Reviews

This is a real stinker. We needed something to watch so we headed to NetFlix. We decided to just pick something and not check the IMDB first. We ended up checking how much time was left...over and over. I've never run to the computer to rate this kind of a trash movie before, but this time I just want to warn other potential viewers. This one just doesn't doesn't work.

For years this was our favorite show. We watched (and re-watched) the episodes, wishing there were more funny sitcoms that could achieve such greatness. For us, Charlie was never the "funny" one...but he was there to set up the rest of the extremely talented cast members who were usually very, very funny. In fact, we frankly grew tired of Charlie making kissing noises as he sucked the face of every female in sight. That "joke" tended to cloy after a while, but we chalked it up to just being part of a show we loved. After Charlie's infamous "meltdown" we sort of lost interest in seeing him in anything and after the show shifted gears (and cast members) we found other ways to spend our time. However, when we learned that the "finale" was coming on, we were anxious to see what would happen. We were not disappointed. Everyone at our house was convulsing with laughter and, as each former cast member made an appearance, we speculated on whether Charlie would appear. No one really cared, he was practically in every scene anyway...without making an appearance. The ending was funny and satisfying. We saw our favorites, including Berta, Rose, Evelyn, Judith and so many more. Totally enjoyable...and the puppet sequence was great. See it if you get a chance...I know I'll watch it again.

Ever since a recent private showing (in the Everett, WA area) of "Jesus, the Desire of Ages" was announced by the local Seventh-day Adventist Churches, I have been watching to see how this movie was going to be marketed. I have watched the IMDb closely, but have seen no reviews or comments from anyone who has seen it. I have not seen it. It hasn't come to the local Cineplex. All that aside, I feel compelled to comment on what I am seeing.

THE DESIRE OF AGES has long been a staple in the Adventist library. Written by the prophet and founder of the Seventh-day Adventist church, Ellen Gould Harmon-White or "Sister White" as she is known, THE DESIRE OF AGES remained for many years the book that was distributed to non-members as an introduction to SDA beliefs. Indeed, Sister White's prodigious output of books is revered in Adventist circles as being almost akin to the Gospels themselves. Few, if any, questions were ever raised.

Then along came Dr. Walter Rea and his book, THE WHITE LIES, which provided a scholarly look into the dynamics of Sister White's writings. It seems that rather than gaining her insights from "visions," directly given to her by God, as she claimed over and over, Sister White had been busily copying her books directly from the copyrighted writings of religious authors who had come before her. THE DESIRE OF AGES was/is no exception. I refer anyone interested in knowing more to the website "truthorfiction dot com slash Desire of Ages."(Needless to say, the Adventist hierarchy greeted Rae's book with open hostility). For more information on Mrs. White's plagiarism, Google the words "EG White Plagiarism" and you will immediately get tens of thousands of informative hits.

Interestingly, I see no reference to Mrs. White in the information given on the IMDb. Nancy Hamilton Myers is listed as the sole author, so perhaps the title of the film is only a coincidence…albeit a convenient one. Ms. Myers also directed the picture. I see Ms. Myers is also the author of the Plot Summary on the IMDb. Looking further, I find that the actress, Sandra Dee who plays the "Woman at the Well" is the author of the Synopsis. What is astonishing is that these two women have used almost the exact same wording in their summaries of this picture…and I mean from start to finish Check it out for yourself. Coincidence? Telepathy? You be the judge.

If you go under the IMDb heading "Details" and click on the "Official site" link, you will be directed to "404 – Page Not Found. Sorry, the page you are looking for does not exist." So much for additional details. If one clicks on Nancy Hamilton Myers name we learn that are two other motion pictures she has directed. The one previous to "Jesus the Desire of Ages," is called "The Great Controversy 3." What is of more than casual interest with that title is the fact that THE GREAT CONTROVERSY is one of Sister White's oldest and most famous books. Coincidence? I don't know. I haven't seen that title either but all of this does raise more questions than it answers.

This rarely shown cartoon may not be for everybody. While it is cute, colorful and tuneful, the characters are all caricatures of stars that were household names in 1937. Unfortunately it may be lost on an audience that is unfamiliar with these names and faces. However, if one IS familiar with the old stars, this will be a real treat. It starts with everyone heading down the road to a picnic and once there, everyone does their particular shtick. They all enjoy their potluck and play a rousing game of baseball. Martha Raye opens her big mouth and sings Truckin' and pretty soon everyone is going into their own interpretive dance routines. Greta Garbo, with her enormous feet, really digs in and grooves while Boris Karloff shows us he can make those big old Frankenstein feet 'truck' like mad. There really isn't any "plot" as such, but the festivities are infectious and the end of the cartoon finds everyone headed back into town. Like I said it may not be for everyone, but I like it well enough to have kept an old 16mm print of it on the shelf for many years and have never tired of showing it.

I am surprised no one has reviewed this TV Special. I saw it once, the night it showed on network television. I had not seen one of her live shows (yet) but I remember being convulsed with laughter and enjoying her antics no end. Much of the content, as I recall, was repeated in subsequent stage shows. It was one of the raunchiest things I had seen on television up to that point and I recall being surprised at some of the things she was doing at the time. But I loved every minute and frankly can't figure out the tepid rating it is getting from the folks here on the IMDb. I wonder if they actually saw the show. I never forgot it and have been on the lookout for a DVD. Should I manage to lay my hands on one, I will be back to update this review. She is certainly one of the greatest performers to come out of the 20th Century and we are well into the 21st and she shows no sign of fatigue.

This picture should have had it all...a great cast, a first rate studio, and one hit song. What went wrong? In her autobiography, Ginger Rogers says she was loaned out by RKO while she was making Flying Down to Rio (riding her bicycle between studios). She goes on to say that the songs they gave her were awful and she demanded better. Given her choice of songs (rejects from other pictures) she chose "Did You Ever See a Dream Walking." Wise choice...it became a huge hit and is still heard to this day. "Dream Walking" was the song used in the huge 'flesh & feathers' production number at the end of the movie. Unfortunately, they could/should have dispensed with the rest of the film. Ginger and her equally reliable co-stars, Jack Oakie, Jack Haley and Thelma Todd, tried valiantly to shine, but ultimately were all but entombed in the wooden film. The script lumbered aimlessly along, going nowhere in particular. Even luscious Thelma Todd was saddled with a role so thin it could have been played by any blonde.

Rarely shown, this feature is almost legendary because of its unavailability. I waited for decades to see it and finally found a 16mm print for sale on e-Bay. Sadly, the print quality was abysmal...so bad that at times the players features seemed to be washed off their faces. I reluctantly returned it to the seller. Indeed there may be no decent prints of it in existence. A friend borrowed a 16mm print from Universal Pictures (before the 2008 studio fire consumed their 16mm library) and he said that even their print was substandard. I notice the director, Harry Joe Brown only directed two more pictures after Sitting Pretty. Small wonder. He had been, and continued to be, a successful producer up into the 1960's.

Long a fan of Miss Rogers, as well as rest of the cast, I really expected to love this movie. The final production number, built around the "Dream Walking" song, is truly amazing. It is the closest imitation of Busby Berkeley's work I have seen to date. Ginger is truly jaw dropping in her black sequined dress. It is, however, too little too late to save the picture. Fortunately upon completing Sitting Pretty, Ginger rode her bicycle back to RKO and embarked on one of Hollywood's most legendary careers. She would be sitting pretty for a very long time! Luckily the rest of the cast also emerged unscathed.

Wine, Women & Sauerkraut, was put out at Fox in 1927 and probably exists only because of the fact that it was released in 16mm as a "Kodascope" in the late 20's - I was lucky to pick up such a copy on e-Bay a few years ago which has Kodascope's customary yellow tint. It concerns a certain "Nicholas A. Pennyless" (not the only pun in this wild and funny movie) who is the manager of a troupe of scantily clad chorus girls. The girls, still in costumes, return to their hotel after a show, only to be locked out of their rooms for lack of rent. The sheriff is on his way, so the girls scamper out the windows and down the drain pipes and the chase is on. Periodically, when they need to distract attention, they furiously go into their leg kicking routines...and it always works to their advantage. Obviously intentionally risqué, the heavily feathered costumes start to molt as they encounter one close call after another. The cast is relatively unheard of, but the situations are fast, furious and funny. I have never shown it to an unappreciative audience. It is also fun to show something that I KNOW folks haven't seen before...as we are all aware, most of Fox's silent product was lost in those early vault fires.

I rate this film at 10 because of the singing cows. The Paramount Shorts were released by U.M&M. and N.T.A. in the 1950's. In the 1960's they were licensed to Blackhawk Films which offered 16mm prints to the home market. This included all sorts of various series put out by the Short Subject Unit at Paramount. I don't remember if the Little Lulu, Popeye & Betty Boop cartoons were offered at that time or not. Paramount had several other lesser known series which, over the years, have become practically forgotten. These include Speaking of Animals, Popular Science and Unusual Occupations. The rights to these last three series were purchased by some outfit doing business as Shield's Pictures. They put out a DVD on the website several years ago, declaring that "only 1000 copies are available" and "already they are being sold on Amazon for over $100.00." I have never seen one available on Amazon at all and judging by the fact that Shields Pictures is still offering copies for $20.00 after 5 years, it would seem that there isn't much market for any of these shows... EXCEPT for the herd of cows singing Cow Cow Boogie. It has been put up on YouTube and various other places time and again by various people, but Shield's Pictures is always right there demanding that it come down. This particular sequence has a real cult following and there are many fans who would love to watch it, however there is little chance of doing so unless you can locate a copy of the actual 16mm film that was sold in the past. They are out there and although it took me 10 years of searching to lay my hands on it, I finally found one on E-Bay. This was the only one of this series that I found of interest...the talking animal routine may have been hilarious in the 1940's, but a little bit of it goes a long ways and too much tends to cloy. As a result, I venture to guess that Shield's Pictures will be spending much more time and effort making sure that no one sees the Cows singing Cow Cow Boogie than they will marketing it - which is sad. However, once it turns 70 years of age, around 2015, it will probably fall into the Public Domain and Shields will no longer be able to hush those cows up...that is, if anyone is still listening by then.

Being a vintage music enthusiast, I have long perused piles of old sheet music whenever the opportunity arose. One title that seems to be in every stack of old music is Eeney-Meeney-Miney-Mo – from To Beat the Band. A jazzy swing tune, it must have been very popular in its day, although it seems to have pretty much disappeared over the years. Part of the reason may be the relative obscurity of the musical itself. I had given up ever seeing it for myself, until about 8 years ago; a 16mm print of it appeared on a list of films that were being sold by a private collector. Although the NY Times had nothing nice to say about it at the time of its release (it opened at the Palace), Wikipedia calls it a flop, and TV Guide gives it only one and a half stars, referring to it as "dismal," I find it highly amusing and marvelous opportunity to see some truly great personalities doing their thing. I am not alone – I have shown it to film enthusiasts many times and it never fails to please its audience.

The "plot" is certainly off-beat. Hugh Herbert is desperate to find a wife so he can inherit his aunt's fortune (the will has a "clause"). Of course he is eager to snag gorgeous Phyllis Brooks, while the man-hungry attorney, Helen Broderick, is anxious to land just about any man, and Hugh looks fine to her – especially with the promise of extra money. Roger Pryor plays a seriously suicidal character that gets mixed up in the story, along with Johnny Mercer, Joy Hodges and the ever-hysterical, Eric Blore. How could such a wonderful cast of hams go wrong? The answer is, they don't. The antics are fast paced and funny. The music is lively and the sight gags are numerous and amusing. Possibly the reason the NY Times didn't care for it is that the comedy is very dark – frivolously dealing with Pryor's impending suicide. Dark humor is much more popular today than it was in 1935. As for TV Guide's assessment, I think their reviewer either never saw the picture (entirely possible) or it was reviewed by a curmudgeon…possibly both. Granted, To Beat the Band has no A-list stars. But that is hardly a bad thing. Instead it showcases some of the great character actors that had supported Astaire & Rogers in their movies. I never miss an opportunity to see Helen Broderick and Eric Blore do their stuff. I've never seen Phyllis Brooks fail to enliven the proceedings and she doesn't disappoint here. I'm glad to see that by the rating on the IMDb, the public agrees with me – at least so far. Lyricist Johnny Mercer, winner of four Academy Awards, not only wrote the lyrics to all the songs, but he is featured in the cast and sings at least one song. The production looks good by any standard, with Art Deco sets overseen by RKO's art director, Van Nest Polglase and his team. So what I am trying to say here is, check this one out if you ever get the chance.

Of all the non-Warner Brothers cartoon characters, Woody is by far and away the one that comes the closest to being as totally insane as the Warner family of cartoon "actors." Like his counterparts in the other studio, Woody does not shy away from dirty tricks and violent action to get his way - and he is as unrepentant as he is unrelenting. Solid Ivory is my favorite of the series - full of sight gags - he lures the hen into danger by dangling a pair of nylon stockings under her beak, causing her eyes to pop out in the shape of enormous ladies legs. He is silly - faking a French accent while "courting." He is vindictive - hooks a corncob up to the electric light socket and feeds it to her. He calls names - "You old BAG!" In short, he's a sadistic monster - never losing audience support. Finally, the production values are excellent. Don't miss it.

I am actually surprised that this Warmer Brothers/Vitaphone short subject hasn't gotten any notice. It is really very funny, although its designation as a "compilation" has, perhaps, made it sort of a comedic stepchild, for lack of a better description. Good Old Corn was released theatrically in 1943 and later as a small 8mm silent film for the home market. I picked up such a copy as a kid (in the 1960's) and showed it to my friends in my folks' basement, along with other similar 8mm subjects. Years later, I picked up a 16mm sound version and having showed it to adult audiences in recent years, I can say it always gets a lot of laughs and therein lies the reason why I give it a score of "8." It does what it is supposed to do, and nothing more. It entertains.

There is no "story," but rather sequences from silent comedies of the 1920's, tied together with a wise cracking commentary" by Knox Manning and appearances by such early comedians as Monty Banks, Larry Semon, Mack Sennett's bathing beauties and others. Oliver Hardy is in evidence, playing against type as a villain. I also recognize Mabel Normand. All told, it is a frantic and funny 20 minutes of sheer entertainment. I have no idea if it is anywhere to be seen today, other than in private showings. My information comes entirely from film elements which I own. If you like this sort of thing, you should check it out - if you run across a showing.

I first saw this episode the night it first ran and, like so many other contributors, I never forgot it. I was 13 years of age and it would be 47 years before I would see it again...and that was only after I had tracked down an old 16mm television print of it on e-Bay. I was almost afraid to watch it for fear that it would not live up to my recollections, but my fears were baseless. This is story telling of the old school, and builds the suspense and chills to a wild and horrifying conclusion. I look forward to springing it on my relatives this coming Halloween. For quite a while this episode was available to watch at videogoogle.com, however I tried to locate it recently and can no longer find it at that site. It is well worth the effort to track it down - and there are quite a few sellers who have decent DVD sets of the old Thriller series for sale.

As soon as they announced John Waters was presenting a weekly mystery, I had it marked on the calendar. There is only one thing wrong with it - it should be an hour long rather than half an hour. With the dearth of good original programming to choose from, it shines bright on this household's weekly schedule. John's cynical introductions and commentary are appropriately ghoulish and his little voice over's during the show remind one of a sort of disembodied death angel commenting on the proceedings. Fun stuff! The material is fun, and so far the characters have been equally dis-likable so one doesn't feel sorry when one of them gets whacked and the other one gets punished...in fact we look forward to it. I hope John will appear in some of the episodes, like Boris Karloff used to do on his show, Boris Karloff Presents Thriller. Destined to be a classic, this show is totally entertaining and one of the few things I really look forward to each week. 10 out of 10!

Ninotchka has been making a hit with audiences since she hit the screen in 1939. A fascinating, yet little known, "second life" of the film was played out during the Italian Elections of 1947-48. The U.S. was most anxious that the Communists not be elected and pulled out all the stops to prevent it. One was to approach MGM and request prints of Ninotchka - to be shown widely to working class audiences in Italy. Since no 16mm prints of the film yet existed, MGM Labs did "print downs" from the original nitrate negative. The resulting prints are astonishingly beautiful (I have one) and they estimate five million Italians viewed it and other propaganda films each week before the elections - in spite of the efforts of the Communists to prevent its showing. One pro-Communist worker said afterward "What licked us was Ninotchka!" (See "Killing Hope" by William Blum). To paraphrase Carl Denham in King Kong, once again "Beauty Killed The Beast!"

This off-the-wall, pre-code Hal Roach offering concerns the Cosmopolitan Opera House which is faltering at the box office and owes over a million dollars to its creditors. The board of directors meets and they sign over their stock to one drunken member who then ends up with the debt. In despair he looks out the window and sees Pinsky's Burlesque Theatre doing a land office business. Of course he teams with Pinsky (Billy Gilbert) to get things moving again. And do they! The dull production of The Barber of Seville (why do they always pick on that opera?) is now set in a Barber College, of all places, and features a midway with "20 Beautiful Barberetts," whose dresses go sailing into the audience before the overture is over. Bump. Grind. Then the "opera" begins, complete with shrill soprano Lillian Miles, plus plenty of leering vaudevillians taking various roles - ones Rossini never imagined when he wrote the opera. Opera mavens will recognize themes from various Verdi and Donizetti operas woven into the proceedings. The chaotic finale, a strange number called "Would You for a Big Red Apple?" ("Would you what?" is the question that dares not be asked) is presented as the `Barberetts` lose their dresses once again. It is 100% farce, but has a grittiness to it that seems highly unusual for a Hal Roach comedy. At a recent screening, one audience member summed it up, "My but there is a lot going on in that one!" She understated. This wild comedy possesses an earthy realism that tells more about backstage life than one might expect to see in such a film. The unusual cast is not the usual Hal Roach stock company, with the exception of Billy Gilbert. The others are either players whose appearances usually go uncredited or what appear to be rank and file vaudeville performers. This reviewer found it both entertaining and educational and recommends it highly - if the reader is lucky enough to find it playing somewhere.

This clever and offbeat musical short opens with the Board of Regents of Knowmore College in tears. It seems that none of the students are passing and they fear the funding being provided by their wealthy families will dry up. One gentleman announces he has taken the liberty of inviting a certain Professor Vallee to join the staff and try to get things back on track. So in comes the Professor, with his revolutionary learning methods - namely making the lessons rhyme and setting them to music. This gives Rudy a chance to sing several little ditties in front of a classroom full of aging juvenile delinquents. The first day is rather discouraging but presently a title card flashes on the screen announcing `The Professor's methods of memorizing, get results that are surprising.' Indeed the students are more attractive, attentive, witty, better dressed and even the classroom itself has gone from drab to a shimmering art deco laboratory. Although not credited, Mae Questel, with her thick Bronx accent, is very much in evidence as a dumb coed, snapping her chewing gum and learning her lessons. She is prominently featured at the end of the film with a talking skeleton.

Rudy Vallee comes across as a likable comedian who is `in on the joke.' He is easy going and good natured - traits he often brought to comedy roles throughout his long career. Knowmore College has long been enough of a favorite of this reviewer to warrant keeping a 16mm print around for occasional viewing. Typical of Paramount short subjects, Knowmore College boasts excellent production values and is a treat for anyone who enjoys this type of musical farce.

For some unknown reason, Charlie Chase has never enjoyed the lasting fame he deserved. One of the most talented and funny men at the Hal Roach Studio, he could sing, dance, write, compose, deliver lines and had comedic timing that would rival any of the greats. Charlie shines in The Nickel Nurser, playing an efficiency expert hired to teach an industrialist's three lovely daughters the value of money and the virtue of economy. Another brilliant comedienne, the luscious Thelma Todd - playing the most beautiful of the three - exchanges places with the Swedish maid, Greta (Belle Hare). Greta, an obvious - and hysterical - takeoff on Greta Garbo - is married to the insanely jealous butler (Billy Gilbert). This deception is the girl's idea to throw off Charlie's efforts to discipline their spendthrift habits. Instead it sets the stage for a series of mistaken identities, pitfalls, pratfalls, double takes and sight gags. By the end of the picture Billy Gilbert has been driven into a psychotic rage and is chasing everyone around with a rifle. Often wildly risqué, The Nickel Nurser is one of those comedies that you just don't want to have come to an end and is one of the finest of both its star and its studio. Never miss an opportunity to see a Charlie Chase (or Thelma Todd) comedy and certainly seek this one out. You won't be disappointed. This reviewer just watched it and is still snickering - a full hour later.

Anyone who finds Mae West's "Sex-pot-at-any-age" image fun should have no trouble sharing a similar joke with Leon Errol. Errol is unquestionably one of the funniest men to ever quip, mug & ham in front of a camera. He never fails to have (much) younger women - gorgeous women - following him around.....when he isn't busy chasing them. No one ever thinks to ask why there could possibly be so much chemistry between a demented old man and these fashion-model types. Comedy veteran Dorothy Granger, no slouch herself, often played his suspicious wife and she is in fine form here. Beware of Redheads is one of his funniest short films - full of sight gags and double-takes while bristling with wise cracks and funny situations. This viewer never misses an opportunity to see Leon in action and this is certainly a favorite. This picture is a tribute to its studio, RKO, which is certainly one of the unsung leaders in short comedy production

"Pointed Heels" is a very talkative 70 minutes - always lovely visually, it boasts excellent production values. Fay Wray never looked more lovely and, as usual, she is not required to act. William Powell, in his first top-billed movie, was as dapper as he would ever be. Helen Kane was defiantly a presence to be reckoned with. Hopefully, she was never again forced to appear as a platinum blonde....even for comic effect. It's not funny. A strong personality and veteran performer, she could still tend to cloy - without proper direction. Proper direction is completely foreign to "Pointed Heels." The story concerns the love affair between hard working showgirl, Wray, and spoiled rich boy/composer Phillips Holmes. Skeets Gallagher and his wife, Kane, are in the musical show, Pointed Heels, that Wray and Holmes are also working on. William Powell is the kindly producer with an eye for Miss Wray and almost a determination to doom the show - for no particular reason. Inexplicably Wray ignores him and goes for the boring Holmes. Miss Kane and Mr. Gallagher work hard to make sense of the badly contrived musical numbers. Finally, they are thrown into the finale right after Powell has gotten them "stinko" drunk - to try to loosen them up and make them "less high class." Well, that's one way to do it. The embarrassing finale is sung and danced by the drunken Kane and Gallagher without benefit of a chorus line or any sort of backup. The considerable number of showgirls running around in the background gives one the feeling that there were chorus numbers filmed but somehow chopped from the movie by the (in this case) hack editor, Jane Loring. After Kane and Gallagher stagger through their closing number, Powell proclaims Pointed Heels, (the name of the show within the show), a "hit," which signals the end of the whole odious affair.

There are two clever songs, "Ain't Cha" and "I Have to Have You," both nicely tailored for the adorable Miss Kane. Too bad she wasn't allowed to do them her way. It would appear she did them while under orders rather than under direction. Then there is Holmes' "Unfinished Symphony" - which keeps threatening to finish. Fortunately the film finishes first. This movie is for 1. The Initiated, 2. The Die Hard Fan, and 3. the Film Student. This reviewer recommends it to these three overlapping groups...some of whom will probably love it. For those who wonder if there are actually any good prints in existence the answer is "yes." This film has been on television within the last 25 years. There is also a well founded rumor that a good nitrate print of it exists at the UCLA Archive. The existence of the original color sequences is uncertain, as this reviewer only has access to a 16mm black and white print which is complete but lacks the element of color. Pointed Heels was directed by A. Edward Sutherland. Written by Florence Ryers and John V. A. Weaver based on a story by Charles Brackett (long before his legendary collaborations with Billy Wilder). Editing by Jane Loring. Shame shame on A. Edward Sutherland and Jane Loring....the two heels most responsible for Pointed Heels. It could have been so much better. The real winners are those who did the art direction, sets and costumes....all of which are stunning. The best argument for the production's existence is the rare appearance of Helen Kane. Anyone familiar with her knows she was capable of a far better performance. Paramount musicals are often elusive, so one should seriously think twice before passing up an opportunity to see one...and that includes this one.

Walking on Air is a fortunate Musical Comedy of the 1930's. It is fortunate to have the lovely and talented Ann Sothern at her radiant best, Gene Raymond (real-life husband of musical great, Jeanette MacDonald) at his popularity peak, plus veteran character actors, Jessie Ralph and Henry Stephenson, having considerable fun with their roles. Fortunate also for the lilting tunes by Bert Kalmar and Harry Ruby. Students of vintage dance music will recognize the musical director, Nathaniel Shilkret, from many recordings of the era. His work here adds a richness to the score that is often lacking in similar musical pictures. What this all adds up to is a fun way to spend 70 minutes. This viewer likes it well enough to keep a 16mm print on the shelf and has never tired of repeated screenings over the years. Walking on Air is not only a uniformly likable musical - never ponderous - always pleasing, it also looks good. The entire cast seems to be having fun working together. Certainly a cut above the average musical comedy of its period.

In the mid 1930's Cosmopolitan Productions, a W. R. Hearst subsidiary for the purpose of producing and promoting his mistress, Marion Davies', moved from M.G.M. to Warner Brothers. Page Miss Glory was the title of a feature film starring Miss Davies and this cartoon shares not only the lilting song from the feature film, but also its title and a caricature of its star. The action occurs in the "Cosmopolitan" Hotel (get it?). It is all packaged in a dream sequence that goes from a hick town to an art deco metropolis and to say that it is eye candy all the way is to understate. There is a Busby Berkeley style musical number in the middle of the proceedings and of course the Marion Davies character is heavily featured as the mysterious and elusive "Miss Glory." Fun stuff! Don't miss this one.