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"Seven Dials Mystery" is a London-made TV movie based on a 1929 Agatha Christie novel, with "The" in the front. Apparently, the book was not of the usual style and quality of Christie, and it wasn't as well received as were most of her works - by critics or by readers.

This isn't one of the Christie stories I read after discovering her mysteries in the 1960s, so I can't weigh in on the book, or say how well this film follows it. But, my guess is that there's much revision especially in adding the frivolity and comedy to the story to overcome its plot and style shortcomings. And, it seems to have some considerable plot changes as well, judging from reviews of the book. Christie surely had a sense of humor, and ever so nicely applied it in many of her mysteries. It's most noticeable in subtle nuances and quips in most of the many yarns of her suoer sleuths, Hercule Poirot and Miss Marple.

But here, the rambunctious, overly lively and snappy persona of the lead character is way overdone. Cheryl Campbell plays the part of "Bundle" Brent - Lady Eileen. At one point in the film, her grandfather, the Marquis of Caterhan, tells one of the young men that he'll find out, after the guy asks him why he calls her "Bundle." She is a bundle of activity to the point that her manner, silliness and zipping around draw much of the attention away from the mystery. So, rather than making up for any weaknesses there might be in Christie's story, that aspect compounds the confusion of the plot that darts from scene to scene with little coherence

Well, even with that and the disjointed segments, there is the intrigue with some puzzling aspects that still hold one's attention. Then, a cast that includes such staid British actors as Harry Andrews (Superintendent Battle) and John Gielgud as the Marquis has alure as well. And, after all, it still is Agatha Christie. And, I confess that my admiration for her marvelous mystery concoctions and story telling just won't let me rate a film based on her work less than a 7.

So, there you have it (must be my touch of Welsh ancestry).

"Sound of Freedom" is an important film as an exposé of a horrific crime that is increasing around the world. And, of the social cultural diseases that underlie the widespread evil of human and sex trafficking. That these prey and thrive upon the very young is all the more horrifying and ugly. The film has short clips of children being snapped off the streets and kidnapped, as happens in some third world countries. But, it focuses more on the sweet-appearing and phony methods that the trafficking underworld employs to lure children and unsuspecting parents. Various fronts that tout opportunities for fame, fortune and fun in modeling, advertising, photography, films, TV, etc. Appeal to unsuspecting parents and young children. Then the criminals snatch the kids away and disappear.

The film is a true story about a former U. S. government agent who undertook special missions to recue hundreds of children from sex-traffickers and their clients. Such a film obviously can't be made in the real settings, and with the real people and same situations. The film focus centers on Ballard's efforts to find and rescue a brother and sister. While there are no graphics of sexual or other physical abuse, the inuendo and implications are there and quite clear. And, even that may prove too difficult for some people to sit through, as when I saw the film and some people left at points from part way to near halfway into the film. .

Jim Caviezel is superb in the role of Tim Ballard, and all of the cast give very good performances. The filming, scenes and all aspects of this production are superior. This clearly is not a movie to enjoy or for entertainment

While the entertainment industry exists primarily for that - entertainment, the branch of cinema also serves as a tool for education, information, and news in depth. Most of the latter uses of film are products of civic, public or charitable sources. But, occasionally, Hollywood itself ventures into this area. When it does, the movie industry provides something far beyond the realm of pleasure and enjoyment. It serves society by fostering the good and values of life and exposing the evils that threaten humanity, society, and civilization.

These films may not garner awards and praise from the entertainment industry, but they earn great respect among people of good will. And they are a great public service that prompt and aid government and citizen efforts to reign in crime, and stop evils that are counter to civilized society. "Sound of Freedom" is one such film and a great public service. It was smash hit at the box office on its release in mid-2023.

"Claudia" is a very good story of family, love and newlyweds filled with light comedy and drama. It's also the first film made by Dorothy McGuire and a very good and unusual look at that superb actress. That's because, McGuire's persona in later films, for which she was most identified and remembered was as a more quiet, serene and dignified person. So, this early look at McGuire is quite a contrast. Yet, it clearly shows her acting talent. She was chosen for this film which reprises the role she played in the highly successful stage play of the same title, that ran 722 performances on Broadway in 1941 to 1943.

McGuire was 27 when this movie was made. Her "late" start in film, came after she had been on the stage. Her first role was at age 13 in an Omaha community playhouse. She then performed in high school and college, and wound up in summer stock at age 21. By 1937 she was acting on Broadway.

McGuire never won an Academy Award but was nominated for one, and later for three Emmy's for television. Of all the roles of the few actresses who received nominations in their debut films, McGuire was certainly deserving of an Oscar nomination here. But 1943 was like many another year during the golden age of Hollywood. So many very talented actresses were in as many great movies that made the competition exceptional that year. Jennifer Jones won the best actress Oscar for her role in "The Song of Bernadette;" over Ingrid Bergman in "For Whom the Bell Tolls." And three other great actresses nominated were Greer Garson, Jean Arthur and Joan Fontaine.

McGuire had many succeeding films with lead roles, most of which were highly successful films. While she did appear in a few TV series late in her career, she didn't have her own show or series. She made occasional movies in matronly or other dramatic roles, and she made TV movies as well. She also returned to the stage and helped Gregory Peck and some other actors form the La Jolla Playhouse.

Well, this is a fine movie about life, with McGuire's Claudia as a very young bride. She's almost immature, very energetic and almost childish in her enthusiasm at times. She is somewhat naïve, very close to her mother, and very much in love with her husband, played very well by Robert Young. This was McGuires first of three very successful pairings with Young. While he had a long career in cinema with many good films under his belt, Young will forever be remembered mostly as Marcus Welby, M. D., for that highly popular TV series that ran for eight years from 1969 through 1976.

Others of the cast of this film give very good performances. Ina Claire is Mrs. Brown, Claudia's mother. Reginald Gardiner is a playwright neighbor in the Naughton's rural Connecticut setting. And, Olga Baclanova, the Russian actress who defected from the Soviet Union in 1925, has a nice role, adding some comedic spice to the film.

One word of caution for those who might think of watching this film in a family setting. The younger audiences of the 21st century may find this film hard to sit through. It is heavy with talking and dialogue. So, younger folks (through middle age, no doubt) who thrive on lots of action and relentless motion in their viewing may quickly be bored.

"Penny Points to Paradise" is the first feature film to star the three members of the popular British "The Goon Show" on radio from 1951 to 1960. While Harry Secombe and Peter Sellers had been in a few films before, this was the first film of Spike Milligan. Only four other members of this film cast had or would have much of a career in cinema. Alfred Marks is the shyster Edward Haynes,; Bill Kerr is his accomplice, Digger Graves; Vicky Page is Shela Gilroy; and Sam Kydd is the cross-eyed porter. Most of the rest of this cast have no other films to their credit, including hazel Jennings who plays the Landlady with a considerable part. Marks and Paddie O'Neill, who plays Christine Russell, would marry the next year, for life, and have two children. O'Neill likely gave up the cinema to be a homemaker, but she clearly shows the talent to have had an entertainment career.

But, aside from this interesting cast, this film has very little going for it in the 21st century. The comedy may have gone over yet in 1951, but by the mid-20th century most of this type was a thing of the past. The leads all had talent, and all audiences will know Peter Sellers who went on to worldwide fame for considerable number of great comedy films. The plot for this film is very skimpy and the screenplay with the main characters is very much dated. The movie starts off as a parody of silent films, the background bouncy piano included. But that very piano playing is soon annoying, and it is a second and third time when it's used to mimic the silent film scenes, including a couple car scenes reminiscent of the Keystone Kops.

No doubt Harry Secombe was very good as a comedian in his day, but most of his varied antics and changes in persona don't go over well now. He very closely resembles Red Skelton at times. Sellers has two roles, but neither of those have any good comedy. Marks is somewhat funny just for his persona as the big guy shyster who's full of himself, but his accomplice, Digger, can do little more than spew what are supposed to be comical complaints.

The only thing that keeps this film from a complete bore is the scenario toward the end when most of the cast wind up fleeing and chasing in a wax museum. The frequent posing and costume changing to fit into various wax displays is amusing. Here are a couple of lines - the best of the humorous dialog in the script.

Landlady, "There's a lovely view of the sea from the window if you stand on a chair and lean well out"

Spike Donnelly, "Listen, big guy, you're a terrific man. You're a financial lizard." Edward Haynes, "Wizard, laddie, wizard."

Jack Banney and Rochester (Eddie Anderson) really go to it in this comedy romance. The two toss barbs back and forth with ease that even outdid their frequent banter on Benny's radio show at the time. "The Meanest Man in Town" is a light comedy with a simple plot and not much of one. Benny's small-town lawyer can't make it as a lawyer at home, nor as an ambulance chaser in the Big Apple. The reason is because of his big heart. But, when circumstances happen that make him appear mean in the press, much changes.

And, from that point on, the film turns into screwball comedy. The ending is a real hoot. Edmund Gwenn has a small role, but it's one of the few in which he played the meany, or a villain or bad guy. But, because of the nature of this film, even Gwenn's nasty appearance is occasion for a chuckle.

Jack Benny was highly popular with his unique laid back humor, using long pauses with a sometimes dour and sometimes cynical persona. A Jack Benny program ran weekly on the radio from 1932 through 1948. Then he had a long-running TV series, "The Jack Benny Show," that ran from 1950 thru 1965. His movie making was sparse during the latter, but he had many appearances on other TV series and shows. Most of his two dozen films before that were box office hits.

And, from his first appearance in 1937, Eddie Anderson became a major part of Jack Benny's radio and then television shows. In the 1950s, Eddie was the highest paid African-American in radio and television. The two men were great entertainers, loved by audiences in the mid-20th century. They remained close friends until Benny's death in 1974.

The film may be far too slow for modern audiences, but those who like good old fun and comedy in films, should get a kick out of this movie.

"Bride for Sale" is a very good comedy of mistaken assumptions, preposterous match-making, and table turning. It eventually develops into a love triangle with very funny shenanigans along the way. And, it has a screwy but delightful ending. Claudette Colbert, Robert Young and George Brent are just right for their lead parts. And, a supporting cast of some familiar names and faces and some knockout characters (literally) lend much humor. A former heavyweight boxing champion of the world, Max Baer, is in the ring, not with gloves but as a wrestler. Gus Schilling and Charles Arnt have nice parts.

The film has an original plot and superb screenplay loaded with some very funny dialog. Brent is Paul Martin who owns a CPA firm that handles the taxes for several upper crust clients. After a former employee leaves to start his own business, Martin hires an Army major with many accolades for expertise, efficiency and superb work. He had no idea the major was a woman. Colbert's Nora Shelley had used her first initials to land the job. Martin doesn't think women belong in the business world, but he soon changes his tune. Shelley knows tax law, the rules and the business better than anyone. She gets his office in tip top shape and has clients lining up to see her.

But, Martin discovers that she has another plot of her own. She is out to find the perfect match for a mate. And she thinks she can do that by studying the tax records of Martin's wealthy clients. She says she will be able to find a man who is stable, can provide a nice home and be the perfect mate. Martin thinks its preposterous, and when an old schoolmate and pal, Steve Adams shows up, Martin enlists him in a ploy to dash Nora's theory. Shelley lived around the world, moving with her father who had been an oil wild-cater She has never had a real home for any period of time, and that's now her goal for the rest of her life. Adams is assistant curator of a large museum and an archaeologist. He has just returned from a major dig for a respite. He loves the field work and discoveries from digging in the dirt. Oh, yes, and Martin serves on the museum board of directors.

Well, it a fun film with some wacky scenes in places. One of the funniest is when Shelley interviews Adams. Just her technique of switching subjects and prying personal info out of him is hilarious. And, of course, he is already on to her as after talking with Martin .. Steve Adams, "But I'm sure that this junior in your office here can handle it much better." Shelley, "Oh, no, Mr. Adams. Now that I've seen your tax picture more clearly, I think I'll handle you myself." Adams, "You do? Oh, but you're so busy, these corporations.." Shelley, "Oh, there's always room for one more."

Shelley, "You're not a married man, but perhaps you're planning on it?" Adams, "No. No plans. I, I'm quite content with my work, my books and music, and a night on the town now and then."

Shelly, "You must know some fascinating things about the ancient civilizations." Adams, "Some things I know fascinate me." Shelley, "I'm sure they would me too. I, I , uhm, trying to think of that famous head, uh, some queen. I saw it in Berlin. They're trying to get it back to Cairo." Adams, "Nefertiti." Shelley, "Oh, it's beautiful." Adams, "Yes, it is." Shelley, "So royal, so queeny. This is an irreversible trust, isn't it Mr. Adams?" Adams, "You mean uh? Yes, to me, and my family." Shelley, "Of which there is none." Adams, "That's right" Shelley, Oh, yours must be a wonderful life." Adams, "A little dull, perhaps."

Here are some more lines worth a laugh in this film.

Paul Martin, "Good morning, Gentry. Sorry I'm a little late." Gentry, "You're two days late. I bet you 5 to 1 that Miss Shelley would last three months. It's three months and four days, sir." Martin, "Fine. What price would you give me if she wouldn't last a year?" Gentry, "10 to 1." Martin, "I'll pay that too, in advance - and with pleasure."

Martin, "It's impossible to tell what any man is like from a set of figures. You can't add up a bunch of numbers and marry the total."

Shelley, "You don't seem to understand. I want a home. I've wanted one since was a child. I lived in 19 countries before I was 21 years old." Martin, "Restless, weren't you?" Shelley, "My father was. He was in the oil business - a wild-cater. After mother died, we went to Syria, then Egypt, China, Venezuela - living in tents in the desert, in jungles, in oil towns. Then after that, the war. Another cook's tour. More tents, barracks, Quonset huts. Believe me, Mr. Martin, I'll make a very good wife. I'd really appreciate a home and a husband." Martin, "But you're going about it the wrong way."

Martin, "No, she's a dish. Really, a dish. As a matter of fact, she just thinks she has an adding machine for a heart."

Sarah (Patsy Moran, uncredited), "I'd be a little suspicious about a guy that took me to a concert." Shelley, "Well, what's the matter with concerts?" Sarah, "Sound kinda cheap to me. Them concerts are loaded with free passes. Even piccolo players get stacks like that." She gestures a large stack in one hand. Shelley, "Sarah, I don't think he knows a piccolo player."

Sarah, "I like a man that makes a little investment in the date. If I'm gonna spend my time with him, he's gonna hafta spend a little somethin' too."

Adams, to his chauffeur, "Edward." Chauffeur, "Yes, sir?" Adams, "The Abdullanah Club." Chauffeur, "Very well, sir." Shelley, "The Abdullanah Club? I don't think I've ever heard of it." Adams, "Not many people have."

"The Final Countdown" is a sci-fi and fantasy film with a plot that keeps one on the edge of her or his seat. The setting is military, mostly at the time of the Japanese attack on Pearl Harbor that propelled the U. S into World War II. But it starts as a modern (1980) naval exercise in the Pacific. The sci-fi happens when the Carrier Nimitz enters a vortex and is transported back in time.

The film has a superb cast of the day with Kirk Douglas, Martin Sheen, Katharine Ross, James Farentino and Charles Durning. All give very good performances.

History buffs may recall the post-war controversies about whether Pearl Harbor had been warned in advance of the Japanese attack. Or, if it should have been notified by the Pentagon. There were at least three different controversies. That led to various conjectures about how December 7, 1941 might have turned out quite different, and how the war would have been different.

Well, this sci-fi film fits such speculation to a T. How might things have turned out differently if a modern aircraft carrier had been transported back in time to intercept the Japanese fleet? I enjoy such fantasies myself, but don't give such speculation much credence for one simple reason. We have the history how it happened. And any amount of what-ifs or maybes are little more than fluff that is soon forgotten.

Military folks, and those who enjoy war films especially should find this film entertaining. It was just a mild success in 1980, after WW II films had had a long run from the mid-1940s through the 1970s. Cold War films had been capturing the imagination and interest of Hollywood since the 1960s.

Those who enjoy live theater and ballet should be interested in "The Company." And others who perhaps never had a chance to see ballet, but enjoy all types of stage and film entertainment, should also enjoy this film. It is indeed, a very good look at life and lives within ballet. The film has scenes of training and the rigors of the art. The story covers an array of characters. The acting overall is good. But, if for no other reason, this film is worth watching just for the scenes of ballet.

The setting is within the Joffrey Ballet of Chicago. It's a young company, in the ballet field, having begun in 1956 in New York. The first half dozen members then went on the road and settled in and worked out of Los Angeles for a time. Then it was back to New York for a few more years, and finally to Chicago in 1995.

Only a few movies have been made about ballet, and all have been successful. That may be in part because so many people don't live in the larger cities where ballet is available. And, unless one is an aficionado and can travel to New York, Los Angeles Chicago or other places to see ballet, there just aren't many chances otherwise to enjoy it.

When living in the Washington, D. C. area in the late 1970s, my wife and I saw Mikhail Baryshnikov perform at the Kennedy Center. The Latvian-born Baryshnikov defected from the Soviet Union in 1974 while performing abroad. He was a dynamic danseur who has done much creative work and become a renowned choreographer and director.

I have seen some other ballet shows on broadcasts and on film. Those who enjoy ballet or are interested may like some of the other good ballet films of the past. "Billy Elliot" of 2000 is the story of a young English boy who loves dance and becomes a ballet star. "Center Stage" of the same year is about a group of teens who train at the American Ballet Academy in New York "The Turning Point" of 1977 is a drama and part bio story about two women from ballet who took different paths in life, and Baryshnikov has a fine role with some brilliant dancing. "The Red Shoes" of 1948 was a ballet film set in Paris, and "The Black Swan" of 2010 is a mystery and fright film centered around ballet.

This movie is strictly "for the birds," as the idiom implies. Come to think of it, that would have been a spot-on title for it, rather than "Brewster McCloud." It's billed as a dark comedy, comedy, crime and fantasy, but one word would suffice and be more accurate - weird. The only thing I could see that was comical, was the bird droppings at various times. Even though that had dark overtones because the recipients of the gifts from the sky then turned up dead. Perhaps a more comical title and a little rewriting of the script could have turned it into a real comedy. How about something like "The Deadly Bird Poop?"

And, the film reminded me of a situation that would have fit a real comedy plot to a T. I spent many summer days along the Oregon coast over a couple of decades when a group of us would get ice cream cones and stroll on or near the beach. The challenge was always to get our cones eaten before a seagull added a topping to them. Seriously, we had that happen one time to a friend, and for years thereafter it was a matter of humor among an ever-widening group of summer beach strollers.

Well, back to this film. I don't even recall ever having heard of it in 1970. Probably because it was a flop at the box office with a mere $3.9 million in ticket sales. That was even though it didn't need too much in sales because it didn't have any well-known actors of the day who would command large salaries. John Schuck, Stacy Keach and Wiliam Windom would later become well known, mostly through TV series.

Director Robert Altman used several of the same cast for this box office flop as he did for his highly successful M*A*S*H of the same year. That film finished third in box office gross for 1970 at $82.9 million. In it, Sally Kellerman played Major Hot Lips O'Houlihan, Rene Auberjonois was Father John Mulcahy, and Schuck played Capt. Painless Waldowski.

For anyone interested in a real mystery flick about birds, nothing beats Alfred Hitchcock's "The Birds" of 1963. And, for comedy, "Something for the Birds" of 1952 is quite good.

Any film with Jeanette MacDonald and Nelson Eddy can't be bad. But that's about as good as can be said for this one. "Bitter Sweet" is the second last of eight pairings Hollywood made of the couple. And the film is bitter sweet, in more ways than one. Other reviewers delve into the controversy involving Noel Coward over the Hollywood treatment of his play here. So, I'll stick to the film as its presented here.

Of course it has a bitter sweet ending. But throughout the film, the music itself seems so bitter sweet. There are no memorable tunes and much of Nelson's singing here seems almost bland. Together with that is his seeming dour persona for much of the film There's no bouncy, lively, energetic Eddy that was in his other films. He seemed to always have some dreary thought on his mind. Perhaps it was intended that he play it that way, sort of fitting the story, but I think it backfires. I think this must be about the least of the films that the otherwise lovely couple made together.

Bing Crosby apparently spent a week in Hawaii on vacation or vacation and business and then Paramount made this film in its Hollywood studios and a California botanical garden. A second unit did go to Hawaii to film some of the scenic shots that were used in this film. This film was made nearly five years before the Japanese would bomb Pearl Harbor and lead the U. S. into WW II. People in the 21st century may not realize that Hawaii then - from the early to well past the mid-20th century, had an exotic allure, especially to Americans. While there had been an American presence on the islands for several decades, and considerable military and naval bases, it would be 22 years after this film before Hawaii became the 50th state of the U. S. A.

That bit of historical background might help modern audiences to understand the somewhat strangeness of the plot for this film. The film is a musical and comedy, and it won an Oscar for best original song< "Sweet Leilani," which became a Bing Crosby favorite over time. "Blue Hawaii" was another memorable song, but none of the rest of the music was memorable. The comedy was so-so, probably better to audiences of that time than it would seem to most people today.

The strangeness in the film are the scenes relative to returning a supposed special large black pearl to a specific location to appease the god that was threatening a volcanic eruption. And, much of the native dances in these scenes is Hollywood creation. The idea for the plot is okay, surrounding a pineapple queen; but the story just doesn't gel very well. The lead opposite Crosby's Ton Marvin was played by Shirley Ross as Georgia Smith. She had a fine voice and made some movies but never became a big star in cinema, She had some good recordings but after 1945 retired from filmdom and settled down to raise her family

Oh, yes, and as some others have noted, there's a young Anthony Quinn in this film. He has a moderately good supporting role as Kimo. Quinn would go on to have high success in cinema, including winning two Oscars.

Even those who enjoy musicals may find this film rather slow going, and with little memorable music.

There is some mystery in this film, which keeps one somewhat interested. I think the comedy is supposed to be in the brash comments by Ned Sparks as Inspector Riordan. That type of humor may have had a slight following in its day, but clearly not much or there surely would have been many more films made with it. But, just as much in holding one's interest as the mystery, is the absolute dumbness of the cast overall. That is, in the roles being played. I can't think of any crime or mystery story I've ever read or seen in a movie, in which so many people lied outright, with little thought, to the police investigator. And, for no apparent reason. It almost seemed toward the end as though the film was intended as a mockery of the law and crime stories. But it wasn't quite clever enough to be satire.

Well, "Private Scandal" is a murder mystery that gets solved in the end. But, after a few minutes of the opening scenes to set the stage, the film soon became little more than a series of short encounters of Riordan with the various other members of the cast. There seemed no end to little discoveries so that it gradually becomes clear that Cliff Barry wasn't the only person who knew anything abut B. J. Somers' demise. And, Barry was also the biggest and multiple liar of the bunch. Sure, Phillips Holmes played the character as jittery, nervous and discombobulated. But his decisions and actions from the start showed a person who was more stupid than reasonable. Imagine anyone not knowing that the police would be able to determine that Somers had died the night before, not that morning.

There was too much of this type of kindergarten thinking and behavior in this script. Imagine that so many employees would say they thought they had seen a mysterious man who was with Somers that morning. Remember that Inspector Riordan questioned them individually. Yet they all fabricated such a lie. And what about the disconnect from the night before when Simons and his love are surprised and the screen goes blank? Strictly kindergarten story-telling.

Judging from the plot, screenplay and various cast members, I would guess this was a movie done by the B unit at Paramount. Zasu Pitts would have a very long career in films with many, many to her credit, bukt no memorable roles. Most of the rest of the cast, except for Sparks, were hardly known much beyond the time of this film.

"Deep in My Heart" is a musical biopic of Sigmund Romberg (1887-19951). The Hungarian-born composer was a major force in American stage musicals and operettas in the early 20th century. Many of his great hits were also made into movies, with varying degrees of alterations. Not many of his songs that were popular in the early 20th century have endured over time. One that has is "Stout Hearted Men" of 1928, with lyrics by Oscar Hammerstein.

This film was made just three years after Romberg's death, and is adopted from a 1949 biography by Elliott Arnold. The film is accurate in portraying much of Romberg's works. And, to some extent, his personal life and friendships. But as to his persona, only those who knew him back then would know. Some sources refer to him as a demanding person with a temper. José Ferrer's interpretation of the character is very good for this film. He is both serious and light-hearted at times, demanding and easily moving on. The real man may very well have been a driven artist and worker as Ferrer portrays him.

Ferrer has some good support in the rest of the cast who play other important people in Romberg's life. Most notably are Merle Oberon as the multi-talented actress, playwright and musical producer, Dorothy Donnelly (1876-1928). She wrote the libretto for what may be Romberg's most famous operetta, "The Student Prince." Other major cast roles were played very well by Walter Pidgeon as J. J.. Shubert and Pual Henreid as Florenz Ziegfeld.

The film has some fine performances, including a superb dance number by Gene Kelly and his brother Fred, as the O'Brien Brothers. Dancing clearly ran in the Kelly family as brother Fred matched the frenzied movements of Gene to a T. While Fred didn't have the movie career that Gene had, he had a long career of dancing, choreography, teaching and production on and around Broadway. This is the only film of a total of four that Fred made, in which music and dance fans can see the "other" Kelly hoofing it very well.

MGM touted the number of prominent performers who appear in this film. Most were in the songs, dances and scenes in the Romberg musicals, revues and operettas that were part of the story. Without anything else to do with the plot of the film itself, many favorites of the day appear singing, dancing, etc. So, besides the Kelly brothers there are Jane Powell, Rosemary Clooney, Vic Damone, Howard Keel, Ann Miller, Cyd Charisse, Tony Martin and more.

Those who enjoy musicals and like the stories of the early American composers and playwrights for stage and film should especially enjoy this film.

While billed strictly as a comedy, "Rosie" has some tense drama and frightening scenes for Rosalind Russell's Rosie Lord when she is kidnapped and imprisoned in a secluded asylum. Even with that, the story is a good one of a couple daughters and one son-in-law driven by greed to try to put away Rosie so they can have her considerable fortune. There's some fine comedy especially in the courtroom scene at the end when the truth comes out into the open. Rosalind Russell showed her all around talent for acting, whether in comedy, drama or any other genre.

The film has a couple of romances that develop or come out over time. And Rosie's granddaughter, Daphne Shaw, idolizes her grandma and would have nothing to do with the plotting and scheming of her parents and aunt. Sandra Dee plays her part very well, as do all the cast. And, what a cast. This film probably has more appeal to movie buffs who like the cinema of all ages and times.

Therein is the nostalgia among the cast. Russell (age 60), Brian Aherne (age 65) , Reginald Owen (age 80) , and Margaret Hamilton (age 65) are late in their careers and have many wonderful films behind them.

Who could ever forget Russell's performances in "Gypsy" of 1962, "Auntie Mame" of 1958 and a slew of smashing comedies from the 1930s to early 50s? This was Aherne's last film, after a career that began with silent films in the early 1920s. He, too, had many memorable comedies in the 1930s and 1940s among his wide range of films. Those include two comedies that are among the funniest of all time - both in 1937: "Merrily We Live" and "The Great Garrick."

Reginald Owen, at 80, wasn't quite done with his career yet, after four decades as one of the best British comedy actors in leading and supporting roles from the 1930s through the 1960s. He played Scrooge in MGM's 1938 film of Charles Dickens' "A Christmas Carol." His performances were hilarious in "The Man in Possession" of 1931, "The Good Fairy" of 1935, "Paradise for Three" in 1938, "Cairo" in 1942, and "Julia Misbehaves" of 1948. And, of course, Margaret Hamilton, while making numerous films of all genres, will always be known for her non-comedy role of the Wicked Witch of the West in MGM's 1939 smash hit and classic, "The Wizard of Oz."

While only 45 at the time of this film, Audrey Meadows already had behind her the roles for which she would be known throughout her career. She was Jackie Gleason's wife, Alice Kramden, on the two 1950s TV sitcoms, "The Honeymooners" and "The Jackie Gleason Show." Others of this cast were up-and-coming stars, notably James Farentino and Leslie Nielson.

The one glaring oddity with this film is the early and ending scenes with Rosalind Russell speeding along highways, including one along the Coast in her Ferrari. Not another car appears on these roads that I can remember. I've driven the California highways up and down the state, in the 1960s, and the 1980s through early 21st century. And anyone else who has, or all the residents of that state, wouldn't believe there could ever be such a deserted highway anywhere in the Golden Gate state. The producers must have arranged to film on a stretch or two of highway that were closed off for repairs at the time. That, or they paid a whopping fee to have a highway stretch shut down for a few hours.

Here are some favorite lines from this film.

Rosie, "I'm gonna buy it." Daphne, "What?" Rosie, "I'm gonna buy it." Daphne, "This whole theater?" Rosie, "Well they don't sell it to you in parts."

Rosie, "We spend our lives learning how to live. And then just as we begin to know a little about it, they finish us off. They oughta give us three chances - like a ball player."

Daphne, "Aunt Midred's a bitch." Rosie, "Daphne!" Daphne, "And father's a bore and mother's a bowl of Jello. So there you are."

Rosie, "You're with me too much." Daphne, "I like being with you. I like you better than anyone I know. You're my buddy."

Rosie, "What are you doing? You're fired. Did you hear me? You're fired." David, "You can't fire me. I am deeply attached to you, and shall never leave your side."

Nurse at Vista Home, "Funny, how y'all like to stay when you first come here, and nobody eats."

Mae, "She's as sane as I am." Rosie, "How are we gonna prove you're sane, Mae? You go around singing, too."

Even with a cast that had some big names of movie stars in considerable supporting roles, "A Good Man in Africa" was a flop. It's box office barely matched one-tenth of its production cost. And, author William Boyd even wrote the screenplay based on his 1981 novel of the same title. Critics who read the book said the movie just missed the very good humor and wit in the book.

As a result, this film appears mostly as the portrayal of an over-sexed Brit in the diplomatic service. There is little coherence in the scenes as the story flips between bedroom or related sex scenes, and various projects or efforts Morgan Leafy stumbles and falls through. Occasional scenes of full nudity only add the perception of Colin Friels' character as living a hedonistic lifestyle. And the presence of Seann Connery, Diana Rigg and Louis Gossett Jr. Can't save this film. It's hard to imagine what induced any of these three to be in it -- especially Rigg in the humiliating part of Chloe Fanshawe. Was she that desperate for money?

My three stars are for the little bit of comedy that is there, and the good performances by several of the lesser known supporting actors in the cast. While some may enjoy this type of film, it's safe to say that most people won't. The 1994 audiences proved that with only $2 million in box office sales against a $20 million budget. It may have been the biggest flop of the 1990s.

"Maytime" is the third of eight films that Jeanette MacDonald and Nelson Eddy made for MGM. The plot is a revised story of a 1917 operetta by Sigmund Romberg, but has almost all different music. The setting is the real milieu of the two stars in time. Eddy had already begun a career in opera and MacDonald would later go to the stage for opera. It's natural that this film has quite a bit of operatic singing. So, those who can't stomach opera are not very likely to enjoy this film.

But the plot has a very deep love story. It's a love triangle of sorts, but not on the surface. I enjoy musicals a great deal, with almost all kinds of music, but opera is nowhere near the top of my list. I have been to a couple of operas, and find it very difficult to sit through a whole show, even with great performances. A great deal of soprano singing soon becomes unnerving or irritating. But I do like and enjoy musicals with good plots that include opera numbers and singing. Jeanette MacDonald and Deanna Durbin, later, made some wonderful musicals - some love and dramas, but also some very good comedies. This film has some comedy also - in Eddy's part as Paul Allison, and also with a couple of the great supporting comedy actors, Sig Ruman and Herman Bing.

The addition of John Barrymore as Nicolai Nazaroff, adds a sense of tension and mischief to the story. He is the voice trainer and manager who makes MacDonald's Marcia Mornay a star. With Barrymore's facial expressions, one can't help but think of him in his similar, but more dastardly role, as Svengali in the 1931 movie of that title. It was based on George du Maurier's 1894 classic novel, "Trilby." While Nazaroff doesn't exercise mind control over Mornay, as did Svengali, his portrayal still forebodes evil.

This is a very good musical love story and tragedy. MacDonald and Eddy show why audiences so liked - perhaps, even "loved" the couple, and why MGM made so many films with them. And, this film has a nice message in the end. Love is more important in life than anything else. Marcia Mornay tells her story of lost love to young Barbara Roberts, and in that she sees that a life based on her talent, or a career, or fame would be empty without love.

"Inspector Hornleigh" is a delightful British comedy mystery. With the exception of Alastair Sim, few of the cast of this film would be recognized by audiences much past the mid-20th century. Gordon Harker, who has the lead as Inspector Hornleigh, had a long list of films to his credit by 1939. Although he played in some comedies and other films, his specialty was crime and mysteries. He often played an officer of the law, but had an occasional role on the opposite side of the law. Here, Harker's inspector is a wise investigator who has a sometimes comical or goofy sidekick, Sergeant Bingham. And that role is played wonderfully by Alastair Sim.

Sim had only been in the cinema since 1935, but had a slew of films under his belt. He was at the point in his career where he would get varying top roles from leading actor to top supporting actor or other significant character. Here, he adds some good humor as Hornleigh tackles a murder and theft of high government papers that could wreak havoc on the British economy.

Here are a couple of favorite lines from the film.

Chancellor, "My dear inspector, I may be only a politician, but I can identify my own property."

Michael Kavanos, "I never know whether you English are serious, joking, or mad."

If this movie was an effort by MGM to cash in on Disney studio successes with movies for kids and families, it clearly fails that test. But, as an adult comedy, for those of us who retain something of childhood imaginations (good, or bad), "It's a Dog's Life" has some moments of humor. It's far from a great comedy, but it has moments. And, the comedy isn't really that much with the goings on and voice over of the dog, Wildfire. It's in the characters, especially those played by Jeff Richards (the "meany" and dummy), Edmund Gwenn (the wise, kind and patient), Jama Lewis (whose weakness is for Patch McGill), and Sally Fraser (the good daughter of the gruff Dean Jagger character).

Dog fighting had been held in the late 19th and early 20th centuries of America for gambling and entertainment. Over time it became illegal in all the states. Much of the time it was an underground activity, since most of society didn't approve of it. So, it's likely that there were staged dog fights in New York's Bowery at the time this film takes place (turn of the 20th century). But, while it's the substance of the plot of this film, the movie clearly isn't promoting dog fighting. And, it keeps serious protests and backlash at bay by not actually showing any dogs fighting. The picture of the hero dog, Wildfire, with some injuries and bandages after a supposed fight are obvious makeup. But, even young kids might not understand this, so it's clearly not a movie for the young of the family.

Two of the cast of this film were senior actors who had already won Academy Awards by 1955 - Edmund Gwenn and Dean Jagger. Their supporting roles are very good and help make the film worth watching. The main leads, Jeff Richards and Jarma Lewis had relatively short careers and short lives and didn't have any remarkable films for which they would be remembered even in the late 20th century. However, both of them give very good performances for the characters they play here. Richards gives much bombast and braggadocio to his Patch McGill. And, Lewis portrays the lady of the night clubs and night life with flare and with an unshakable heart for Patch.

The story is okay and quite silly, with a voice over for the dog, Wildfire. But then, what can one expect about the life of a dog? Even one of a famous line of show dogs?

Here are some sample lines from this film.

Patch McGill, "This is a fighting dog. For twenty bucks, I'll fight him myself."

McGill, "I can make 500 to a thousand dollars a fight." Mabel Maycroft, "Well, who does he flight, Diamond Jim Brady?" McGill, "Other dogs." Mabel, "What other dogs got that kinda money?" McGill, "People! People pay to watch."

McGill, "Why, I could make a fortune with Wildfire. That's what I call him - Wildfire. Did you ever see a fire start in the grass? It goes wild, sweeps right on through. And that's what he's gonna do - sweep right on through to the championship." Mabel, "Where'd you ever see any grass? They got it down at Floyd Corbin's saloon?"

Jeremiah Nolan, "I could find the place with me eyes shut. You can hear the screaming of the dying dogs a mile away." Paddy Corbin, "Oh, those are not dogs. They're my customers who've had their credit cut off."

"A Yank at Eton" is an MGM comedy drama very similar to the studio's 1938 hit film, "A Yank at Oxford," that starred Robert Taylor and Vivien Leigh. Although the characters and backgrounds are different, the story line is generally the same. An American attends a top British school, where he clashes with some of the Brits, makes friends with a couple, and competes in and wins athletic events; eventually to fit in and be heartily accepted by his British schoolmates. The two schools - Oxford and Eton, are at different levels, of course, and the story details differ, including some of the sports competitions. The one that is the same is a running race. But here at Eton, the Yank gets into European football; while at Oxford, he competed in rowing.

Where the collegiate-level Oxford film also had a romantic aspect, this film has more of the school and house structure and its politics. From what I have read, MGM apparently made this film as a sort of compatriot propaganda film. American forces were descending on England to build up for the Allied assault of Germany. So, this film portrayed the friendly relations between the English and Americans. Of course, the war in Europe was raging at the time. The U. K. had survived the German bombings in 1941. So, it is strange that this film doesn't even have a hint of the war going on.

The Oxford film of 1938 was made in England. It was the first one out of MGM's newly established English studio. But, this film was made entirely in Hollywood. The entire cast gave very good performaces. Mickey Rooney gave a believable performance as a talented athlete. He's a young American, Timothy Dennis, who longed to play football at Notre Dame, but finds himself in a prep school in England after his widowed mother marries a prominent Englishman. So, the story isn't about Mickey Rooney, the very short actor. And the scenes of his sports on the field, and his racing are well acted and filmed. If there is a fault here, it's in portraying Ronnie Kenvil in the steeplechase as being so hesitant and fatigued.

Edmund Gwenn is the one key cast member who played a similar role as a school master in this film, to the one he had in the 1938 film. And, of course, this is one of Peter Lawford's very early films - just his sixth. Except for his quite distinct voice, I wouldn't have recognized the youthful 18-year-old Lawford who plays Ronnie Kenvil. Other familiar actors of note in this film are Ian Hunter, Alan Mowbray and Freddie Bartholomew.

"Yank at Oxford" had been a big hit at the box office in 1938 - finishing 29th for the year in ticket sales. This film wasn't as big a hit (well, it didn't have Robert Taylor and Vivien Leigh) but was a success and finished the year 60th in box office receipts, It didn't pass the earlier film, but it also had much greater competition with films of all types, including war-related. This was the year of such all-time classics as "Casablanca" and "Mrs. Miniver," and a host of fine musicals, dramas, comedies and other war-related stories.

This is an enjoyable film that reflects something of the time and higher end of English culture of the day. It's a good family film and one most people should still be able to enjoy well into the 21st century.

"Lady Luck" is a post-war comedy that brought two actors together who later would become best known for their respective roles in long-running television series. Robert Young and Barbara Hale do okay in their roles as Larry Scott and Mary Audrey. The screenplay and editing are a little disjointed in places, and the plot is quite preposterous. But, then, some, if not many comedies have far out plots or stories. This story revolves around gambling, and most of the film, after a comical opening of a look through history and some early scenes, takes place in Las Vegas. He's a gambler and she hates gambling because of its hold and curse on the men of her family - the latest being her grandfather, William Audrey. She's trying to reform gramps, and she has just opened a bookstore in Los Angeles.

How Larry and Mary get together sets the stage for this preposterous plot, and it's also the venue for the comedy that follows. He falls for her in one day and tells her he's a gambler but is going to give it up. He does, and they head for Las Vegas to get married. But his buddies want to save him, so they contrive a plot to get Mary hooked on gambling herself. The plot stretches more and she does and wins at everything she touches. Now, he's got to save her.

Well, it plays out nicely from thereon, as the story develops so that this romance can come to fruition, with a couple of twists en route. But I think the best thing about this movie is its supporting cast. Especially, the roles played by Frank Morgan, James Gleason, Harry Davenport and Lloyd Corrigan. These guys collectively, have about as much screen time as the two leads. Of course, a bunch of that is also with the leads.

But their roles are very good. Morgan plays grandpa William Audrey. And this is far from the usual films that have his characters as mostly buffoons. He still has some comical traits, but his character has much more substance. Gleason's Sacramento Sam is a mostly affable character as a top card player and gambler. Harry Davenport is a local judge in Vegas, who's part of the "gang" of the old-time gamblers. And Lloyd Corrigan rounds out the group as Little Joe. The way these guys toss money around, none of them seem to take it too seriously.

Robert Young (1907-1998) starred in two long-running TV shows - "Father Knows Best" of 1954-1960, and then, "Marcus Welby, M. D.," from 1969-1976. Barbara Hale was the female lead in the "Perry Mason" TV series of 1957-1966, as Della Street, the confidential secretary to the world-renowned detective. And, she ended her career over an 11-year period starring in the same role in 30 Perry Mason movies made for TV, from 1985 to 1995. Young, in between his two long series, and much before those, also made many films and appeared in various TV shows. And, interestingly enough, he ended his career in a 1988 TV movie that picked up on his popular "Marcus Welby" series.

For those interested in the lives of actors, artists and moguls of Hollywood and cinema, here are some other similarities of Robert Young and Barbara Hale. Both lived beyond age 90. Young died in 1998 at age 91, and Hale died in 2017 at age 94. Both were married just once and had long marriages. Hale's husband, actor Bill Williams, died in 1992, when they had been married 46 years And, Young's wife, nee Elizabeth Henderson, died in 1994 when they had been married 61 years. Both also had families but not the same size. Hale had three children and the Young's had four.

Here are some favorite lines from this film.

Larry Scott, "Ah the trouble with you is, Sam, you just never did like women." Sacramento Sam, "What are you talking about? Didn't I stay with my mother till I was 11 years old?"

Little Joe, "Yeah, but it didn't seem to affect your appetite none." Judge Martin, "In many years, my friend, I've learned not to confuse my heart with my stomach."

Judge, "Well now, Antony, it would seem that you've met your Cleopatra." Sam, "You know what I remind myself of?" Judge, "What?" Sam, "Frankenstein! I have made myself a monster."

Gramps Audrey, "Let's go get a beer. I can't think good with a clear head."

Gramps Audrey, "You've broken the 11th commandment, son. Never accuse a woman of your own imagination. Isn't that true, sister?" Manicurist, "You sit it, Pop."

Mary Audrey, crying, "He's gone. He's left me." Larry Scott, "Who, your husband?" Mary, "No, my grandfather." Larry, "You mean the old man who was in here? How do ya like that!" Mary, "I guess he was afraid I'd put him to work. You see, he's a gambler." Larry, "Well, a guy that old can't get very far in half an hour. Come on, I got a car outside."

Mary, "He can't really help it. It's in his blood, like insanity. Poor ole gramps."

Gramps Audrey, "You mean you'd blow $600 for a meal?"

Judge Martin, "It seems incredible. I only married 'em last night. They were so young and gay and blind. Ah, it saddens me."

Judge, "What a tragic misunderstanding. It seems to me that such antipathy against games of chance is most unusuaul. What's the history of the young girl?" Sacramento Sam, "Just a nice little girl, runs a bookstore." Little Joe, "The little dame runs a book?" Sam, "Reading books" Joe "Oh."

Little Joe, "You think that ain't a gamble? So, along comes a cyclone, blows down all your potato trees."

Slapstick comedy began with the Keystone Kops of the silent era, and the early masters of comedy, Charlie Chaplin, Buster Keaton, Harold Lloyd and Harry Langdon. One after another pratfall, trip, slip, stumble and knock on the head kept audiences laughing. When there was no dialog but occasional script cards flashed on the screen, action and facial expressions were everything in early comedy. But sound brought some changes, to comedy. It brought dialog that broadened the field and experiences of comedy. Some comedies were all with dialog - witty humor, funny expressions and looks, clever exchanges and zingers. But slapstick did still endure, now with some new purveyors of the art. Only now, it was mostly in couples or teams of players. Thus we had Laurel and Hardy, the Three Stooges, the Marx Brothers and Abbott and Costello from the 1930s into the 1950s. And, some movies were being made with various actors having an occasional scene with a pratfall or some other slapstick situation. Then, since the mid-20th century, situational comedy began to become more prevalent. And by the end of the century, situational and dialog all but dominated the field of comedy, with occasional antics worked in. But for the most part, slapstick was a thing of the past. The few rare occasions when it has been used to any extent since the mid-20th century with much success have been plots with exceptional screenplays.

Now, why all of this background and discussion about slapstick before a word about this movie? It's to put it in perspective and help one to understand the change in human perceptions that have accompanied the technical changes in the motion picture industry. Quite simply, when there wasn't sound, how long would an audience sit just to watch scenes interspersed with cue cards of the script, however funny the lines might be? The silent movies were made for minimal explanation, with much left to the imagination, minds and intelligence of the audience to understand what was going on in the pictures. What would get laughter more or quicker than a slapstick gesture or incident? But with sound, the human mind wanted and looked for more. Which also explains why the plots of films became much more substantial with screenplays to fill them out.

So, on Christmas 1997, Disney released the movie, "Mr. Magoo." It was based on a mid-20th century cartoon character of the same name. And the studio obtained Leslie Nielsen for the lead role. He was one of the few actors who had successfully made a smash slapstick comedy in the late 20th century -- "The Naked Gun," in 1988. That film led to a sequel and then another, in 1991 and 1994, which, following the trend of the vast majority of sequels, declined substantially in quality from the first film. I've never come across an article or source that explained the who, what and why of Disney making this movie. While Disney had grown to become the top movie studio of Hollywood by the end of the 20th century, it was showing signs of losing touch with the populace - with people and audiences, especially for films of family appeal.

Even with Leslie Nielsen in the lead role, I hardly chuckled at a couple of early goofs and then "Mr. Magoo" soon became tedious with its slapstick duds. The movie bombed at the box office and may have been the biggest flop of all movies of 1997 and 1998. It's total box office even fell short of its budget, by more than $1 million, giving Disney a loss of nearly $20 million. My three stars are for the dog that had the role of Angus. Disney apparently had plans to serialize "Mr. Magoo" with sequels, but its big bomb at the box office and unanimous put down by critics ended that plan. The Disney "empire" was begun by a man who loved to tell and show stories for children and families. The modern Disney entity, indeed, seems to have severed its roots with Walt Disney.

That exchange between Margie Dawson and Lt. Torchy McNeil had me laughing out loud and pausing the DVD. It took a few more laughs before I could go on and not miss any of the rest of the dialog. This is one of several moments of great laughter in "The Well-Groomed Bride." What a hilarious romp, with a very good setting in the spring of 1945. The locale and setting with Navy and Army activities in San Franciso at the time are excellent. And the plot is overboard preposterous. But that's the case with many a great comedy film. Especially those involving romance. This is one very good comedy with a little romance and a great cast to carry it off.

Olivia de Havilland and Ray Milland alternate between affection and sparks as Margie Dawson and Lt. Dudley Briggs. And It's all about who gets the last magnum bottle of champagne in all of the Bay Area. At least at first. Sonny Tufts plays Army Lt. Torchy McNeil who hasn't seen a woman in 16 months. He and four buddies are just back from digging trenches for defense in the Aleutian Islands. And Sonny and Margie are engaged and about to be married. Or, so they think. But, when Navy Lt. Briggs is sent on the mission to get the largest bottle of champagne in the city to launch the new aircraft carrier the next day, the lives of all three - and some more, will change forever.

Adding much to the humor these three provide are James Gleason as Capt. Hornby, Constance Dowling as Rita Sloane, and Percy Kilbride (of "Ma and Pa Kettle") as Papa Dawson. McBride alone had me roaring with laughter when he goes to Margie's hotel room and finds Torchy there. Another long pause, restart, pause, rewind, and restart for the laughter in that long scene.

This film did okay at the box office in a year with many very good films, including 24 comedy romances. Veterans, real movie buffs, seniors and people who enjoy laughter should especially like this film.

Here are some favorite lines.

Capt. Hornby, "You're a good man at sea, Briggs. It wouldn't surprise me if you were a Lt. Commander soon." Lt. Dudley Briggs, "Really, sir?" Capt. Hornby, "Well, in another year, maybe. No need to rush things." Briggs, "Yeah. Yes, sir. Thank you, sir."

Capt. Hornby, "Oh, yes, San Diego. Blonde or brunette?" Lt. Briggs, "Red head, sir."

Capt. Hornby, "Well, take a tip from a man whose been through many a maneuver. Hold your fire until you get in close." Lt Briggs, "Yes, sir."

Lt. Torchy McNeil, "Aw, gee, Margie, I'm sorry. But what could I do? All of a sudden she saw me and before I knew what was happenin' she kissed me." Margie Dawson, "She kissed you? Right on her lips with your helpless mouth?"

Mr. Dawson, "I'll help the Navy but Margie's a different war."

Lt. Briggs, "Mr. Dawson, she's got to launch that carrier with the magnum. She's got to." Mr. Dawson, "Well, I could spank her, but at her age I think she'd like it better from you."

The road trip films of Bing Crosby and Bob Hope had two aspects about them that dated them terribly and thus didn't contribute to their longevity. The first was frequent references - often ad-libbed outside of the script, to trivia or other forgetful things. These might be a name, incident, news item, or anything that someone 10 years later would never have heard of or would have completely forgotten. So, it might be funny at that moment, but it is short-lived humor. So that years later, it would be meaningless and therefore not funny to people. The second thing was an occasional aside by one of the stars who would talk directly to the camera and audience. Those may have been somewhat funny to audiences at the time, but they sure are spoilers for people getting into the plot of a movie.

"Road to Bali" has some very good comic moments, mostly when the duo are doing a song and dance routine. The plot for this film is wackier than most, and that makes for some of the amusement. I like that this road picture was made in color, even though our first TVs were black and white in the 1950s. The several cameos might have been a plus in 1952, but to audiences of the future most may not even be known.

This film did well at the box office - finishing in 17th place for the year with $8.3 million in ticket sales, and then adding some more in early 1953. Many of the gags and quips are dated or are barbs at one another of the leads. Funny then, but not so much over time when Crosby and Hope were no longer around, in the news or on the air. The lasting value of this and all the road movies is mostly in seeing the fun and often funny routines the two entertainers had together.

An interesting aside with this film was the truckloads of sand that Hope got form the movie set after filming. The sand was hauled to his home and used to fill the sand traps around his small backyard golf course.

Contrary to some Internet sites, this movie was shot solely at Paramount's Hollywood studios and at the Iverson Ranch in California. The short scenes of Australia and Bali were clips taken from other films and edited in as is a usual practice in filmmaking. People interested in old movies especially, and who want information about them, would do well to trust the Internet Movie Database - this IMDb Web site, for the most accurate information.

Other reviewers give some background on the segregated movie industry in the U. S. In the very early years of cinema there were independent studios and theaters that made movies with African-Americans for African-Americans. "The Duke is Tops" is one of those films. It's too bad that the production quality of this film is so poor. With Lena Horne's debut on the silver screen, there was some great talent to be showcased here. Thankfully, within a few years, major studios (MGM, 20th Century Fox, and others) began to showcase talented African-Americans in movies. And in time, feature films would be made about African-Americans.

Lena Horne and the Berry Brothers had great song and dance scenes in "Panama Hattie" of 1942. And "Cabin in the Sky" of 1943 was a box office hit with an all African-American cast. It showcased the great talents of Lena Horne, Ethel Waters, Duke Ellington and his band, Eddie "Rochester" Anderson, Louis Armstrong and more. These and many more talented African-American actors and entertainers would go on to make countless movies from then on.

If the scripts of their radio shows were anything like the dialog in this film, it's not hard to see why Ben Lyon and Bebe Daniels were so popular in England before and the after World War II. "The Lyons in Paris," aka "Abroad," is a truly wacky, hilarious, frantic and far out screwball comedy. And their daughter, Barabara, and adopted son, Richard, are part of this great comedy, as are a couple of the staple characters from their radio show. Horace Percival plays Mr. (Horace) Wimple, and Gwen Lewis plays Mrs. (Winona) Wimple.

What comes to mind in watching this movie was the "I Love Lucy" TV series that ran in the early to mid-1950s in America. But the Lyons even went more overboard than that. Lucy was mostly a one-person, one-woman comedy - it all revolved around her. Not so with the Lyon's. Both Ben and Bebe were deep into the comedy throughout, and when they weren't, it was their neighbors and friends, and later, the kids. Pretty soon, the Lyons seemed somewhat like the Marx Brothers, and at times like the Three Stooges or Laurel and Hardy.

And, as if their own group isn't wacky and funny enough all by itself, when they finally get to Paris more far out comedy is in store. Barbara meets a man on the ferry across the channel - well, Charles is a disheveled man who comes onto her as an artist. So, she's smitten by him and looks forward to seeing him in Paris. That leads to one night of rollicking laughter as the family and friends are treated to the Parisian hippies response to the decadent bourgeois.

Well, this is one very funny film. I have always loved British comedy and the English sense of humor. And I wonder if the radio and then TV shows of the Lyons didn't have some effect on that later original British comedy created and introduced by the Monty Python group. Surely, the style of the latter was quite distinct and original,. But, might not the brazenness, loud, and outlandish comedy of the Lyons' and their type in America be the push on the envelope that goaded some latent but bubbling explosion of comic talent to come out? I'm not saying it was or did - but isn't it possible that there was some sort of influence?

This is a wonderful comedy for many laughs. The American Lyon's, from England, on vacation in Paris. With their friends, the Wimples, for good measure. What a hoot. Here are some favorite lines from this film.

Barbara Lyon, "You've been married 26 years and you're so satisfied, aren't you?" Horace Wimple, "Yes. I've had enough."

Richard Lyon, "Do you follow me?" Horace Wimple, "I was with you until you started talking, and then it became very confusing."

Bebe Daniels, "Take off your glasses and fight." Ben Lyon, "I'm not wearing glasses." Bebe, "That's another of your underhanded tricks. Put up your dukes."

Horace Wimple, "Wilomena, my love." Mrs. Wimple, "Oh, ho! So you wanna start an argument.!"

Mrs. Wimple, "You might as well admit it. You're just tired of me." Horace Wimple, "Oh, no, my little scarlet pimpernel. You have everything a man desires. Broad shoulders... muscles... and a mustache."

Bebe Daniels, "Young man, young man! You needn't speak French. We all understand English perfectly."

Charles invites everyone to dinner at the Left Bank Club. "There we can see the existentialists and listen to beautiful sad songs about the futility of life." Ben Lyon, "Well, that'll be fun."

Ben, "I'll call a taxi." Charles, "Taxi? Pah! Are you so decadent you can't walk?"

Ben, "Well, why don't we all go out and shoot ourselves, and have a good laugh?"

Charles, "I like your face. It makes me suffer." Mrs. Wimple, "Horace, did you hear what he said?" Horace Wimple, "Yes, my love. How dare you say my wife's face makes you suffer." Charles, "But it does." Horace, "Well, suffer in silence like I do."

Capt. Le Grand, reading a note that Richard and Barbara had written to Fifi le Fleur, his wife, "It is written in French, but it says the most peculiar things . My sweetheart. My dear little cabbage head. I long to see you again. Your teeth are beautiful. And I would like half a dozen delivered to the tradesmen's entrance." Fifi, "But what does it mean? Capt. Le Grand, "You know what it means - it is a lover's code."

Ben, "Stay holding me back." Horace Wimple, "I'm not holding you back." Ben, "Well, you should be. What kind of a second are you?"