popeye tries to shush everyone but to no avail. And even though he's just taken down a whole ship and a moderately-sized skyscraper, apparently there's no force on Earth mightier than New York City auto traffic. Time for the untidy business of spinach deployment. And so, with eleven mighty punches, down goes New York City traffic. Why, it's so quiet, you could hear a ... sorry, Spoiler Alert.
EPILOGUE
After defeating the cars, Popeye covers the sleeping baby with the blanket. A diaper pin is revealed at this point, and zoomed in on. The pin falls to the pavement. You'll never guess how the baby reacts. I wonder how audiences at the time reacted to this. Popeye's at the end of his tether at this point, so he just uses the zipper on the baby's mouth and sings his theme song. Next time I play the DVDs on the television, I'll seriously consider watching this one.
***1/2
-so sayeth The Movie Hooligan
Saturday, January 19, 2013
Chastain-ity Belt
No, I won't hurt you Mama, but it's getting so hard... Woo-oo! Not only is she critically acclaimed, but Jessica Chastain's got TWO movies in the top 10 this week! Lucky grrl. Fighting Bin Laden with Zero Dark Thirty, and bringing terror to the masses with Mama, presented by Guillermo Del Toro. Take that, Luc Besson! Meanwhile, apparently Silver Linings Playbook gets the Oscar bump and jumps to #3. The strength of what's his face in it wasn't enough at first... Bradley Cooper, that's it. Well, he'll triumph again with The Hangover Pt. III, of course, but that'll be in the summer when we're good and ready. The other debuts this week are Russell Crowe graduating from Bud White to Dudley Smith in Broken City. Marky Mark can still do the Bud White roles, of course. But when his time comes, Mark will be the coolest grandfather the silver screen has ever seen! And finally, Schwarzenegger's take on Get the Gringo called The Last Stand debuts strong at #10. Well, strong for Schwarzenegger nowadays, anyway. He's still got more pride than Stallone and couldn't handle going straight to DVD with one of his movies.
Saturday, January 12, 2013
REMASTER IT AGAIN, WB!
Well, might as well spit out a few words about this one, while I'm on a roll. I recently had occasion to drag out of shallow storage my homemade DVD of a jumpy VHS copy of Freebie and the Bean, complete with 70s Warner Communications logo and all. I can't remember exactly when I first saw this, but it was after seeing It's a Mad, Mad, Mad, Mad World and Lethal Weapon 2 and 3. (not on the same day, mind you.) And somehow, Freebie added a link to the chain. Great car stunts, and the cop-buddy pic. There's also a rather direct link in the chain between Freebie and Lethal Weapon 3, mainly when it comes to a motorcycle diving off the edge of a road.
I watched a little bit of Freebie last night with my mom, and she wondered aloud if the whole movie was improvised. I'm starting to wonder that myself. Are there any script shops in Los Angeles anymore? (hint, hint) For me, the movie's an explosive mix of elaborate, city-destroying stunts, and a snapshot into a cop's lifestyle that would even make Jim Kouf sit up and take notice. James Caan seems believable to me as a cop... and Alan Arkin as well, even though he seems more Jewish than the Mexican he's supposed to be playing. I know from the DVD commentary of The In-Laws that he didn't like working on Freebie, which I guess means it was an unforgettable experience. If they filmed it in a city less prosperous than San Francisco, that city would have to declare bankruptcy and its citizens would have to move one state over.
I suppose I should mention Christoper Morley... there. I did it. Seriously, though, he does provide the Crying Game-ish twist at the end... damn. Sorry, SPOILER ALERT. But everyone knows Bachelor Party is the role he'll most be associated with. And, why look! They're BOTH in his top 4 on his IMDb page!
Hard to say what my favourite sequence is. I didn't have to study the part with the big drunk hick again, but it's well-photographed by Laszlo Kovacs, veteran DP of such films as Ghostbusters 1 and Miss Congeniality? Sheesh! The point is, it's in his blood. Wonder if he's related to Ernest Laszlo?
According to Wikipedia, Stanley Kubrick called Freebie "the best film of 1974." High praise, indeed, considering it was the year of Godfather, Part II. Well, when you think about it, that was just a sequel. The point is, we're in the HD age now. We've put a man on the moon, and we've put a crystal-clear HD version of Death Wish II on cable. Isn't Freebie and the Bean due for an overhaul? I think so. Bollocks to the 2009 DVD re-release... unless someone wants to send me a free copy? Just saying.
One last thought. This is of course probably director Richard Rush's masterpiece, though some say it's The Stunt Man which came next after this one. I can see why he'd take an interest in stunt men after Freebie. As for all the critics who say it's just a dumb chase movie, well, I humbly beg to differ. I say it's a deeply religious tome. For example, have you noticed how often the people in the movie say "Jesus Christ!"?
****
-so sayeth The Movie Hooligan
I watched a little bit of Freebie last night with my mom, and she wondered aloud if the whole movie was improvised. I'm starting to wonder that myself. Are there any script shops in Los Angeles anymore? (hint, hint) For me, the movie's an explosive mix of elaborate, city-destroying stunts, and a snapshot into a cop's lifestyle that would even make Jim Kouf sit up and take notice. James Caan seems believable to me as a cop... and Alan Arkin as well, even though he seems more Jewish than the Mexican he's supposed to be playing. I know from the DVD commentary of The In-Laws that he didn't like working on Freebie, which I guess means it was an unforgettable experience. If they filmed it in a city less prosperous than San Francisco, that city would have to declare bankruptcy and its citizens would have to move one state over.
I suppose I should mention Christoper Morley... there. I did it. Seriously, though, he does provide the Crying Game-ish twist at the end... damn. Sorry, SPOILER ALERT. But everyone knows Bachelor Party is the role he'll most be associated with. And, why look! They're BOTH in his top 4 on his IMDb page!
Hard to say what my favourite sequence is. I didn't have to study the part with the big drunk hick again, but it's well-photographed by Laszlo Kovacs, veteran DP of such films as Ghostbusters 1 and Miss Congeniality? Sheesh! The point is, it's in his blood. Wonder if he's related to Ernest Laszlo?
According to Wikipedia, Stanley Kubrick called Freebie "the best film of 1974." High praise, indeed, considering it was the year of Godfather, Part II. Well, when you think about it, that was just a sequel. The point is, we're in the HD age now. We've put a man on the moon, and we've put a crystal-clear HD version of Death Wish II on cable. Isn't Freebie and the Bean due for an overhaul? I think so. Bollocks to the 2009 DVD re-release... unless someone wants to send me a free copy? Just saying.
One last thought. This is of course probably director Richard Rush's masterpiece, though some say it's The Stunt Man which came next after this one. I can see why he'd take an interest in stunt men after Freebie. As for all the critics who say it's just a dumb chase movie, well, I humbly beg to differ. I say it's a deeply religious tome. For example, have you noticed how often the people in the movie say "Jesus Christ!"?
****
-so sayeth The Movie Hooligan
A Life Moderately Privileged
I gotta be honest, I'm not totally familiar with Noah Baumbach's work, but he is married to Jennifer Jason Leigh and somehow that seems to bring her down a couple notches. Noah's oeuvre seems to be chronicling the lives of upper middle class white people who are unable to express themselves, mostly because they're exhausted and they've got nothing to say. But The Squid and The Whale seems to be his masterpiece, which I'm afraid is yet another dis to Eric Stoltz. Why, Cameron Crowe's not even putting him in his movies anymore! Mo recognizability, mo problems, am I right? Also, when we find out why the movie's called The Squid and The Whale, it makes Margot at the Wedding seem like a much more regal title. More French, anyhow. And as the Jeff Dainels character might observe, it's a bit of a slap in the face to all the socially conscious films of the '60s like, say, Cool Hand Luke, where the title has a sunnier origin story. Coming from the character it comes from in the instant case, it's not the beginning of a beautiful friendship, but rather a dosage of castor oil without the healing properties.
Now I swore I wasn't going to fall into the trap of '80s nostalgia, but I'm afraid they got me. I mean, c'mon! Anyone my age with my experience knows what I'm talking about! The film supposedly takes place in 1986, yet the guy's listening to Bryan Adams' song Run to You, which was more like 1983! It wasn't in Sixteen Candles after all, right?... scratch that, I mean Pretty in Pink. I rest my case.
Well, I can nitpick all I want, but even I had to begrudgingly agree that the movie had something. Like a car accident, I just couldn't turn away. What's that rule, and who said it? A star is someone you can't take your eyes off of. Well, during the sexual parts I was able to avert my gaze a little bit, but I have a feeling that they were riding the coattails of Happiness a li'l bit.
The only half-ass sympathetic character in the piece is Laura Linney, or maybe that just says more about me. She and Frank show the most life here. All of Walt's friends seem to be monotone like him. He didn't have enough bullies picking on him here, that's what was missing. For some reason, I thought Jeff Daniels was doing an impression of Joel Coen. I've seen enough documentary footage of Joel to get that; again, probably just me. Besides, Joel's got all that icky populist appeal. No thank you! Not for my man Baumbach!
I've read that Squid is autobiographical, as probably most of Baumbach's stuff is, and I must confess I was almost tempted to go out and rent the movies that his dad appeared in! I think they were Kicking and Screaming (1995) and Mr. Jealousy. But then I remembered that I'm broke and can barely afford my current living situation, so better lay off the indulgences for now. Besides, knowing that character, he probably didn't care for the movies he appeared in all that much.
So, to sum up, the chronicle of upper middle class white people, just trying to find a parking spot in their little corner of New York. See? They know suffering, too! Besides, homeless people are used to being homeless, and they should appreciate how sweet they have it. They don't know the hardship of being just on the brink of success, living in that wide middle band of obscurity between fame and poverty. Mo talent, mo problems. Reminds me: you know a movie's a little goofed up when the blackest guy in it is William Baldwin. I'm just sayin'.
p.s. I see that Wes Anderson was one of the film's producers, and the cameraman was Anderson's faithful DP, Robert Yeoman. Sounds about right.
***
-so sayeth The Movie Hooligan
Now I swore I wasn't going to fall into the trap of '80s nostalgia, but I'm afraid they got me. I mean, c'mon! Anyone my age with my experience knows what I'm talking about! The film supposedly takes place in 1986, yet the guy's listening to Bryan Adams' song Run to You, which was more like 1983! It wasn't in Sixteen Candles after all, right?... scratch that, I mean Pretty in Pink. I rest my case.
Well, I can nitpick all I want, but even I had to begrudgingly agree that the movie had something. Like a car accident, I just couldn't turn away. What's that rule, and who said it? A star is someone you can't take your eyes off of. Well, during the sexual parts I was able to avert my gaze a little bit, but I have a feeling that they were riding the coattails of Happiness a li'l bit.
The only half-ass sympathetic character in the piece is Laura Linney, or maybe that just says more about me. She and Frank show the most life here. All of Walt's friends seem to be monotone like him. He didn't have enough bullies picking on him here, that's what was missing. For some reason, I thought Jeff Daniels was doing an impression of Joel Coen. I've seen enough documentary footage of Joel to get that; again, probably just me. Besides, Joel's got all that icky populist appeal. No thank you! Not for my man Baumbach!
I've read that Squid is autobiographical, as probably most of Baumbach's stuff is, and I must confess I was almost tempted to go out and rent the movies that his dad appeared in! I think they were Kicking and Screaming (1995) and Mr. Jealousy. But then I remembered that I'm broke and can barely afford my current living situation, so better lay off the indulgences for now. Besides, knowing that character, he probably didn't care for the movies he appeared in all that much.
So, to sum up, the chronicle of upper middle class white people, just trying to find a parking spot in their little corner of New York. See? They know suffering, too! Besides, homeless people are used to being homeless, and they should appreciate how sweet they have it. They don't know the hardship of being just on the brink of success, living in that wide middle band of obscurity between fame and poverty. Mo talent, mo problems. Reminds me: you know a movie's a little goofed up when the blackest guy in it is William Baldwin. I'm just sayin'.
p.s. I see that Wes Anderson was one of the film's producers, and the cameraman was Anderson's faithful DP, Robert Yeoman. Sounds about right.
***
-so sayeth The Movie Hooligan
SpongeMoe Squareheads
ACT ONE
That's odd! They've reverted to an older version of the Stooges theme. Am I watching the right one? Apparently! I can't keep track anymore, but this seems to be the first appearance of Jerry Stiller precursor Philip Van Zandt, who unfortunately committed suicide when his career fell into a post-Stooge slump. But once, he ruled the Stooge world as the hot new bad guy on the block! All hail Van Zandt!
As for the Stooges, they've just returned from a hard day of Knighting... well, Shemp's got the outfit on, anyhow. "Gimme a hand, will ya fellas?" asks Shemp. Oh, anything's a cue for mayhem in these things. Moe goes to work on Shemp's suit with a crowbar... I mean, rooster bar. But even that old dog Moe's having to learn a few new tricks. In this case, never slap a guy with an iron knight's helmet on. You'll hurt your hand! Why, even Larry winced a little bit there! Wotta wuss. But maybe the slap helped a little bit, because the helmet comes off easy now! Moe asks Shemp to hold the helmet so he can hit him on the head with the crowbar. Next, Moe tells Shemp to bend over... I kid you not. Moe starts to go to work on the suit with a sledgehammer, but instead goes to town on the heads of Lawrence and Shempington with said hammer of sledge. They gear up for a second round, but the higher plot intervenes, thankfully. Two of the King's knights enter, looking for Cedric the Entertainer... I mean, Cedric the Blacksmith. Moe explains to the nice gentlemen that they're three troubadours on the way to King Arthur's court, who will end up pulling a sword out of one of them, am I right? Time to kill some time with a demonstration of their troubadouring skills. Thankfully, the guard cuts it short. There's a little more banter... I'll skip that for now. The guards leave, telling the Stooges that the Black Prince wants Cedric's head. When the guards leave, Larry asks the question we're all thinking: "What does he want Cedric's head for? Ain't he got one of his own?" Shemp gives the answer that the comedians in the audience might be thinking "Two heads are better than one!" Shemp and Larry laugh, and Moe slaps them, of course. All their lives. Curly, too.
And then... Cedric emerges from hiding. I thought he looked familiar! Just as the Marx brothers had Zeppo as the handsome young Marx brother that all the lovestruck young people could relate to, so too do the Stooges have Jock Mahoney. I remember him from Out West, where he played the stilted but earnest 'The Arizona Kid.' Here he plays the stilted but earnest Cedric the young and chiseled Blacksmith. Anyway, he loves the fair Elaine who's been arranged to wed the Black Prince. (hiss, hiss) Rosencrantz and Guildenstern... I mean, the Three Stooges vow to help Cedric in his quest for love. So much so, in fact, they do some kind of creepy salute to demonstrate their level of commitment... sorry, but I've been reading one too many Onion A.V. Club reviews. According to them, everything is creepy these days. Even that delightfully repetitive Portlandia show with the one joke over and over! Go figure. They just don't want anyone to have any fun. They use the word "See?" four times, then do the salute again. Cedric crushes their hands. Ad-lib time! Larry says something about not being able to write under water. Preview for Corny Casanovas!!! Fade to black.
ACT TWO
Hell with it. Act Two, even though it's a tad early. Scene: a window sill, probably Elaine's. The Stooges have instruments and troubadour costumes, and Cedric's in costume as well. Time for a song! ...sorry, wrong clip. Here's the song. The song appears to be heavily dubbed in, and Moe's doing the soprano part, so it's hard to tell it's him. They've got some decent accompaniment as well! All hail Cannery Row, the cheapskate bastards. Shemp gets a solo part, which Moe stops, of course. Then, a guard shows up, so the boys drop the specific lyrics and just sing. Larry's getting into it! Now, a Stooge song isn't complete without violence, so Moe gets hit by Shemp's accordion on Stage Right, followed by Larry's violin bow Stage Left. It's a sandwich of some bad sort. The guard leaves, and they quickly turn back towards the window, and take up the Cedric-centric lyrics... ?
Next scene: Elaine appears, played by the fetching Christine McIntyre. A damn dirty shame she was stuck in Stooge pictures. She hears the lyrics, and happily joins in with the song at her earliest convenience. She sings "I will raise the shade, the lovely shade when the coast is clear." What a sport.
Enter the Black Prince. He looks out the window, sees the Stooges plus one. "To arms!" he yells to the guards. Hastily enter King Vernon Dent. The Black Prince says "Your Magesty, Cedric the Blacksmith was below." Dude! That guy's got sharp peepers. King Dent is furious, and orders Elaine sequestered in his room. She'll be more easily guarded there, according to him. Now THAT'S creepy! The Black Prince asks "But where will YOU sleep?" Also creepy. Sorry, 'scuse me a minute while I take my anti-histrionics... ah, that's better. The king replies, "Here, of course!"
Cross-fade to King Dent changing into his pajamas. I'm laughing already. Next scene immediately after that... how can I call myself a Stooge fan when I don't know the proper Stooge terminology? What do you call it when they appear from round the corner, one head at a time? They do that bit next, and it's done from very, very far away, and I think I know why. Next scene: close-up, where it's painfully obvious that the trees in the distance is just a bad backdrop. Oh, well. Can't have it all. At least the castle looks real. Maybe it's just papier maché. Well, it was a weekend shoot when the main feature was taking a break, whatever it was. The King's getting ready to lay down, and he walks over and lifts up the shade!!!!!!! Time for the Stooges to go into action. Chief Strategist Moe says that one of them can climb up the trellis! But who?.... as in Fright Night before it, all heads turn to Shemp. Moe and Larry even go so far as to lift him up by his arms! But is Shemp grateful? Of course not. "I get dizzy!" he says twice. In case Elaine gets scared when she sees Shemp's ugly kisser, Larry decides to write a note. Shemp throws some gravel up to the window; when it comes back down, it makes the sound of someone eating olives. Time for a second helping of gravel. Cut to King Dent happily scratching his stomach before lying down. He hears the gravel rapping against the glass, and goes over to investigate. That's when Moe throws a giant rock with Larry's note bound to it. Dent gets hit in the face with the rock, of course! He reads the note, draws his sword, and gets ready to do some slashing.
Meanwhile, Shemp begins the seemingly simple task of climbing a trellis. Moe gets the brunt of it, but God bless him, he never learns to not stand under someone climbing up a ladder or a trellis. Not as bad as They Stooge to Conga, of course. Why is it they only show him just at the bottom of the ladder or just at the top? Dent hides under the covers, and Shemp finally makes it into the room. Time to kill some time! See, Shemp doesn't know who he's talking to, so he just talks as if he's talking to Elaine. This is probably the most important part of a king's job: keeping track of various threats to the throne. The king tolerates these indignities as long as he has to, when suddenly... there's a knock on the door! Instinctively, Shemp ducks under the bed. Something about Stooge DNA. "The guard awaits your order, Sire" says the guard. King Dent bellows out "Good! Send them in!" Shemp freaks out and stands up, totally overthrowing the bed with the overweight king within it. There's a metaphor there, someplace, but physically surely this is the highlight of the whole pic. Shemp's stunt double dives out the window and starts climbing back down the trellis. The King follows! Cut to an exterior shot, where the King is now climbing down his own damn self... gee, I wonder what's going to happen? Yup. Poor guy, the King doesn't know his own weakness. The trellis breaks loose of its moorings to the side of the castle, and the King vacillates back and forth a little bit before completely falling over. All the Stooges and Cedric can do is watch in fascination. And finally, down the King goes like Blutarski after him. The Stooges help the King up, and help get the heavy trellis off of him, but to no avail. The King's still sore, and the guards seize the Stooges plus one. "Take them to the dungeon! The DEEP dungeon!" bellows the King. All right! We get it! You're sore! Geez Louise!
Next scene: the sharpening of an axe. Oh, this looks like the real deal! Notice the scratch marks on the blade. The Stooges watch as the axe is sharpened, and have some surprisingly contemporary comments about their fate. Still, for some reason, the Stooges don't think that they're also going to be beheaded. So while Cedric serves briefly as a beacon of hope for the Stooges, it quickly sours when Cedric informs them that they all will die together, even though Cedric says it'll be an honor to die with them. Moe says "I'm gonna get myself a cheap lawyer!" Larry says "I can't die! I haven't seen The Jolson Story." A Columbia loyalist to the end. Larry starts climbing up the cell door; looks like if he keeps it up, he can get it cell open!
Just then, a guard brings the Stooges a big loaf of bread, saying "Your dinner. Eat hearty; it's your last chance!" Dude kinda sounds like Vernon Dent. As it turns out, the bread is a Trojan horse, full of tools to break out of jail. They set the bread down on a box, giving them a chance to pull out really large tools such as a sledgehammer. Showmanship! Speaking of which, Moe pulls out a hacksaw and rakes it across Larry's neck. Back to the sledgehammer. Lawrence is hammering away at the door, and Moe gets hit with Larry's hammer. "I'll moider you!" says Moe, but there's no immediate physical reprisal! That's a shock. Moe orders Larry to hold the chisel. Moe's getting ready to hit the chisel with the sledgehammer, so Shemp gets into position behind Moe, in order to better facilitate Moe injuring the other two with the sledgehammer. Moe screws up this time, however, only hitting Shemp in the head and not Larry in the hand. What a goof. Not only that, but he hits the chisel with the pointed end of the sledgehammer. Good Lord. It must not have been improvised, but Moe and Shemp take some time for a tooth-related diversion. Moe puts the chisel in Shemp's mouth and hits Shemp in the teeth. Shemp then spits out a bunch of teeth in response.
I noted earlier that Larry's hand didn't get hurt. Don't worry, folks! Order is about to be restored to the universe. Shemp puts his head against the chisel that Larry's holding. Moe hits Shemp in the head with the sledgehammer, and Larry starts crying out loudly in pain. How Corsican-esque. Cut to Cedric looking on in disbelief at these three idiots. He's kinda dim himself, but at least not aggressively so. He may be rethinking his pledge from earlier to die with the Stooges in solidarity at the chopping block. The boys pad out the film a little more at this point, with Shemp trying to nail Moe's hat to his head.
Next scene: Elaine in bed crying. The Black Prince knocks, then just barges on in like he owns the joint, the bastid. He offers a Faustian deal to Elaine: marry him and he will spare Cedric's life... that is, try to persuade the king to spare Cedric's life. I think Elaine should hold out for a better deal, or maybe she'll just have to kill herself. You know, like Juliet or something.
Back to all three Stooges hammering away at the jail cell door. They couldn't bother to give Cedric any tools so he could maybe go to work on his own cell, and apparently he didn't think to ask. It's a cacophony of clanging and sawing noises now. And then... they give up. They've been working on it for an hour, for God's sake! And then... the door swings open. Ain't it always the way? The creaking door sounds a bit like the wagon in Oily to Bed, Oily to Rise. That's Cannery Row for ya. Boo, hiss! Larry says "Hey! There's a draft in here." ...I know, I know, but now I'm thinking, even with that jail cell door there might be a negligible difference in air flow in the room. Larry's just a sensitive, caring soul, that's all, hence his noticing the subtle change. Shemp, on the other hand, is looking right at the door. He even says so. He must be tired from all the sawing or hammering or whatever the hell he was doing for the last hour....
....MASSIVE DOUBLE TAKE!!!!!!!!!!! If anyone on Earth does that better than the Stooges, I don't wanna know about it... except this one. Now they're moving too fast! They stay true to Cedric, however, and immediately start hammering and sawing away on his jail cell. However, the plot stops their progress. Here comes some more guards! Damn, they're in a tight spot. Fortunately, there's just the one guard. Larry distracts him while the other two give him the ol' stool-over-the-head. They push the guard into the cell and apparently lock him in. The guard starts screaming for help until Larry goes alpha-Stooge on his ass. Cold-blooded! Cedric orders the Stooges to save themselves, as other guards are coming. Dude must be psychic! Soon enough, the Stooges are staring down the barrels of two swords, but they're able to do some Jedi mindmeld on the guards and run past. The guards give chase.
And now... time to kill some more time. The ol' hallway with many doors routine. Sorry, wrong clip... Sorry, wrong Stooge film. HERE's the right link! With sped-up audio, no less. An extra bonus. Time to kill some time.
ACT THREE
Whew! Finally over. I thought that would never end. Scene: Moe's in a room by himself. Suddenly, he gets wind of the true motivation of the Black Prince. Ah, the old talking killer routine from James Bond, sort of. Moe's in disguise at the other end of the room, fortunately. The Black Prince has to wait until he's officially wed to Elaine, of course. But we've still got five minutes left! Cut to Larry who finds a different room. Larry hides behind a suit of knight armor. We can't see him, and apparently neither can the two guards who enter the room. Larry hits the two guards in the head with the same mace. The two guards think the other hit him, and they jump right into an epic fist-fight. Larry starts doing the play-by-play. He really gets into it! And then, DOWN GOES BOTH!
Next scene: Moe and Shemp enter the room. Larry hides behind the suit of armor again. Moe and Shemp see the two guards on the floor and assume they already killed Larry. Moe says something he instantly regrets: "If only we could get Larry back, I'd never hit him again." Larry says "NO KIDDING?" You'll never guess what happens next. It's at this point that Moe lays out the current scenario to the other two, giving them the opportunity to say "Yes" and "No" in unison. Moe says "...but we'll spoil his little racket!" Larry and Shemp say in unison "How?" Moe answers "I dunno." It's almost worth the price of admission right there. Suddenly, Moe sees the knight's armor and gets an idea. He almost screws up his line, but they couldn't afford a second take anyway.
Next scene: the scene of big finale: the Grand Hall of Dent's castle. All pomp and circumstance. We see the three main players: Elaine, the King, and that blackard the Black Prince. Soon enough, however, our boys show up in their new metal duds. And just as quickly, they hide round the corner, not confident in their disguises apparently. The Black Prince does a little micromanaging of his scheme just barely out of earshot of the King. Just to rub it in that much more, apparently. But the Stooges definitely do hear it: "When the guards hear the fanfare of the trumpets, Cedric's head will fall." They'll worry about the King later, obviously. The Stooges come out of hiding and discuss what they just heard. The Stooges don't have time to fully hide this time, so instead they just put down the ol' metal faceflaps, and hope that all works out for the best. A guard tells the Stooges, "The King commands your presence." Shemp helpfully explains "We ain't got any presents! The stores are all closed!" Boom in the stomach from Moe. And so, off they go to see what King Dent wants. I hope Dent says "I've seen them someplace before... but I just can't place them!" The boys have to introduce themselves, and Moe kicks Shemp in his metal shin this time. Lol. Also worth the price of admission. The King introduces Elaine, and the boys make relatively restrained comments, considering. The King excuses himself, and Moe lays out the Black Prince's scheme to Elaine, including the update about the trumpets. Elaine says "The trumpets will blow when the King announces the wedding!" Moe decides that there's only one thing to do: stop those trumpets. If I were more interested, I'd go back and count the number of times the Stooges put their hands together. One thing I do know for sure: Cedric crushed all their hands, and now Elaine gets to do it. Rosencrantz and Guildenstern are weaklings, too. Hmmm... how fortuitous that they're standing next to a giant bowl of fruit.... no, they wouldn't. Would they?
And then, the big announcement. Dent orders the trumpets to be played. Fortunately, the Stooges' hands aren't so mangled that they can't throw some fruit. No one notices, of course. The boys throw fruit at the horns. If I had more time, I might do the links for every edit, but there's quite a bit of them. They start in earnest here, though. There's just three quick edits. A shame they didn't just keep lobbing fruit at the horns in one take. I guess they were short of fruit throwers that hour. Besides, it's a whole different beast from whipped cream pies! King Dent gets frustrated. "Play! PLAY!" he bellows, but Moe's ad hoc plan worked. The trumpeters can't play a horn stuffed with fruit. The Black Prince also calls for the sound of trumpets, but gets a face full of pulp instead. The Stooges savor their victory, but get back to work. Elaine sneaks off to liberate Cedric, and the Stooges get ready to provide a diversion. But what? wonders Larry. "Dance, you dunce!" says Moe. Wasn't that the name of a Paula Abdul album? The boys cheat and use an "ancient" radio for music. They can't play their instruments and dance at the same time; King Dent would surely recognize them then. The boys go over to King Dent and Moe says "Your Majesty, wouldst like to see a right smart dance?" Majesty Dent says "Wouldst!" Unfortunately, he's about to see the Stooges kill some time, kicking each other in the legs, to the tune of "Way Down upon the Swanee River" no less. Well, they seem to get a smile out of it, anyhow.
The Stooges' capering goes on for a while until they break the camel's back by bumping into each other one time too many. Moe takes off Shemp's helmet, and Larry's just enough for King Dent to order them seized.
EPILOGUE
It appears to be curtains for yon Stooges Three. At least, until Elaine appears with Cedric by her side, pointing to the Black Prince and saying "Those are your real enemies! I can prove it!" King Dent orders the Black Prince to be taken to the dungeon. Of course, they might have to have the dungeon repaired, after what the Stooges have done to it.
One last contemporary touch. Cedric and Elaine appear visibly in love. King Dent asks "My daughter marry a smith?" Shemp adds "Take it easy, King. Millions of women marry Smiths every year." The King declares that there will be a wedding after all. "Sound the trumpets!" he says. Hoh boy, here we go again... Shemp's ad-lib isn't as good as the one in Fright Night, but you can't have it all.
Again, there's something about these Stooge films that have the full weight of a trusted genre behind it. Then again, I'm probably just a raging icon whore, like everyone else publishing directly to the web these days. Epic! Iconic! Game changing! I'll give it three and a half then. Besides, it's good remake material!
***1/2
-so sayeth The Movie Hooligan
That's odd! They've reverted to an older version of the Stooges theme. Am I watching the right one? Apparently! I can't keep track anymore, but this seems to be the first appearance of Jerry Stiller precursor Philip Van Zandt, who unfortunately committed suicide when his career fell into a post-Stooge slump. But once, he ruled the Stooge world as the hot new bad guy on the block! All hail Van Zandt!
As for the Stooges, they've just returned from a hard day of Knighting... well, Shemp's got the outfit on, anyhow. "Gimme a hand, will ya fellas?" asks Shemp. Oh, anything's a cue for mayhem in these things. Moe goes to work on Shemp's suit with a crowbar... I mean, rooster bar. But even that old dog Moe's having to learn a few new tricks. In this case, never slap a guy with an iron knight's helmet on. You'll hurt your hand! Why, even Larry winced a little bit there! Wotta wuss. But maybe the slap helped a little bit, because the helmet comes off easy now! Moe asks Shemp to hold the helmet so he can hit him on the head with the crowbar. Next, Moe tells Shemp to bend over... I kid you not. Moe starts to go to work on the suit with a sledgehammer, but instead goes to town on the heads of Lawrence and Shempington with said hammer of sledge. They gear up for a second round, but the higher plot intervenes, thankfully. Two of the King's knights enter, looking for Cedric the Entertainer... I mean, Cedric the Blacksmith. Moe explains to the nice gentlemen that they're three troubadours on the way to King Arthur's court, who will end up pulling a sword out of one of them, am I right? Time to kill some time with a demonstration of their troubadouring skills. Thankfully, the guard cuts it short. There's a little more banter... I'll skip that for now. The guards leave, telling the Stooges that the Black Prince wants Cedric's head. When the guards leave, Larry asks the question we're all thinking: "What does he want Cedric's head for? Ain't he got one of his own?" Shemp gives the answer that the comedians in the audience might be thinking "Two heads are better than one!" Shemp and Larry laugh, and Moe slaps them, of course. All their lives. Curly, too.
And then... Cedric emerges from hiding. I thought he looked familiar! Just as the Marx brothers had Zeppo as the handsome young Marx brother that all the lovestruck young people could relate to, so too do the Stooges have Jock Mahoney. I remember him from Out West, where he played the stilted but earnest 'The Arizona Kid.' Here he plays the stilted but earnest Cedric the young and chiseled Blacksmith. Anyway, he loves the fair Elaine who's been arranged to wed the Black Prince. (hiss, hiss) Rosencrantz and Guildenstern... I mean, the Three Stooges vow to help Cedric in his quest for love. So much so, in fact, they do some kind of creepy salute to demonstrate their level of commitment... sorry, but I've been reading one too many Onion A.V. Club reviews. According to them, everything is creepy these days. Even that delightfully repetitive Portlandia show with the one joke over and over! Go figure. They just don't want anyone to have any fun. They use the word "See?" four times, then do the salute again. Cedric crushes their hands. Ad-lib time! Larry says something about not being able to write under water. Preview for Corny Casanovas!!! Fade to black.
ACT TWO
Hell with it. Act Two, even though it's a tad early. Scene: a window sill, probably Elaine's. The Stooges have instruments and troubadour costumes, and Cedric's in costume as well. Time for a song! ...sorry, wrong clip. Here's the song. The song appears to be heavily dubbed in, and Moe's doing the soprano part, so it's hard to tell it's him. They've got some decent accompaniment as well! All hail Cannery Row, the cheapskate bastards. Shemp gets a solo part, which Moe stops, of course. Then, a guard shows up, so the boys drop the specific lyrics and just sing. Larry's getting into it! Now, a Stooge song isn't complete without violence, so Moe gets hit by Shemp's accordion on Stage Right, followed by Larry's violin bow Stage Left. It's a sandwich of some bad sort. The guard leaves, and they quickly turn back towards the window, and take up the Cedric-centric lyrics... ?
Next scene: Elaine appears, played by the fetching Christine McIntyre. A damn dirty shame she was stuck in Stooge pictures. She hears the lyrics, and happily joins in with the song at her earliest convenience. She sings "I will raise the shade, the lovely shade when the coast is clear." What a sport.
Enter the Black Prince. He looks out the window, sees the Stooges plus one. "To arms!" he yells to the guards. Hastily enter King Vernon Dent. The Black Prince says "Your Magesty, Cedric the Blacksmith was below." Dude! That guy's got sharp peepers. King Dent is furious, and orders Elaine sequestered in his room. She'll be more easily guarded there, according to him. Now THAT'S creepy! The Black Prince asks "But where will YOU sleep?" Also creepy. Sorry, 'scuse me a minute while I take my anti-histrionics... ah, that's better. The king replies, "Here, of course!"
Cross-fade to King Dent changing into his pajamas. I'm laughing already. Next scene immediately after that... how can I call myself a Stooge fan when I don't know the proper Stooge terminology? What do you call it when they appear from round the corner, one head at a time? They do that bit next, and it's done from very, very far away, and I think I know why. Next scene: close-up, where it's painfully obvious that the trees in the distance is just a bad backdrop. Oh, well. Can't have it all. At least the castle looks real. Maybe it's just papier maché. Well, it was a weekend shoot when the main feature was taking a break, whatever it was. The King's getting ready to lay down, and he walks over and lifts up the shade!!!!!!! Time for the Stooges to go into action. Chief Strategist Moe says that one of them can climb up the trellis! But who?.... as in Fright Night before it, all heads turn to Shemp. Moe and Larry even go so far as to lift him up by his arms! But is Shemp grateful? Of course not. "I get dizzy!" he says twice. In case Elaine gets scared when she sees Shemp's ugly kisser, Larry decides to write a note. Shemp throws some gravel up to the window; when it comes back down, it makes the sound of someone eating olives. Time for a second helping of gravel. Cut to King Dent happily scratching his stomach before lying down. He hears the gravel rapping against the glass, and goes over to investigate. That's when Moe throws a giant rock with Larry's note bound to it. Dent gets hit in the face with the rock, of course! He reads the note, draws his sword, and gets ready to do some slashing.
Meanwhile, Shemp begins the seemingly simple task of climbing a trellis. Moe gets the brunt of it, but God bless him, he never learns to not stand under someone climbing up a ladder or a trellis. Not as bad as They Stooge to Conga, of course. Why is it they only show him just at the bottom of the ladder or just at the top? Dent hides under the covers, and Shemp finally makes it into the room. Time to kill some time! See, Shemp doesn't know who he's talking to, so he just talks as if he's talking to Elaine. This is probably the most important part of a king's job: keeping track of various threats to the throne. The king tolerates these indignities as long as he has to, when suddenly... there's a knock on the door! Instinctively, Shemp ducks under the bed. Something about Stooge DNA. "The guard awaits your order, Sire" says the guard. King Dent bellows out "Good! Send them in!" Shemp freaks out and stands up, totally overthrowing the bed with the overweight king within it. There's a metaphor there, someplace, but physically surely this is the highlight of the whole pic. Shemp's stunt double dives out the window and starts climbing back down the trellis. The King follows! Cut to an exterior shot, where the King is now climbing down his own damn self... gee, I wonder what's going to happen? Yup. Poor guy, the King doesn't know his own weakness. The trellis breaks loose of its moorings to the side of the castle, and the King vacillates back and forth a little bit before completely falling over. All the Stooges and Cedric can do is watch in fascination. And finally, down the King goes like Blutarski after him. The Stooges help the King up, and help get the heavy trellis off of him, but to no avail. The King's still sore, and the guards seize the Stooges plus one. "Take them to the dungeon! The DEEP dungeon!" bellows the King. All right! We get it! You're sore! Geez Louise!
Next scene: the sharpening of an axe. Oh, this looks like the real deal! Notice the scratch marks on the blade. The Stooges watch as the axe is sharpened, and have some surprisingly contemporary comments about their fate. Still, for some reason, the Stooges don't think that they're also going to be beheaded. So while Cedric serves briefly as a beacon of hope for the Stooges, it quickly sours when Cedric informs them that they all will die together, even though Cedric says it'll be an honor to die with them. Moe says "I'm gonna get myself a cheap lawyer!" Larry says "I can't die! I haven't seen The Jolson Story." A Columbia loyalist to the end. Larry starts climbing up the cell door; looks like if he keeps it up, he can get it cell open!
Just then, a guard brings the Stooges a big loaf of bread, saying "Your dinner. Eat hearty; it's your last chance!" Dude kinda sounds like Vernon Dent. As it turns out, the bread is a Trojan horse, full of tools to break out of jail. They set the bread down on a box, giving them a chance to pull out really large tools such as a sledgehammer. Showmanship! Speaking of which, Moe pulls out a hacksaw and rakes it across Larry's neck. Back to the sledgehammer. Lawrence is hammering away at the door, and Moe gets hit with Larry's hammer. "I'll moider you!" says Moe, but there's no immediate physical reprisal! That's a shock. Moe orders Larry to hold the chisel. Moe's getting ready to hit the chisel with the sledgehammer, so Shemp gets into position behind Moe, in order to better facilitate Moe injuring the other two with the sledgehammer. Moe screws up this time, however, only hitting Shemp in the head and not Larry in the hand. What a goof. Not only that, but he hits the chisel with the pointed end of the sledgehammer. Good Lord. It must not have been improvised, but Moe and Shemp take some time for a tooth-related diversion. Moe puts the chisel in Shemp's mouth and hits Shemp in the teeth. Shemp then spits out a bunch of teeth in response.
I noted earlier that Larry's hand didn't get hurt. Don't worry, folks! Order is about to be restored to the universe. Shemp puts his head against the chisel that Larry's holding. Moe hits Shemp in the head with the sledgehammer, and Larry starts crying out loudly in pain. How Corsican-esque. Cut to Cedric looking on in disbelief at these three idiots. He's kinda dim himself, but at least not aggressively so. He may be rethinking his pledge from earlier to die with the Stooges in solidarity at the chopping block. The boys pad out the film a little more at this point, with Shemp trying to nail Moe's hat to his head.
Next scene: Elaine in bed crying. The Black Prince knocks, then just barges on in like he owns the joint, the bastid. He offers a Faustian deal to Elaine: marry him and he will spare Cedric's life... that is, try to persuade the king to spare Cedric's life. I think Elaine should hold out for a better deal, or maybe she'll just have to kill herself. You know, like Juliet or something.
Back to all three Stooges hammering away at the jail cell door. They couldn't bother to give Cedric any tools so he could maybe go to work on his own cell, and apparently he didn't think to ask. It's a cacophony of clanging and sawing noises now. And then... they give up. They've been working on it for an hour, for God's sake! And then... the door swings open. Ain't it always the way? The creaking door sounds a bit like the wagon in Oily to Bed, Oily to Rise. That's Cannery Row for ya. Boo, hiss! Larry says "Hey! There's a draft in here." ...I know, I know, but now I'm thinking, even with that jail cell door there might be a negligible difference in air flow in the room. Larry's just a sensitive, caring soul, that's all, hence his noticing the subtle change. Shemp, on the other hand, is looking right at the door. He even says so. He must be tired from all the sawing or hammering or whatever the hell he was doing for the last hour....
....MASSIVE DOUBLE TAKE!!!!!!!!!!! If anyone on Earth does that better than the Stooges, I don't wanna know about it... except this one. Now they're moving too fast! They stay true to Cedric, however, and immediately start hammering and sawing away on his jail cell. However, the plot stops their progress. Here comes some more guards! Damn, they're in a tight spot. Fortunately, there's just the one guard. Larry distracts him while the other two give him the ol' stool-over-the-head. They push the guard into the cell and apparently lock him in. The guard starts screaming for help until Larry goes alpha-Stooge on his ass. Cold-blooded! Cedric orders the Stooges to save themselves, as other guards are coming. Dude must be psychic! Soon enough, the Stooges are staring down the barrels of two swords, but they're able to do some Jedi mindmeld on the guards and run past. The guards give chase.
And now... time to kill some more time. The ol' hallway with many doors routine. Sorry, wrong clip... Sorry, wrong Stooge film. HERE's the right link! With sped-up audio, no less. An extra bonus. Time to kill some time.
ACT THREE
Whew! Finally over. I thought that would never end. Scene: Moe's in a room by himself. Suddenly, he gets wind of the true motivation of the Black Prince. Ah, the old talking killer routine from James Bond, sort of. Moe's in disguise at the other end of the room, fortunately. The Black Prince has to wait until he's officially wed to Elaine, of course. But we've still got five minutes left! Cut to Larry who finds a different room. Larry hides behind a suit of knight armor. We can't see him, and apparently neither can the two guards who enter the room. Larry hits the two guards in the head with the same mace. The two guards think the other hit him, and they jump right into an epic fist-fight. Larry starts doing the play-by-play. He really gets into it! And then, DOWN GOES BOTH!
Next scene: Moe and Shemp enter the room. Larry hides behind the suit of armor again. Moe and Shemp see the two guards on the floor and assume they already killed Larry. Moe says something he instantly regrets: "If only we could get Larry back, I'd never hit him again." Larry says "NO KIDDING?" You'll never guess what happens next. It's at this point that Moe lays out the current scenario to the other two, giving them the opportunity to say "Yes" and "No" in unison. Moe says "...but we'll spoil his little racket!" Larry and Shemp say in unison "How?" Moe answers "I dunno." It's almost worth the price of admission right there. Suddenly, Moe sees the knight's armor and gets an idea. He almost screws up his line, but they couldn't afford a second take anyway.
Next scene: the scene of big finale: the Grand Hall of Dent's castle. All pomp and circumstance. We see the three main players: Elaine, the King, and that blackard the Black Prince. Soon enough, however, our boys show up in their new metal duds. And just as quickly, they hide round the corner, not confident in their disguises apparently. The Black Prince does a little micromanaging of his scheme just barely out of earshot of the King. Just to rub it in that much more, apparently. But the Stooges definitely do hear it: "When the guards hear the fanfare of the trumpets, Cedric's head will fall." They'll worry about the King later, obviously. The Stooges come out of hiding and discuss what they just heard. The Stooges don't have time to fully hide this time, so instead they just put down the ol' metal faceflaps, and hope that all works out for the best. A guard tells the Stooges, "The King commands your presence." Shemp helpfully explains "We ain't got any presents! The stores are all closed!" Boom in the stomach from Moe. And so, off they go to see what King Dent wants. I hope Dent says "I've seen them someplace before... but I just can't place them!" The boys have to introduce themselves, and Moe kicks Shemp in his metal shin this time. Lol. Also worth the price of admission. The King introduces Elaine, and the boys make relatively restrained comments, considering. The King excuses himself, and Moe lays out the Black Prince's scheme to Elaine, including the update about the trumpets. Elaine says "The trumpets will blow when the King announces the wedding!" Moe decides that there's only one thing to do: stop those trumpets. If I were more interested, I'd go back and count the number of times the Stooges put their hands together. One thing I do know for sure: Cedric crushed all their hands, and now Elaine gets to do it. Rosencrantz and Guildenstern are weaklings, too. Hmmm... how fortuitous that they're standing next to a giant bowl of fruit.... no, they wouldn't. Would they?
And then, the big announcement. Dent orders the trumpets to be played. Fortunately, the Stooges' hands aren't so mangled that they can't throw some fruit. No one notices, of course. The boys throw fruit at the horns. If I had more time, I might do the links for every edit, but there's quite a bit of them. They start in earnest here, though. There's just three quick edits. A shame they didn't just keep lobbing fruit at the horns in one take. I guess they were short of fruit throwers that hour. Besides, it's a whole different beast from whipped cream pies! King Dent gets frustrated. "Play! PLAY!" he bellows, but Moe's ad hoc plan worked. The trumpeters can't play a horn stuffed with fruit. The Black Prince also calls for the sound of trumpets, but gets a face full of pulp instead. The Stooges savor their victory, but get back to work. Elaine sneaks off to liberate Cedric, and the Stooges get ready to provide a diversion. But what? wonders Larry. "Dance, you dunce!" says Moe. Wasn't that the name of a Paula Abdul album? The boys cheat and use an "ancient" radio for music. They can't play their instruments and dance at the same time; King Dent would surely recognize them then. The boys go over to King Dent and Moe says "Your Majesty, wouldst like to see a right smart dance?" Majesty Dent says "Wouldst!" Unfortunately, he's about to see the Stooges kill some time, kicking each other in the legs, to the tune of "Way Down upon the Swanee River" no less. Well, they seem to get a smile out of it, anyhow.
The Stooges' capering goes on for a while until they break the camel's back by bumping into each other one time too many. Moe takes off Shemp's helmet, and Larry's just enough for King Dent to order them seized.
EPILOGUE
It appears to be curtains for yon Stooges Three. At least, until Elaine appears with Cedric by her side, pointing to the Black Prince and saying "Those are your real enemies! I can prove it!" King Dent orders the Black Prince to be taken to the dungeon. Of course, they might have to have the dungeon repaired, after what the Stooges have done to it.
One last contemporary touch. Cedric and Elaine appear visibly in love. King Dent asks "My daughter marry a smith?" Shemp adds "Take it easy, King. Millions of women marry Smiths every year." The King declares that there will be a wedding after all. "Sound the trumpets!" he says. Hoh boy, here we go again... Shemp's ad-lib isn't as good as the one in Fright Night, but you can't have it all.
Again, there's something about these Stooge films that have the full weight of a trusted genre behind it. Then again, I'm probably just a raging icon whore, like everyone else publishing directly to the web these days. Epic! Iconic! Game changing! I'll give it three and a half then. Besides, it's good remake material!
***1/2
-so sayeth The Movie Hooligan
Still Wild after All These Years
Well, blogs are all about dirty little secrets, so I guess I'm overdue to let you in on one: I have a pathological fondness for Wild Elephinks. I'm not much of a weeper these days, but for some reason the tears begin to flow like clockwork at many specific points throughout Wild Elephinks. My sinuses get a little cleared up, too! I'll probably miss a few of them, but I'll list as many as I can, and sincerely I hope that, by blogging about it, the effect doesn't stop. I'm starting to think I can take up acting again!
ACT ONE
Already I'm crying. Popeye's once again on turbulent waters in the smallest of vessels with Olive wondering why she's dutifully by his side. Bella Swan, eat your heart out! The choppy waters are disturbing his theme song; that must be what I like about it. The notes from his pipe are late because of the waters. There's a subtle close-up as Popeye starts punching big fish that leap out of the sea at him, turning them into sardine-sized little fish. Charles Fort would appreciate this, surely. Olive's ready for the third wave with two self-sealing cans of sardines. I'm not even watching the damn thing!!!
They come to a stop sign in the ocean. A whale passes by with the license plate "2Y-1601" on it. Popeye decides to put in a little effort and starts blowing on their makeshift sail. A hand made of sea water carries their vessel to shore. I'm telling you; James Cameron got every idea ever from Popeye cartoons! Morphing, giant water worms... Popeye shakes hands with the water hand, saying "SO LONG, SKIPPAH!" He might be regretting that handshake, as they've landed at the worst possible place. A land with the fauna of Africa, but the fauna of Brazilian rain forests... at least, from what I can tell. Maybe Africa has forests like that... some Master's Degree I got! That's what I get for not looking at Yahoo! Images. The screaming and bellowing of the forest creatures frightens Olive, who leaps backward, and then Popeye who leaps backward after Olive.
And so, we get a sequence that George Harrison might have liked if he saw it, as it features slightly clunky music heavy with saxophones. A gorilla breaks a bone in half and shoves it into its mouth. What a pig. A tiger takes a bite out of a tree. That's just confusing! There's other creatures as well; another intricate scene. And then... the beast of the title. Stampy's grandfather charges straight through the forest, knocking down every tree in its path. Awesome use of perspective here.
The elephant gets an eyeful of Popeye and goes right to work, grabbing Popeye with his trunk and thrashing him about in a figure eight motion. Popeye is clearly getting the crap beat out of him, but Olive remains optimistic: "Attaboy, Popeye! Give it to 'im..." she says. Just then, a gorilla, perhaps the one from earlier, takes an interest in Olive. She faints, and the gorilla carries her off. Must be time for an act break.
ACT TWO
Popeye's thrashing by the elephant eventually stops, so he lets him have it right in the trunk. And, just like that damn Test Your Strength game from the first one, and from an Arbuckle / Keaton short, and from Beetlejuice and countless others, a lump of pain rises up to the elephant's head. There's a rich tradition is all I'm sayin'. Let's dwell on the elephant's pain lump; it'll be on the test later.
Why does everyone in these cartoons have Pac-Man eyes? Everyone but the humans, apparently.
Popeye notices that Olive's gone. Good thing he can see the gorilla from afar. The gorilla uses Olive's head to crack open coconuts. The Fleischers, like Monty Python after them, are sensitive to the audience's sensibilities, and they know that any more than two coconuts would simply be gratuitous. Popeye's in full sprint mode now, running about as fast as a non-land lubber like him can. Just then, the gorilla walks past a moose... a moose? In Africa? Maybe it's a wildebeest. It's got moose horns, though, right? For simplicity's sake, I'll just refer to the moose as "the party of the first part." So the moose gets an eyeful of Popeye and doesn't like what it sees. It starts snorting like a pig, for God's sake! Popeye sees the moose and puts his hands up like antlers, bracing for the impending collision. The moose has been revving up, and now takes off, its snorts rising in pitch. Tears are starting to flow again. God, I love that part. If they don't have this cartoon in Heaven, then it must be Hell in disguise. Popeye and the moose collide. "OW!" says Popeye. They regroup and go in for a second helping. Another fist-fight tornado and, unfortunately for the moose, it turns into a head on a plaque, which Popeye hangs on a nearby tree. The long shadow of Teddy Roosevelt, alas. If they were making this today, Popeye and the moose would be seen going to a pub afterwards. Frankly, this is worse than the racist stuff!
Back to the elephant. The Fleischer Orchestra plays "Memories, Memories..." and we see the elephant thinking. Thinking about that time a few minutes ago when Popeye gave him that punch in the trunk. Like a Firefly, an elephant never forgets. For God's sake, the animators went to the trouble to superimpose a whole thought bubble!
Back to Popeye and that snappy Franz Liszt number, then back to the elephant, stamping past the moose head plaque. Popeye crosses a chasm on the neck of a giraffe... how's the elephant going to do that? The xylophone music here reminds me of Wacky Wildlife... anyone? Never mind. The gorilla is scared now, running at top speed with Olive in hand. The gorilla climbs the nearest tree it can find... big mistake, because it's not that tall. Apparently, it's a banana tree... do they even grow on trees? I thought they were large shrubs or something. No time to look it up. Anywho, Popeye punches the tree. Everything flies up far into the air, and the tree comes down first, morphing into a cart. The cart fills up with fruit, and the gorilla pushes the cart away. Popeye doesn't catch Olive, but says to the gorilla "G'WAN, SELL YOUR BANANAS!" This probably seems racist somehow, and definitely violent, but I'll leave that for brighter minds to elaborate on. Probably Imperialistic, too.
ACT THREE
Like Donald Trump, Popeye rarely has a day when he's not proud of himself, and as usual he's triumphant in victory, having vanquished the jungle beast that tried to steal Olive. On the other hand, like the Alfred Hitchcock film, Notorious, Olive's kinda tainted goods now. I mean, who wants a gorilla's Sloppy Seconds, am I right? But Popeye's not the lone witness of his gorilla thrashing. Two monkeys in a far-off tree saw the whole thing, and they alert the rest of the jungle creatures with a general alarm. Another good Fleischer moment. And soon enough, Popeye and Olive are surrounded by the most ferocious beasts of the jungle: a rhino, a bear, some snakes, and a tiger. That's just a warm-up, folks. Popeye yells "I'LL TAKE YA ALL ON ONE AT A TIME!" I know, I know, but it sounds tough. A lion is first. Bluto says "I'm king!"... I mean, the lion, who sounds a bit like Bluto, says "I'm KING!" Well, we've been lacking in Bluto-esque figures until now. Popeye retorts with "Then I'll crown ya! WHAM!" And sure enough, Popeye's lump turns into a crown.
Up next: a cartoon python the size of an anaconda, which wraps itself completely around Popeye and gives his whole body a good strangling. What, no hypnosis? But alas, the snake's no match for Popeye's pipe smoke, and down it goes to the ground.
Apparently, that was too much abuse for Olive. She's got the spinach this time, and she tries to piss off the Hays Code people the way she gets it out of her shoe. We'd rather see Betty Boop try that, no? And so, we're given the most saxophone-laden version of Popeye's theme song as Popeye eats his spinach, and gets the lumps out of his body, waving to the crowd when he's back to normal.
Back to the elephant, who's finally crossed the giraffe bridge and now looks upon Popeye. He thinks about that painful lump he got, once again to the tune of "Memories, Memories...." The elephant nods, then charges into battle. That elephant doesn't know what he's in for. Reminds me of that joke... ah, skip it. Popeye grabs the elephant by the trunk (more salt in the wound) and spins it round and round for about six seconds, finally letting it go. The elephant flies far away, smashing a small island into the water! Popeye's now taking on all the beasts, at least two at a time, as they all fly towards him, only to get smashed by a spinached-up Popeye. We get a long shot of flying animals. Epic. I suppose I should be a little critical, and point out that the animation in this part jumps at about 5:36 and change. Well, nobody's perfect.
EPILOGUE
Well, I'll stand with PETA on this one. We get a few shots of an empty treescape filling up with animal skins. Still, it's done with panache! Skins land on Olive, culminating in a whole gorilla skin, complete with face and everything. Olive turns around to drive the point home that it's just Olive in a gorilla suit. Popeye can't tell the difference, however, and he comes up and punches Olive, laughing. Hmmm... did he really think it was a gorilla? Olive suffered about as much physical abuse as she's ever done in this short, but she hits Popeye back when he sings his ending song: once for each pipe whistle. Popeye's heart is broken. I must be too self-conscious about the tears, because they're not welling up as much now that I'm blogging about it. Maybe I better watch the beginning again... ah, there they go. Classic.
*****
-so sayeth The Movie Hooligan
ACT ONE
Already I'm crying. Popeye's once again on turbulent waters in the smallest of vessels with Olive wondering why she's dutifully by his side. Bella Swan, eat your heart out! The choppy waters are disturbing his theme song; that must be what I like about it. The notes from his pipe are late because of the waters. There's a subtle close-up as Popeye starts punching big fish that leap out of the sea at him, turning them into sardine-sized little fish. Charles Fort would appreciate this, surely. Olive's ready for the third wave with two self-sealing cans of sardines. I'm not even watching the damn thing!!!
They come to a stop sign in the ocean. A whale passes by with the license plate "2Y-1601" on it. Popeye decides to put in a little effort and starts blowing on their makeshift sail. A hand made of sea water carries their vessel to shore. I'm telling you; James Cameron got every idea ever from Popeye cartoons! Morphing, giant water worms... Popeye shakes hands with the water hand, saying "SO LONG, SKIPPAH!" He might be regretting that handshake, as they've landed at the worst possible place. A land with the fauna of Africa, but the fauna of Brazilian rain forests... at least, from what I can tell. Maybe Africa has forests like that... some Master's Degree I got! That's what I get for not looking at Yahoo! Images. The screaming and bellowing of the forest creatures frightens Olive, who leaps backward, and then Popeye who leaps backward after Olive.
And so, we get a sequence that George Harrison might have liked if he saw it, as it features slightly clunky music heavy with saxophones. A gorilla breaks a bone in half and shoves it into its mouth. What a pig. A tiger takes a bite out of a tree. That's just confusing! There's other creatures as well; another intricate scene. And then... the beast of the title. Stampy's grandfather charges straight through the forest, knocking down every tree in its path. Awesome use of perspective here.
The elephant gets an eyeful of Popeye and goes right to work, grabbing Popeye with his trunk and thrashing him about in a figure eight motion. Popeye is clearly getting the crap beat out of him, but Olive remains optimistic: "Attaboy, Popeye! Give it to 'im..." she says. Just then, a gorilla, perhaps the one from earlier, takes an interest in Olive. She faints, and the gorilla carries her off. Must be time for an act break.
ACT TWO
Popeye's thrashing by the elephant eventually stops, so he lets him have it right in the trunk. And, just like that damn Test Your Strength game from the first one, and from an Arbuckle / Keaton short, and from Beetlejuice and countless others, a lump of pain rises up to the elephant's head. There's a rich tradition is all I'm sayin'. Let's dwell on the elephant's pain lump; it'll be on the test later.
Why does everyone in these cartoons have Pac-Man eyes? Everyone but the humans, apparently.
Popeye notices that Olive's gone. Good thing he can see the gorilla from afar. The gorilla uses Olive's head to crack open coconuts. The Fleischers, like Monty Python after them, are sensitive to the audience's sensibilities, and they know that any more than two coconuts would simply be gratuitous. Popeye's in full sprint mode now, running about as fast as a non-land lubber like him can. Just then, the gorilla walks past a moose... a moose? In Africa? Maybe it's a wildebeest. It's got moose horns, though, right? For simplicity's sake, I'll just refer to the moose as "the party of the first part." So the moose gets an eyeful of Popeye and doesn't like what it sees. It starts snorting like a pig, for God's sake! Popeye sees the moose and puts his hands up like antlers, bracing for the impending collision. The moose has been revving up, and now takes off, its snorts rising in pitch. Tears are starting to flow again. God, I love that part. If they don't have this cartoon in Heaven, then it must be Hell in disguise. Popeye and the moose collide. "OW!" says Popeye. They regroup and go in for a second helping. Another fist-fight tornado and, unfortunately for the moose, it turns into a head on a plaque, which Popeye hangs on a nearby tree. The long shadow of Teddy Roosevelt, alas. If they were making this today, Popeye and the moose would be seen going to a pub afterwards. Frankly, this is worse than the racist stuff!
Back to the elephant. The Fleischer Orchestra plays "Memories, Memories..." and we see the elephant thinking. Thinking about that time a few minutes ago when Popeye gave him that punch in the trunk. Like a Firefly, an elephant never forgets. For God's sake, the animators went to the trouble to superimpose a whole thought bubble!
Back to Popeye and that snappy Franz Liszt number, then back to the elephant, stamping past the moose head plaque. Popeye crosses a chasm on the neck of a giraffe... how's the elephant going to do that? The xylophone music here reminds me of Wacky Wildlife... anyone? Never mind. The gorilla is scared now, running at top speed with Olive in hand. The gorilla climbs the nearest tree it can find... big mistake, because it's not that tall. Apparently, it's a banana tree... do they even grow on trees? I thought they were large shrubs or something. No time to look it up. Anywho, Popeye punches the tree. Everything flies up far into the air, and the tree comes down first, morphing into a cart. The cart fills up with fruit, and the gorilla pushes the cart away. Popeye doesn't catch Olive, but says to the gorilla "G'WAN, SELL YOUR BANANAS!" This probably seems racist somehow, and definitely violent, but I'll leave that for brighter minds to elaborate on. Probably Imperialistic, too.
ACT THREE
Like Donald Trump, Popeye rarely has a day when he's not proud of himself, and as usual he's triumphant in victory, having vanquished the jungle beast that tried to steal Olive. On the other hand, like the Alfred Hitchcock film, Notorious, Olive's kinda tainted goods now. I mean, who wants a gorilla's Sloppy Seconds, am I right? But Popeye's not the lone witness of his gorilla thrashing. Two monkeys in a far-off tree saw the whole thing, and they alert the rest of the jungle creatures with a general alarm. Another good Fleischer moment. And soon enough, Popeye and Olive are surrounded by the most ferocious beasts of the jungle: a rhino, a bear, some snakes, and a tiger. That's just a warm-up, folks. Popeye yells "I'LL TAKE YA ALL ON ONE AT A TIME!" I know, I know, but it sounds tough. A lion is first. Bluto says "I'm king!"... I mean, the lion, who sounds a bit like Bluto, says "I'm KING!" Well, we've been lacking in Bluto-esque figures until now. Popeye retorts with "Then I'll crown ya! WHAM!" And sure enough, Popeye's lump turns into a crown.
Up next: a cartoon python the size of an anaconda, which wraps itself completely around Popeye and gives his whole body a good strangling. What, no hypnosis? But alas, the snake's no match for Popeye's pipe smoke, and down it goes to the ground.
Apparently, that was too much abuse for Olive. She's got the spinach this time, and she tries to piss off the Hays Code people the way she gets it out of her shoe. We'd rather see Betty Boop try that, no? And so, we're given the most saxophone-laden version of Popeye's theme song as Popeye eats his spinach, and gets the lumps out of his body, waving to the crowd when he's back to normal.
Back to the elephant, who's finally crossed the giraffe bridge and now looks upon Popeye. He thinks about that painful lump he got, once again to the tune of "Memories, Memories...." The elephant nods, then charges into battle. That elephant doesn't know what he's in for. Reminds me of that joke... ah, skip it. Popeye grabs the elephant by the trunk (more salt in the wound) and spins it round and round for about six seconds, finally letting it go. The elephant flies far away, smashing a small island into the water! Popeye's now taking on all the beasts, at least two at a time, as they all fly towards him, only to get smashed by a spinached-up Popeye. We get a long shot of flying animals. Epic. I suppose I should be a little critical, and point out that the animation in this part jumps at about 5:36 and change. Well, nobody's perfect.
EPILOGUE
Well, I'll stand with PETA on this one. We get a few shots of an empty treescape filling up with animal skins. Still, it's done with panache! Skins land on Olive, culminating in a whole gorilla skin, complete with face and everything. Olive turns around to drive the point home that it's just Olive in a gorilla suit. Popeye can't tell the difference, however, and he comes up and punches Olive, laughing. Hmmm... did he really think it was a gorilla? Olive suffered about as much physical abuse as she's ever done in this short, but she hits Popeye back when he sings his ending song: once for each pipe whistle. Popeye's heart is broken. I must be too self-conscious about the tears, because they're not welling up as much now that I'm blogging about it. Maybe I better watch the beginning again... ah, there they go. Classic.
*****
-so sayeth The Movie Hooligan
Auteur Watch - Jefri Aalmuhammed
I gotta be honest here, I'm not totally familiar with this person's work, but he did work on Spike Lee's Malcolm X back in the day, and he got a documentary out of it. What more does one need?
Box office 1/13/'13
For some reason, Google Chrome's my new favourite browser! Maybe it's just a phase. Anyway, Kathryn Bigelow's shooting the moon now with her latest, Zero Dark Thirty. But alas, the novelty of the first woman director winning an Oscar is over, and she didn't film the new one on 16mm this time. Hard to say who's going to win this year... I don't even feel like trotting out a list of picks. Will it be another golden year for Spielberg? Or will the Academy voting block get confused and vote for Beasts of the Southern Wild, thinking it's in the feature-length documentary category? So many questions, but I'm getting too far afield here.As I thought, Texas Chainsaw 3D plummets to #9, so it's doing better than I thought it would. The movie-going public's been a bit discerning this week! They thought, "If I'm going out in the snow and ice to see a movie, it should be a quality one." And ZDT fit the bill... then again, Marlon Wayans' take on the Paranormal Activity franchise was #2. That one might not plummet as hard as Texas Chainsaw 3D, but we'll see. And then, of course, there's Gangster Squad, which must've performed rather disappointingly, seeing as how the TV airwaves have been carpet-bombed with ads for it lately. Hobbit's almost over the 300 million dollar mark, but #6? Am I the only one disappointed? And only 3 nominations, no less! No love for Ian McKellen? Maybe by the third installment, if history's any usable road map.
Sunday, January 06, 2013
Clutch Cargo
If you're like me, you've probably seen Wham-Bam-Slam! first, so Pardon my Clutch might seem a bit stale, but remember! Clutch came first.
ACT ONE
Moe and Larry are pacing back and forth and almost run into each other in the process. Almost. Their three daughters are in the room with them... wait a minute! Their wives? Well, we just got another news flash out of Saudi Arabia about a 70-year old man marrying a 15-year old girl, so anything's possible. Nothing gay about that, right? Anyway, Claude, the Stooges' quasi-doctor friend of 15 years comes out of the bedroom, and informs everyone that he gave Shemp a sleeping pill. You could argue that, with tools like sleeping pills, just about anyone can seem doctor-ish. Reminds me of Bugs Bunny in The Big Snooze, and the part they had to cut out for TV. What did they have to cut out? Sleeping pills! Dangerous stuff.
One of the goils asks Claude, "But don't you think we ought to call a doctor?" "Why throw money away?" asks Claude in a real condescending tone. I guess that means health care back then was only on the verge of collapse, not post-collapse like today. These days, you have the finest health care in the world if you own the hospital; just ask Bill Frist if you can find him. Besides, Moe and Larry are true believers in Claude. Having said that, Claude informs them that he's got to go get his "doctor book" and that he'll be right back. You know, an actual doctor might not need a book... ah, skip it. They dub in Moe saying "Sure!"
Exit Claude, who leaves Moe and Larry in charge of Shemp's recovery. Things crumble right away when Moe reads the label on the bottle of sleeping pills: "Take one pill, wait fifteen minutes, then take second pill." Larry notes that it's about time for that second pill! Even though Claude just said he gave Shemp the pill ten minutes ago, but never mind. Moe's about to reassure the girls, saying "Anything will be all..." WHAM! Into the wall. I was starting to worry. Where's the senseless violence to remind me that this is a Stooge film and not some lame Joe Besser- or DeRita-only Columbia short?
Next scene: the camera's in Shemp's room now. We can see him in the bed and hear him snoring. Moe and Larry approach the bed and look upon Shemp, covered from head to toe in blankets. Moe acts the mother here, saying "He's sleeping like a baby! It's a shame to disturb him!" Larry fights through that, though, saying "Yeah, but he's gotta take his second pill so he can sleep!" Shemp keeps snoring. Moe waits a beat and says "Maybe you got something there!" Time to wake up Shemp. Even when he's sleeping, Shemp can still do the ol' switcheroo. That buys him a little time, but soon enough he's rudely awakened by the other two.
So... Moe forces Shemp to follow the pill bottle's instructions. Now that he's taken his second sleeping pill, he has to "skip an hour." I wonder if anyone else back then thought this was a little strange for sleeping pills. "Get him the rope!" says Moe. Yup, that's where they're headed. Reminds me of that Monty Python bit where patients at one particular hospital have to do heavy lifting and obstacle courses... "Fractured tibia, Sergeant! Proper little Momma's boy, aren't we?" Oh, the irony; Moe and Larry go to sleep while Shemp, the sick one, has to jump rope for an hour! Credit where credit's due: they are good, waking up to tell Shemp "SKIP!!" And skip he does. At least, until he trips over himself. So THAT'S why there's a freeze-frame in Wham-Bam-Slam! In that one, they must cross-fade to a different scene. Still cheaper than filming that whole scene over.
Next scene: the triumphant return of Claude, doctor book in hand. Claude finds the three of them asleep, Shemp resting in the chair. Claude yells "HEY!" Shemp wakes up and continues skipping, then Moe and Larry explain the logic of that. Indeed, what's the point of following instructions to the letter if you confuse the meaning of the words? Maybe Claude's a half-assed doctor after all. Then again, what kind of a sleeping pill is there that you have to take every hour? Must be a 50s thing, or maybe they're old comet pills. Anyway, Claude's got his doctor book, so it's time to really go to work on Shemp. Must be a bad tooth, dontcha think?
Claude starts with the old reflex test, hitting Shemp in the knee, but with the wrong kind of hammer, of course. Shemp acts nonchalant as he kicks at the wrong time, but where's his Oscar for that? Cheated again. There's a shaggy dog moment in the diagnosis, but it gives the Stooges a chance to harmonize, or do a fugue... or something. Never mind. Then, Claude looks at Shemp's love handles. Just lifts his pajama top right up like he owns the joint. So tawdry. The Hays Code regulators must've fallen asleep themselves! Claude says "He's got a rash. The book says a rash can be caused by excessive use of the gray matter of the brain." I dare not spoil Moe's and Lawrence's reaction to that. "It ALSO says a rash may be caused by a bad tooth!" Now, I've heard of some bad things that a bad tooth can do to the human body, but a rash ain't one of them. I think they're just going for the comedy body parts. I mean, if Shemp needed a gastric bypass operation, or a heart bypass, or an appendectomy, or if they need to leave a whole toolbox full of tools inside of a surgery patient, well... there's always Men in Black for that. Not terribly funny, though. A little tooth xylophone music? THAT'S funny! I'll just skip to the last note. There's a direct linear correlation between the older I get and the more squeamish I get. One to one. Shemp didn't seem to be having too good of a time either, frankly.
And so, Claude's determined to pull the bad tooth. Shemp asks, "Is it gonna hurt, doc?" Claude says, "Oh no. I'll be fine." ...I'm sorry, that would've been funny. No, Claude says "Oh, I don't think so." That's much worse. Time for Time Killer #1: the pulling of Shemp's tooth. They do it all: a piece of string tied to a doorknob, a curtain... and many others.
ACT TWO
We're close to the Act break anyway. Shemp's tooth has been pulled, and he does his usual bit of saying he's fine, then falling down. It's starting to worry me. Claude gives Shemp the old sales pitch you might recall from such other shorts as Laurel and Hardy's Them Thar Hills and the Stooges' own Idiots Deluxe. All Shemp needs is to get away for a while, commune with nature, real Walden sh... stuff. Moe and Larry pass a passed-out Shemp back and forth between them as Claude's sales pitch continues. The Stooges? Sans voiture? Quel dommage. Why, Claude's got a car AND camping equipment! And he'll let the Stooges have it for the low low price of 900 bucks. Surely the Stooges could afford that, even on their meager Cannery Row salaries and with a little help from the FDIC. Shemp passes out, then asks for champagne. Wham-Bam-Slam! diverges slightly at this juncture, if memory serves. Too lazy to confirm it. Someone else do it for me, huh?
Cross-fade to next scene: the busy bee household, where the Stooges are handling camping equipment, and the girls are doing stuff as well. I almost forgot about them! Larry says that maybe they should ask Claude how to set up a tent. Ranger Moe takes charge, saying he knows how to do it. They set about practicing. This was in the days when tents were very solid structures indeed. Look at that 4x4 beam that Moe and Larry are holding! Will they hit each other about the neck and face with it? Fingers crossed... Oof #1, Oof #2, Oof #3. Iconic. They're just about finished raising their makeshift tent. Moe yells "NARCISSUS!" Apparently, that's his wife's name, played by Wanda Perry. Rather strange name. Even most of the one percenters don't pick that name for themselves, even though they act like it!
And so, the last step in putting up this makeshift tent is to tie ropes to things. Moe picks the thinnest lamp he can find, Shemp picks a table with a vase on it, and Larry picks a doorknob. We get an all-too-brief shot of the tent standing in all its glory, what little glory there may be in the first place, and... one of the goils opens the door. They're not pulling teeth this time, however. The tent falls, one of the goils falls, and Moe and Shemp get hit on the head. The statue behind Shemp also falls, even though we didn't see anyone tying a rope to its stand. Larry's got some good advice for all of us: "Next time you come in, knock first, and then DON'T COME IN!!" Good luck trying to forget that one. The goil he was talking to slams the door in his face. Rather, his face gets slammed by the door; she may not have been meaning to hit his face with it. Larry's face is collateral damage once again; what a fate.
Everyone recoups from the fallen tent by slapping each other in the face. Larry gets double slapped in the back of his head. Moe takes charge of the situation and orders another stab at the tent. Fade to black.
ACT THREE
Fade in on Claude's car. It's going to be a perfect day. Claude's car is driving up to the house. Claude stops, and there are two medium-sized explosions from the exhaust pipe. What is this? The '30s? When cars were just that shaky? The boys come out of the house with their hands full of luggage. They do a massive double take when they see the car. Claude comes up, saying "Well, boys, there she is!" Larry asks, incredulously, "Yeah, but WHAT IS IT?" Claude says "It's a Columbus!" They get two jokes out of that, and they keep ribbing Claude as he tries to sell the car to the rafters. Then, he walks off to get breakfast! Probably just as well. Kinda like how Moe and Larry used to always leave Curly alone so he could get some hilarious mayhem done. Moe hits Larry on the head with a fishing pole... some kind of pole, anyhow.
They approach the car. I only point this out because Moe gets on the wrong side of the car. His showbiz instincts are right, of course: better to be near the camera than farther away from it... or not? Moe gets hit in the head by one piece of luggage. Another one sails past his head Stage Right. He then gets hit by a softer duffel-type bag. Even though Larry saw that one hit, he still acts as innocent as a lamb when Moe calls the two of them over. Retribution is swift, as it sometimes is in these Stooge shorts.
Time to stretch out the plot a little bit... but how? If they get that car loaded, they might have to film the boys driving someplace, which they're not budgeted for. And so, as if on cue, the air starts leaving the rear driver-side tire... I'm sorry, this is the right link. And again they get to do the old routine: "What are you hissing me for?" asks Moe as the car slowly sinks on the rear driver's side tire.
Time to change the tire. Shemp and Larry remove the flat tire, almost... I'm sorry, this is the right link.
Now, HERE'S a plot wrinkle that wasn't included in Wham-Bam-Slam!, and rather wisely at that, but you be the judge. We see Emil Sitka stick his head up from behind a shrub... and he's got a funny look in his eye! Not funny ha-ha, either.
Anyway, back to the tire. The problem: the jack used to lift the car wasn't attached to the axle. Two reasons: the camera would have to be put in a funny place to show that, and 2) the hubcap makes it too easy! Just think: we could've had hubcaps with knobs on them today. Damn movies. Anyway, a solution is presented: simply pull the tire out, and everything will be just fine... I'm sorry, this is the right link.
And so... someone's foot gets smashed by the fallen car... I'm sorry, this is the right link. Well, you gotta hand it to the Stooges. This situation is handled with their own brand of extra-violent humor: for example, Shemp offers to liberate Moe's foot with the help of an ax: "I'll chop it out!" Wince if you must, but it's good enough for trapped loggers.
Another shot of Sitka. And, another plot wrinkle left out of Wham-Bam-Slam!: in getting Moe's foot out from under the car, Shemp pushes the new tire with his ass, and the tire starts rolling away!... damn. I thought they'd have the part where Terry Thomas and Milton Berle crash in It's a Mad, Mad, Mad, Mad World. They probably have the similar scene from Rat Race. Sheesh!!! And so, the Stooges burn some more time chasing down the errant tire. Guess where the tire ends up? In the worst possible place, of course: at a gas station. The proprietor of said station doesn't see the tire roll up and deposit itself amongst the other smaller tires, but he sure sees the Stooges try to get away with their tire! No dice. The gas station attendant offers to hit the boys on the head with his mallet if they don't pay $15.97 for the tire. Damn! That's like... a million in today's money! This gives them the chance to recycle their bit: "If I thought you meant that, I'd like to see you try that again!" Take his word for it: he means it. This is business, after all! Fortunately for us, the Stooges have a plan: lull the guy into a false sense of security, then stick a tire over him, trapping his arms, leaving him free for the Stooges to lay down some whoop-ass of their own! Oh snap.
Cross-fade to the car. The tire's on, the gear's loaded... all we need is the people! The Stooges and their wives gather round the car. Moe starts barking orders, including "Shemp, gimme a hand!" Shemp says... ah, skip it. And now we come to what may be the highlight of the whole film! Oh, the comedic possibilities of a giant load of gear. Larry's on one side of it, while Shemp and Moe are on the other. Moe throws a rope over to Larry's side, and the rope goes round Lawrence's neck. Moe starts pulling on the rope, and Larry starts getting choked. They don't hear Larry's pleas, but they see him hanging by his neck, pressed against the pile of stuff. Shemp helpfully says "You can't ride that way, you'll unbalance the load!" "GET ME DOWN!" says Larry, trying to enunciate clearly in spite of the force of the rope. Oh, that's definitely the highlight; I can see why they didn't repeat it in Wham-Bam-Slam! They take a long time getting Larry down; great time killer!
Another shot of slippery Sitka. And now, they all climb into the car. Larry gets on top of the pile of luggage, for some reason. He grabs a bag before it falls.
Claude waves goodbye to everybody. The car groans, then explodes three times: once in front, once under the midsection of the car, and one explosion in the rear. The car lurches five feet, stops, and Larry falls off the mountain of gear, taking most of the mountain with him in the process. Talk about your mountaintop removal! Sheesh! Claude reacts to all this, sort of; sloppy direction. Everyone quickly deplanes the car, and Moe ends up giving Larry a spanking. There's no crying in Stoogeville... is that a new Zynga game yet?
Back to crazy-ass Sitka, who now makes his move; for what, I have no idea. He hands the boys his business card: "Talent Scout - Acme Pictures - Hollywood." Couldn't be any worse than Columbia. The boys are starstruck. Larry asks "You want us for the movies?" Actually... guess it's too late to cut this short. While Moe's strangling Shemp during their rehearsal, Sitka tells them he wants the car! Dayamn... Billy Wilder stole that gag for Sunset Boulevard! Sitka offers $2,000 for the car. It's at this point that that rat Claude shows his true colors... he's worse than Col. Tom Parker! He gives the Stooges their money back, saying "I didn't sign nothin'!" What an I... what a weasel, I mean. No offense. But just before Sitka hands over the money... two white coat boys come up! This is strangely similar to that other one... lemme see if I can find a link to it. Rhythm and Weep! That's it! Only this time, it's all of the rest of us who want to kill ourselves.
EPILOGUE
Claude says "Wait for me!" and runs after Sitka. Moe distributes the $900 to his peers; Larry and Shemp get $100, and Moe gets the rest. Shemp starts to act goofy; Moe asks him what he's doing, and Shemp says "I'm hungry, too!" Moe slaps the silly out of him, and slaps Larry for his bad ad-lib, and rightfully so.
Well, I did it. I just went through Wham-Bam-Slam! and, using my crackerjack sense of new footage versus old, I've determined that the percentage isn't as low as I thought. Wham-Bam-Slam! contains approximately 32% new footage, the rest being imported from Pardon My Clutch. They even went to all the trouble of bringing back one of the goils from PMC to assist in the stitch job. Hard to say which I like better; probably Wham-Bam-Slam! because a) I saw it first, and b) it's clearly got the better title. Sometimes it goes that way; you just get it right the second time. But I'll allow that Sitka gave an inspired performace. Versatile guy! Too bad he got stuck with the Stooges...
***
-so sayeth The Movie Hooligan
ACT ONE
Moe and Larry are pacing back and forth and almost run into each other in the process. Almost. Their three daughters are in the room with them... wait a minute! Their wives? Well, we just got another news flash out of Saudi Arabia about a 70-year old man marrying a 15-year old girl, so anything's possible. Nothing gay about that, right? Anyway, Claude, the Stooges' quasi-doctor friend of 15 years comes out of the bedroom, and informs everyone that he gave Shemp a sleeping pill. You could argue that, with tools like sleeping pills, just about anyone can seem doctor-ish. Reminds me of Bugs Bunny in The Big Snooze, and the part they had to cut out for TV. What did they have to cut out? Sleeping pills! Dangerous stuff.
One of the goils asks Claude, "But don't you think we ought to call a doctor?" "Why throw money away?" asks Claude in a real condescending tone. I guess that means health care back then was only on the verge of collapse, not post-collapse like today. These days, you have the finest health care in the world if you own the hospital; just ask Bill Frist if you can find him. Besides, Moe and Larry are true believers in Claude. Having said that, Claude informs them that he's got to go get his "doctor book" and that he'll be right back. You know, an actual doctor might not need a book... ah, skip it. They dub in Moe saying "Sure!"
Exit Claude, who leaves Moe and Larry in charge of Shemp's recovery. Things crumble right away when Moe reads the label on the bottle of sleeping pills: "Take one pill, wait fifteen minutes, then take second pill." Larry notes that it's about time for that second pill! Even though Claude just said he gave Shemp the pill ten minutes ago, but never mind. Moe's about to reassure the girls, saying "Anything will be all..." WHAM! Into the wall. I was starting to worry. Where's the senseless violence to remind me that this is a Stooge film and not some lame Joe Besser- or DeRita-only Columbia short?
Next scene: the camera's in Shemp's room now. We can see him in the bed and hear him snoring. Moe and Larry approach the bed and look upon Shemp, covered from head to toe in blankets. Moe acts the mother here, saying "He's sleeping like a baby! It's a shame to disturb him!" Larry fights through that, though, saying "Yeah, but he's gotta take his second pill so he can sleep!" Shemp keeps snoring. Moe waits a beat and says "Maybe you got something there!" Time to wake up Shemp. Even when he's sleeping, Shemp can still do the ol' switcheroo. That buys him a little time, but soon enough he's rudely awakened by the other two.
So... Moe forces Shemp to follow the pill bottle's instructions. Now that he's taken his second sleeping pill, he has to "skip an hour." I wonder if anyone else back then thought this was a little strange for sleeping pills. "Get him the rope!" says Moe. Yup, that's where they're headed. Reminds me of that Monty Python bit where patients at one particular hospital have to do heavy lifting and obstacle courses... "Fractured tibia, Sergeant! Proper little Momma's boy, aren't we?" Oh, the irony; Moe and Larry go to sleep while Shemp, the sick one, has to jump rope for an hour! Credit where credit's due: they are good, waking up to tell Shemp "SKIP!!" And skip he does. At least, until he trips over himself. So THAT'S why there's a freeze-frame in Wham-Bam-Slam! In that one, they must cross-fade to a different scene. Still cheaper than filming that whole scene over.
Next scene: the triumphant return of Claude, doctor book in hand. Claude finds the three of them asleep, Shemp resting in the chair. Claude yells "HEY!" Shemp wakes up and continues skipping, then Moe and Larry explain the logic of that. Indeed, what's the point of following instructions to the letter if you confuse the meaning of the words? Maybe Claude's a half-assed doctor after all. Then again, what kind of a sleeping pill is there that you have to take every hour? Must be a 50s thing, or maybe they're old comet pills. Anyway, Claude's got his doctor book, so it's time to really go to work on Shemp. Must be a bad tooth, dontcha think?
Claude starts with the old reflex test, hitting Shemp in the knee, but with the wrong kind of hammer, of course. Shemp acts nonchalant as he kicks at the wrong time, but where's his Oscar for that? Cheated again. There's a shaggy dog moment in the diagnosis, but it gives the Stooges a chance to harmonize, or do a fugue... or something. Never mind. Then, Claude looks at Shemp's love handles. Just lifts his pajama top right up like he owns the joint. So tawdry. The Hays Code regulators must've fallen asleep themselves! Claude says "He's got a rash. The book says a rash can be caused by excessive use of the gray matter of the brain." I dare not spoil Moe's and Lawrence's reaction to that. "It ALSO says a rash may be caused by a bad tooth!" Now, I've heard of some bad things that a bad tooth can do to the human body, but a rash ain't one of them. I think they're just going for the comedy body parts. I mean, if Shemp needed a gastric bypass operation, or a heart bypass, or an appendectomy, or if they need to leave a whole toolbox full of tools inside of a surgery patient, well... there's always Men in Black for that. Not terribly funny, though. A little tooth xylophone music? THAT'S funny! I'll just skip to the last note. There's a direct linear correlation between the older I get and the more squeamish I get. One to one. Shemp didn't seem to be having too good of a time either, frankly.
And so, Claude's determined to pull the bad tooth. Shemp asks, "Is it gonna hurt, doc?" Claude says, "Oh no. I'll be fine." ...I'm sorry, that would've been funny. No, Claude says "Oh, I don't think so." That's much worse. Time for Time Killer #1: the pulling of Shemp's tooth. They do it all: a piece of string tied to a doorknob, a curtain... and many others.
ACT TWO
We're close to the Act break anyway. Shemp's tooth has been pulled, and he does his usual bit of saying he's fine, then falling down. It's starting to worry me. Claude gives Shemp the old sales pitch you might recall from such other shorts as Laurel and Hardy's Them Thar Hills and the Stooges' own Idiots Deluxe. All Shemp needs is to get away for a while, commune with nature, real Walden sh... stuff. Moe and Larry pass a passed-out Shemp back and forth between them as Claude's sales pitch continues. The Stooges? Sans voiture? Quel dommage. Why, Claude's got a car AND camping equipment! And he'll let the Stooges have it for the low low price of 900 bucks. Surely the Stooges could afford that, even on their meager Cannery Row salaries and with a little help from the FDIC. Shemp passes out, then asks for champagne. Wham-Bam-Slam! diverges slightly at this juncture, if memory serves. Too lazy to confirm it. Someone else do it for me, huh?
Cross-fade to next scene: the busy bee household, where the Stooges are handling camping equipment, and the girls are doing stuff as well. I almost forgot about them! Larry says that maybe they should ask Claude how to set up a tent. Ranger Moe takes charge, saying he knows how to do it. They set about practicing. This was in the days when tents were very solid structures indeed. Look at that 4x4 beam that Moe and Larry are holding! Will they hit each other about the neck and face with it? Fingers crossed... Oof #1, Oof #2, Oof #3. Iconic. They're just about finished raising their makeshift tent. Moe yells "NARCISSUS!" Apparently, that's his wife's name, played by Wanda Perry. Rather strange name. Even most of the one percenters don't pick that name for themselves, even though they act like it!
And so, the last step in putting up this makeshift tent is to tie ropes to things. Moe picks the thinnest lamp he can find, Shemp picks a table with a vase on it, and Larry picks a doorknob. We get an all-too-brief shot of the tent standing in all its glory, what little glory there may be in the first place, and... one of the goils opens the door. They're not pulling teeth this time, however. The tent falls, one of the goils falls, and Moe and Shemp get hit on the head. The statue behind Shemp also falls, even though we didn't see anyone tying a rope to its stand. Larry's got some good advice for all of us: "Next time you come in, knock first, and then DON'T COME IN!!" Good luck trying to forget that one. The goil he was talking to slams the door in his face. Rather, his face gets slammed by the door; she may not have been meaning to hit his face with it. Larry's face is collateral damage once again; what a fate.
Everyone recoups from the fallen tent by slapping each other in the face. Larry gets double slapped in the back of his head. Moe takes charge of the situation and orders another stab at the tent. Fade to black.
ACT THREE
Fade in on Claude's car. It's going to be a perfect day. Claude's car is driving up to the house. Claude stops, and there are two medium-sized explosions from the exhaust pipe. What is this? The '30s? When cars were just that shaky? The boys come out of the house with their hands full of luggage. They do a massive double take when they see the car. Claude comes up, saying "Well, boys, there she is!" Larry asks, incredulously, "Yeah, but WHAT IS IT?" Claude says "It's a Columbus!" They get two jokes out of that, and they keep ribbing Claude as he tries to sell the car to the rafters. Then, he walks off to get breakfast! Probably just as well. Kinda like how Moe and Larry used to always leave Curly alone so he could get some hilarious mayhem done. Moe hits Larry on the head with a fishing pole... some kind of pole, anyhow.
They approach the car. I only point this out because Moe gets on the wrong side of the car. His showbiz instincts are right, of course: better to be near the camera than farther away from it... or not? Moe gets hit in the head by one piece of luggage. Another one sails past his head Stage Right. He then gets hit by a softer duffel-type bag. Even though Larry saw that one hit, he still acts as innocent as a lamb when Moe calls the two of them over. Retribution is swift, as it sometimes is in these Stooge shorts.
Time to stretch out the plot a little bit... but how? If they get that car loaded, they might have to film the boys driving someplace, which they're not budgeted for. And so, as if on cue, the air starts leaving the rear driver-side tire... I'm sorry, this is the right link. And again they get to do the old routine: "What are you hissing me for?" asks Moe as the car slowly sinks on the rear driver's side tire.
Time to change the tire. Shemp and Larry remove the flat tire, almost... I'm sorry, this is the right link.
Now, HERE'S a plot wrinkle that wasn't included in Wham-Bam-Slam!, and rather wisely at that, but you be the judge. We see Emil Sitka stick his head up from behind a shrub... and he's got a funny look in his eye! Not funny ha-ha, either.
Anyway, back to the tire. The problem: the jack used to lift the car wasn't attached to the axle. Two reasons: the camera would have to be put in a funny place to show that, and 2) the hubcap makes it too easy! Just think: we could've had hubcaps with knobs on them today. Damn movies. Anyway, a solution is presented: simply pull the tire out, and everything will be just fine... I'm sorry, this is the right link.
And so... someone's foot gets smashed by the fallen car... I'm sorry, this is the right link. Well, you gotta hand it to the Stooges. This situation is handled with their own brand of extra-violent humor: for example, Shemp offers to liberate Moe's foot with the help of an ax: "I'll chop it out!" Wince if you must, but it's good enough for trapped loggers.
Another shot of Sitka. And, another plot wrinkle left out of Wham-Bam-Slam!: in getting Moe's foot out from under the car, Shemp pushes the new tire with his ass, and the tire starts rolling away!... damn. I thought they'd have the part where Terry Thomas and Milton Berle crash in It's a Mad, Mad, Mad, Mad World. They probably have the similar scene from Rat Race. Sheesh!!! And so, the Stooges burn some more time chasing down the errant tire. Guess where the tire ends up? In the worst possible place, of course: at a gas station. The proprietor of said station doesn't see the tire roll up and deposit itself amongst the other smaller tires, but he sure sees the Stooges try to get away with their tire! No dice. The gas station attendant offers to hit the boys on the head with his mallet if they don't pay $15.97 for the tire. Damn! That's like... a million in today's money! This gives them the chance to recycle their bit: "If I thought you meant that, I'd like to see you try that again!" Take his word for it: he means it. This is business, after all! Fortunately for us, the Stooges have a plan: lull the guy into a false sense of security, then stick a tire over him, trapping his arms, leaving him free for the Stooges to lay down some whoop-ass of their own! Oh snap.
Cross-fade to the car. The tire's on, the gear's loaded... all we need is the people! The Stooges and their wives gather round the car. Moe starts barking orders, including "Shemp, gimme a hand!" Shemp says... ah, skip it. And now we come to what may be the highlight of the whole film! Oh, the comedic possibilities of a giant load of gear. Larry's on one side of it, while Shemp and Moe are on the other. Moe throws a rope over to Larry's side, and the rope goes round Lawrence's neck. Moe starts pulling on the rope, and Larry starts getting choked. They don't hear Larry's pleas, but they see him hanging by his neck, pressed against the pile of stuff. Shemp helpfully says "You can't ride that way, you'll unbalance the load!" "GET ME DOWN!" says Larry, trying to enunciate clearly in spite of the force of the rope. Oh, that's definitely the highlight; I can see why they didn't repeat it in Wham-Bam-Slam! They take a long time getting Larry down; great time killer!
Another shot of slippery Sitka. And now, they all climb into the car. Larry gets on top of the pile of luggage, for some reason. He grabs a bag before it falls.
Claude waves goodbye to everybody. The car groans, then explodes three times: once in front, once under the midsection of the car, and one explosion in the rear. The car lurches five feet, stops, and Larry falls off the mountain of gear, taking most of the mountain with him in the process. Talk about your mountaintop removal! Sheesh! Claude reacts to all this, sort of; sloppy direction. Everyone quickly deplanes the car, and Moe ends up giving Larry a spanking. There's no crying in Stoogeville... is that a new Zynga game yet?
Back to crazy-ass Sitka, who now makes his move; for what, I have no idea. He hands the boys his business card: "Talent Scout - Acme Pictures - Hollywood." Couldn't be any worse than Columbia. The boys are starstruck. Larry asks "You want us for the movies?" Actually... guess it's too late to cut this short. While Moe's strangling Shemp during their rehearsal, Sitka tells them he wants the car! Dayamn... Billy Wilder stole that gag for Sunset Boulevard! Sitka offers $2,000 for the car. It's at this point that that rat Claude shows his true colors... he's worse than Col. Tom Parker! He gives the Stooges their money back, saying "I didn't sign nothin'!" What an I... what a weasel, I mean. No offense. But just before Sitka hands over the money... two white coat boys come up! This is strangely similar to that other one... lemme see if I can find a link to it. Rhythm and Weep! That's it! Only this time, it's all of the rest of us who want to kill ourselves.
EPILOGUE
Claude says "Wait for me!" and runs after Sitka. Moe distributes the $900 to his peers; Larry and Shemp get $100, and Moe gets the rest. Shemp starts to act goofy; Moe asks him what he's doing, and Shemp says "I'm hungry, too!" Moe slaps the silly out of him, and slaps Larry for his bad ad-lib, and rightfully so.
Well, I did it. I just went through Wham-Bam-Slam! and, using my crackerjack sense of new footage versus old, I've determined that the percentage isn't as low as I thought. Wham-Bam-Slam! contains approximately 32% new footage, the rest being imported from Pardon My Clutch. They even went to all the trouble of bringing back one of the goils from PMC to assist in the stitch job. Hard to say which I like better; probably Wham-Bam-Slam! because a) I saw it first, and b) it's clearly got the better title. Sometimes it goes that way; you just get it right the second time. But I'll allow that Sitka gave an inspired performace. Versatile guy! Too bad he got stuck with the Stooges...
***
-so sayeth The Movie Hooligan
Next Popeye: Seasin's Greetinks!
The frozen lake. Is there any other location more beloved in the world of cartoons and some movies? Time for Popeye to stake his claim on Winter before global warming makes it a distant memory for good.
ACT ONE
I think he's finally hitting the right note with his pipe. We see Popeye ice skating to Olive's house. No chin-high snow drift can hold him back. He clears Olive's snow-covered porch with the last note of his theme.
And now, time to knock on the door... could it be? Did the Stooges rip off Popeye as well? Figures. See, Popeye knocks on Olive's head when she opens the door. Olive kicks Popeye in the ass, and calm is restored. Popeye brought Olive a present, saying "I brung ya a Christmas prezink!" Olive sheepishly says, "Oh, thank you!" even though her mouth doesn't reflect that. He then opens the present to reveal ice skates for her, then proceeds to have them installed, like horseshoes on a horse, but without the nails. Am I the only one who thought about the foot tickling scene in Bridge Ahoy!? Probably. We'll get to that one soon enough. He has a little trouble with the second skate. And so, with her new skates on, Olive proceeds to start flailing her legs around willy-nilly.
Cross-fade to the lake, where Olive is still flailing her legs. After a while, Popeye finally helps her out. Wotta guy! She's gained her balance, and soon they're off... does Popeye have his hands on Olive's ass? Anyway, ... oh, here comes Bluto.
ACT TWO
What could ruin this serene scene? Bluto, that's how. And how! His treachery has already begun with his entrance: he's being dragged by either a tiny puppy or a tiny bear cub. Probably a puppy, huh? He's using a giant whip on the puppy. The whip seems to be about the same size as the one he used on the horse in... I forget the name. I think it's Be Kind to Aminals. God bless YouTube. Meanwhile, Popeye lets Olive go to see how she does on her own. As you'd expect, she does all right until she opens her eyes. There but for the grace of God. Somehow, she ended up behind Bluto. Bluto lets his beast of burden go, and nabs Olive with his whip. Clearly, Olive's gone from the frying pan to the fire here. Fear not, Olive! Popeye's on his way! He skates the same way he gallops.
Bluto sees Popeye approaching and gives him a Christmas sock to the jaw. Oh dude! Popeye's letting it get to him. He doesn't even get a comical shiner or nothin'. But he takes a beat to recover, then says "This is a day for peace on Earth." I'm sorry, "Oith." Then, he hits Bluto, and Bluto goes flying into the snow, making a very deep snow angel. "Happy New Year!" says Popeye, and Olive and he skate away. Bluto has to climb his way out of the snow angel with a ladder. Tee hee hee!!! Oh, the mumbling's getting worse in these meshuggeh pics.
Back to Popeye and Olive. Popeye supervises Olive's practice some more as she makes some awkward figure 8s. She eventually falls, cracking the ice and getting dipped ass-first in the icy cold water. Popeye pulls her out of the water and they both stand there, Olive visibly shivering until a cube of ice forms around her ass! Popeye finds this hilarious and laughs. Olive doesn't hit him back, even though he deserves it. She takes the high road, and raises her nose and skates away with her ass ice cube. All the while, snappy jazz music plays in the background.
Olive then falls on her ice-cubed ass and starts sliding merrily along. That is, until she finds the lake's edge where the ice ends and the rushing river begins. Don't think about it. Fortunately, she signals and narrowly misses plunging right into the rushing water. Just then, however, Bluto skates up to taunt Olive some more. I mean, shows up on skates. After Bluto does some showboating, he asks "Cantcha go for a guy like me?" Olive turns up her nose right proper this time. For Bluto, it's the last straw. Time to take off the ice skates and put on the ice-cutting saws.
ACT THREE
Bluto takes two ice-cutting saws out of his pockets and puts them on his shoes. He saws the ice until the chunk with Olive on it breaks off, and she sails away down the river, much like that polar bear floating away... phooey. I shoulda known that'd be hard to find. Anyway, Olive's floating away, yelling for Popeye. Cut to Popeye, who's busy declaring his love by etching a heart with an arrow through it in the ice. Note the use of perspective on the arrow! Is there nothing that man can't do? He admires his handiwork until he hears Olive's calls of distress. He's off to save his goil! Bluto, however, stands in his way, repeatedly punching him against a thin tree on the shore. Even Nature seems to be against Popeye, but I can hardly blame it, seeing as how often Popeye does things like scaring clouds into submission, and drowning bolts of lightning.
Speaking of Nature being the enemy, the dramatic stakes are raised when Olive turns out to be heading for a waterfall. She gets so scared, the ice cube around her pelvis quickly melts. Meanwhile, Popeye's had enough of playing around with Bluto. Without the aid of spinach, he gives Bluto a big punch anyway, sending him into the water. There's two holes in the ice, and a giant ice cube with Bluto in it comes out the other hole. "Well, I'll be seein' ya!" says Popeye as he pushes Bluto down the hill. Reminds me of Betty Boop's take on Snow White. Bluto slides until he hits an icebox. Ice trays come out of the icebox, and fill up with perfectly square ice cubes. Entropy has no place in Fleischer cartoons, especially when the now filled-up ice trays jump back into the ice box!
Back to Popeye, who's on his merry way to save Olive. Olive's clinging to life at the absolute edge of the waterfall. Popeye stops at the last second, realizing he's about to go over, and tries desperately to save his own damn self... and fails. To be fair, he gets hit by a big stray piece of ice, and down the falls he goes. He lands at the bottom of the waterfall but, without the aid of spinach, is able to swim all the way back up! I guess it's the principle of the thing. He tries to reach for Olive in much the same way he tried to free her from the railroad tracks in the first pic, but they cheat, and Olive climbs to safety using her own elongated legs... you just have to see it for yourself.
Popeye takes Olive to safety... or does he? We pan up to the top of the hill that they're next to and... holy smokes! Bluto's triumphant return! He's getting a giant snowball ready to let loose on Popeye and Olive! Bluto gives it one final push, but starts tumbling down the hill with it, eventually getting caught up inside the very snowball he wanted to push down the hill! A third rate delivery job. Back to Popeye, who realizes that a job like this calls for spinach. The accompanying music, however, is much more patriotic this time instead of the usual version of Popeye's theme. The very foundation of Christmas is at stake!
EPILOGUE
And so, the giant snowball with Bluto in it plops down in front of Popeye. Bluto's head is exposed at first, but gets covered up by a bunch of snow, and... what else? The snowman effect is complete. No top hat or carrot nose, however. One punch, and the snow is gone, and poor Bluto is left clutching his stomach. Another punch, and stars begin circling around Bluto's head. However, there is a rather Christmas tree-like tree in the background, and the stars migrate from Bluto's head to the tree, decorating the tree from the bottom up as they go. There's a metaphor there someplace, probably something about the hard work of others being the gift that society depends upon, even though no one wants to admit it. "Season's greetings to you all!" says Popeye, rather than his usual "Cuz I'm Popeye the Sailor Man." If even Popeye can learn a little bit of selflessness, perhaps that's the true meaning of Christmas... I mean, the Winter Solstice. This usually isn't one that I go to when I crack open the ol' Popeye DVDs, but maybe that will change. Maybe that will change.
Good double bill with: Axe Me Another
****
-so sayeth The Movie Hooligan
ACT ONE
I think he's finally hitting the right note with his pipe. We see Popeye ice skating to Olive's house. No chin-high snow drift can hold him back. He clears Olive's snow-covered porch with the last note of his theme.
And now, time to knock on the door... could it be? Did the Stooges rip off Popeye as well? Figures. See, Popeye knocks on Olive's head when she opens the door. Olive kicks Popeye in the ass, and calm is restored. Popeye brought Olive a present, saying "I brung ya a Christmas prezink!" Olive sheepishly says, "Oh, thank you!" even though her mouth doesn't reflect that. He then opens the present to reveal ice skates for her, then proceeds to have them installed, like horseshoes on a horse, but without the nails. Am I the only one who thought about the foot tickling scene in Bridge Ahoy!? Probably. We'll get to that one soon enough. He has a little trouble with the second skate. And so, with her new skates on, Olive proceeds to start flailing her legs around willy-nilly.
Cross-fade to the lake, where Olive is still flailing her legs. After a while, Popeye finally helps her out. Wotta guy! She's gained her balance, and soon they're off... does Popeye have his hands on Olive's ass? Anyway, ... oh, here comes Bluto.
ACT TWO
What could ruin this serene scene? Bluto, that's how. And how! His treachery has already begun with his entrance: he's being dragged by either a tiny puppy or a tiny bear cub. Probably a puppy, huh? He's using a giant whip on the puppy. The whip seems to be about the same size as the one he used on the horse in... I forget the name. I think it's Be Kind to Aminals. God bless YouTube. Meanwhile, Popeye lets Olive go to see how she does on her own. As you'd expect, she does all right until she opens her eyes. There but for the grace of God. Somehow, she ended up behind Bluto. Bluto lets his beast of burden go, and nabs Olive with his whip. Clearly, Olive's gone from the frying pan to the fire here. Fear not, Olive! Popeye's on his way! He skates the same way he gallops.
Bluto sees Popeye approaching and gives him a Christmas sock to the jaw. Oh dude! Popeye's letting it get to him. He doesn't even get a comical shiner or nothin'. But he takes a beat to recover, then says "This is a day for peace on Earth." I'm sorry, "Oith." Then, he hits Bluto, and Bluto goes flying into the snow, making a very deep snow angel. "Happy New Year!" says Popeye, and Olive and he skate away. Bluto has to climb his way out of the snow angel with a ladder. Tee hee hee!!! Oh, the mumbling's getting worse in these meshuggeh pics.
Back to Popeye and Olive. Popeye supervises Olive's practice some more as she makes some awkward figure 8s. She eventually falls, cracking the ice and getting dipped ass-first in the icy cold water. Popeye pulls her out of the water and they both stand there, Olive visibly shivering until a cube of ice forms around her ass! Popeye finds this hilarious and laughs. Olive doesn't hit him back, even though he deserves it. She takes the high road, and raises her nose and skates away with her ass ice cube. All the while, snappy jazz music plays in the background.
Olive then falls on her ice-cubed ass and starts sliding merrily along. That is, until she finds the lake's edge where the ice ends and the rushing river begins. Don't think about it. Fortunately, she signals and narrowly misses plunging right into the rushing water. Just then, however, Bluto skates up to taunt Olive some more. I mean, shows up on skates. After Bluto does some showboating, he asks "Cantcha go for a guy like me?" Olive turns up her nose right proper this time. For Bluto, it's the last straw. Time to take off the ice skates and put on the ice-cutting saws.
ACT THREE
Bluto takes two ice-cutting saws out of his pockets and puts them on his shoes. He saws the ice until the chunk with Olive on it breaks off, and she sails away down the river, much like that polar bear floating away... phooey. I shoulda known that'd be hard to find. Anyway, Olive's floating away, yelling for Popeye. Cut to Popeye, who's busy declaring his love by etching a heart with an arrow through it in the ice. Note the use of perspective on the arrow! Is there nothing that man can't do? He admires his handiwork until he hears Olive's calls of distress. He's off to save his goil! Bluto, however, stands in his way, repeatedly punching him against a thin tree on the shore. Even Nature seems to be against Popeye, but I can hardly blame it, seeing as how often Popeye does things like scaring clouds into submission, and drowning bolts of lightning.
Speaking of Nature being the enemy, the dramatic stakes are raised when Olive turns out to be heading for a waterfall. She gets so scared, the ice cube around her pelvis quickly melts. Meanwhile, Popeye's had enough of playing around with Bluto. Without the aid of spinach, he gives Bluto a big punch anyway, sending him into the water. There's two holes in the ice, and a giant ice cube with Bluto in it comes out the other hole. "Well, I'll be seein' ya!" says Popeye as he pushes Bluto down the hill. Reminds me of Betty Boop's take on Snow White. Bluto slides until he hits an icebox. Ice trays come out of the icebox, and fill up with perfectly square ice cubes. Entropy has no place in Fleischer cartoons, especially when the now filled-up ice trays jump back into the ice box!
Back to Popeye, who's on his merry way to save Olive. Olive's clinging to life at the absolute edge of the waterfall. Popeye stops at the last second, realizing he's about to go over, and tries desperately to save his own damn self... and fails. To be fair, he gets hit by a big stray piece of ice, and down the falls he goes. He lands at the bottom of the waterfall but, without the aid of spinach, is able to swim all the way back up! I guess it's the principle of the thing. He tries to reach for Olive in much the same way he tried to free her from the railroad tracks in the first pic, but they cheat, and Olive climbs to safety using her own elongated legs... you just have to see it for yourself.
Popeye takes Olive to safety... or does he? We pan up to the top of the hill that they're next to and... holy smokes! Bluto's triumphant return! He's getting a giant snowball ready to let loose on Popeye and Olive! Bluto gives it one final push, but starts tumbling down the hill with it, eventually getting caught up inside the very snowball he wanted to push down the hill! A third rate delivery job. Back to Popeye, who realizes that a job like this calls for spinach. The accompanying music, however, is much more patriotic this time instead of the usual version of Popeye's theme. The very foundation of Christmas is at stake!
EPILOGUE
And so, the giant snowball with Bluto in it plops down in front of Popeye. Bluto's head is exposed at first, but gets covered up by a bunch of snow, and... what else? The snowman effect is complete. No top hat or carrot nose, however. One punch, and the snow is gone, and poor Bluto is left clutching his stomach. Another punch, and stars begin circling around Bluto's head. However, there is a rather Christmas tree-like tree in the background, and the stars migrate from Bluto's head to the tree, decorating the tree from the bottom up as they go. There's a metaphor there someplace, probably something about the hard work of others being the gift that society depends upon, even though no one wants to admit it. "Season's greetings to you all!" says Popeye, rather than his usual "Cuz I'm Popeye the Sailor Man." If even Popeye can learn a little bit of selflessness, perhaps that's the true meaning of Christmas... I mean, the Winter Solstice. This usually isn't one that I go to when I crack open the ol' Popeye DVDs, but maybe that will change. Maybe that will change.
Good double bill with: Axe Me Another
****
-so sayeth The Movie Hooligan
Subscribe to:
Posts (Atom)








