When LI'L ABNER was made, in 1940, Al Capp's comic strip of the same name was one of the U.S.'s favorites, with his hayseed creation finding himself in one jam after the other, without trying at all. A story by Capp is the foundation for this film, which holds a unique spot in cinema history, as it is the only attempt to precisely recreate comic illustration, utilizing makeup, costumes and exact phrasing (without interpretation). The plot and subplots generally revolve about the annual Sadie Hawkins Day celebration in Dogpatch, which presents area females with just about their only opportunity to catch a husband, by literally running down and snaring one of the town's fleeing bachelors. For those who remember the silent film era, this effort provides small roles for many pre-talkie stalwarts, including Buster Keaton, Edgar Kennedy, Chester Conklin, Al St. John, Lucien Littlefield, Hank Mann and Edward Brady. At times very reminiscent of Capp's drawing, the very tall Jeff York, billed as Granville Owen, is effective as Abner. Martha O'Driscoll, Kay Sutton and Billie Seward, as the three women most vigorously seeking marriage with Abner, do their hearty best with the thin scenario. More silly than cute, this picture is not marked by outstanding work from cast and crew, its significance coming only from the mentioned verisimilitude.
16 Reviews
LI’L ABNER (Albert S. Rogell, 1940) **
Bunuel19764 October 2008
I came across the budget DVD of this one some time back though I never got around to renting it, not so much because of, say, Leonard Maltin’s lowly opinion but rather the unavailability of the later and better-known musical version from 1959. Consequently, I’d previously been interested in it more as a Buster Keaton film (in fact, many a Silent comedian make an appearance here) than as an adaptation of the Al Capp comic strip – but, having now found the latter as well, I decided to make it a double-bill! In retrospect, Keaton’s role is minor (playing the Indian Lonesome Polecat who has a long-haired and eyeless giant for a sidekick) despite the ballyhoo regarding his presence on the DVD front cover.
Still, despite its intrinsic cornball nature, the film proved less oppressive than I had anticipated: being a low-budget production and a brief 73 minutes in length, the plot (as seen in the musical version) has been considerably streamlined – focusing solely on the Sadie Hawkins’ Day race (where the unwedded females of Dogpatch pursue the community’s eligible bachelors) and the character of the villainous Earthquake McGoon. Even so, the piece’s essence is already there – including the unexpected earthiness of the girls; it goes without saying, however, that the later film is the more satisfactory rendition of LI’L ABNER.
Still, despite its intrinsic cornball nature, the film proved less oppressive than I had anticipated: being a low-budget production and a brief 73 minutes in length, the plot (as seen in the musical version) has been considerably streamlined – focusing solely on the Sadie Hawkins’ Day race (where the unwedded females of Dogpatch pursue the community’s eligible bachelors) and the character of the villainous Earthquake McGoon. Even so, the piece’s essence is already there – including the unexpected earthiness of the girls; it goes without saying, however, that the later film is the more satisfactory rendition of LI’L ABNER.
Not much of a try, though it's slightly more bearable if you get the references
sno-smari-m20 August 2010
Warning: Spoilers
By the time LI'L ABNER went into production, Al Capp's comic strip of the same name had been running for about six years and was well on its way of becoming a household name. Even so, the idea of putting Dogpatch to life on the silver screen was not as inevitable as one might think. While other popular comic strips of the day had made it to Hollywood already (Blondie, Bringing Up Father and The Katzenjammer Kids being some examples), the task of transforming real-life actors into representatives of the slightly grotesque Dogpatch-universe obviously was of another level. However, from a visual point of view the result is reasonably successful; it truly looks as if we've been granted a visit into the authentic li'l town. On other points, however, the film is hit-and-miss; mostly the latter.
Capp himself is given credit as story writer, although his actual contributions to the script may have been sparse. However, on the surface the premise resembles a typical Li'l Abner daily-strip adventure of the time. Abner thinks he's poisoned after eating some old, no-good mustard, and is determined to do a last good deed by "making love" to Daisy Mae, who adores him as much as ever ("making love" in Dogpatch is, of course, another term for kissing). As it turns out, Abner awakens "not daid" after all, very much to his dismay, as he's promised to marry no less than two girls the following noon (one being Daisy). It is decided that Abner is henceforth "resarved" for Daisy and the other girl in the upcoming Sadie Hawkins Day Race...may the best girl win.
It's apparent that the film's director, Albert Rogell, understood the importance of transforming Capp's character designs onto the silver screen through the actors, in order to make this project reasonably credible; it also seems likely that actors Jeff York (Abner, billed as Granville Owen), Martha O'Driscoll (Daisy Mae), Mona Ray (Pansy Yokum), Johnnie Morris (Lucifer Yokum) and the rest of the principal performers did their share of research on beforehand. The make-up alone does not make the resemblance; facial expressions, timing and over-the-top voices are all of a very "Dogpatchesque" kind, in lack of a better word. A special mention also goes to former giant of silent comedy Buster Keaton as Lonesome Polecat, a performance which seems to be directly responsible for this film being so easily accessible on the video market today.
However, despite the visually successful incarnations, LI'L ABNER does essentially remain a curiosity piece, certainly of most amusement to people well acquainted with the many references from Capp's strip. And it's not a guarantee that even viewers familiar with the strip will find all that much merriment here. The first time I watched it, now several years ago, I had only read a little of the strip, making this film a rather confusing (not amoozin') experience. However, since then I've become a Li'l Abner die-hard, so when I gave Columbia's adaptation another try recently, it turned out more comprehensible, and maybe slightly more enjoyable. People giving the film a try just for the sake of Keaton's performance, like I did at first, will hardly see more in it than a bizarre B-film comedy without much sense. It doesn't help matters that the direction appears like a rush-job on some instances, and furthermore that the prints currently in circulation are in less than neat condition; the last shot in the film is confusing, and in fact I suspect that a scene is missing. The script is equally indifferent; none of Capp's satirical talent has been incorporated, and the humor generally relies on rather obvious gags and punch-lines, though on some occasions it may be fun to recognize the odd traits and phrases of the main characters.
Capp is said to have been quite disappointed with the film, and understandably so. Apart from a few equally forgettable animated shorts, nearly twenty years would pass before Li'l Abner was brought onto the silver screen again (this time somewhat more satisfyingly). As for this 1940-version, as a curiosity-piece it's worth checking out to die-hard fans of the strip, but newcomers should spend their time hunting for re-printings of the strip instead.
Capp himself is given credit as story writer, although his actual contributions to the script may have been sparse. However, on the surface the premise resembles a typical Li'l Abner daily-strip adventure of the time. Abner thinks he's poisoned after eating some old, no-good mustard, and is determined to do a last good deed by "making love" to Daisy Mae, who adores him as much as ever ("making love" in Dogpatch is, of course, another term for kissing). As it turns out, Abner awakens "not daid" after all, very much to his dismay, as he's promised to marry no less than two girls the following noon (one being Daisy). It is decided that Abner is henceforth "resarved" for Daisy and the other girl in the upcoming Sadie Hawkins Day Race...may the best girl win.
It's apparent that the film's director, Albert Rogell, understood the importance of transforming Capp's character designs onto the silver screen through the actors, in order to make this project reasonably credible; it also seems likely that actors Jeff York (Abner, billed as Granville Owen), Martha O'Driscoll (Daisy Mae), Mona Ray (Pansy Yokum), Johnnie Morris (Lucifer Yokum) and the rest of the principal performers did their share of research on beforehand. The make-up alone does not make the resemblance; facial expressions, timing and over-the-top voices are all of a very "Dogpatchesque" kind, in lack of a better word. A special mention also goes to former giant of silent comedy Buster Keaton as Lonesome Polecat, a performance which seems to be directly responsible for this film being so easily accessible on the video market today.
However, despite the visually successful incarnations, LI'L ABNER does essentially remain a curiosity piece, certainly of most amusement to people well acquainted with the many references from Capp's strip. And it's not a guarantee that even viewers familiar with the strip will find all that much merriment here. The first time I watched it, now several years ago, I had only read a little of the strip, making this film a rather confusing (not amoozin') experience. However, since then I've become a Li'l Abner die-hard, so when I gave Columbia's adaptation another try recently, it turned out more comprehensible, and maybe slightly more enjoyable. People giving the film a try just for the sake of Keaton's performance, like I did at first, will hardly see more in it than a bizarre B-film comedy without much sense. It doesn't help matters that the direction appears like a rush-job on some instances, and furthermore that the prints currently in circulation are in less than neat condition; the last shot in the film is confusing, and in fact I suspect that a scene is missing. The script is equally indifferent; none of Capp's satirical talent has been incorporated, and the humor generally relies on rather obvious gags and punch-lines, though on some occasions it may be fun to recognize the odd traits and phrases of the main characters.
Capp is said to have been quite disappointed with the film, and understandably so. Apart from a few equally forgettable animated shorts, nearly twenty years would pass before Li'l Abner was brought onto the silver screen again (this time somewhat more satisfyingly). As for this 1940-version, as a curiosity-piece it's worth checking out to die-hard fans of the strip, but newcomers should spend their time hunting for re-printings of the strip instead.
Not a classic, but not bad either
kitchent5 December 2004
OK, so this is as hokey as they come, but really sort of enjoyable. Jeff York as Li'l Abner is good, and Martha O'Driscoll as Daisy Mae is beautiful, so how can you go wrong?
This film spends about the first 30 minutes establishing the locations and characters, and the final 43 minutes resolving the (thin) plot structure that revolves around both a Sadie Hawkins day race and Earthquake McGoon's capture and subsequent escape. The final 10 minutes are really fast paced with Wendy Wildcat and Daisy chasing after poor L'il Abner as he attempts to evade marriage.
Hey, not a classic, but not bad either.
This film spends about the first 30 minutes establishing the locations and characters, and the final 43 minutes resolving the (thin) plot structure that revolves around both a Sadie Hawkins day race and Earthquake McGoon's capture and subsequent escape. The final 10 minutes are really fast paced with Wendy Wildcat and Daisy chasing after poor L'il Abner as he attempts to evade marriage.
Hey, not a classic, but not bad either.
Dismissable
gftbiloxi16 April 2005
Al Capp's cartoon strip was so satirically acidic that he was constantly being threatened with suit by the public figures he parodied--and at least one, Joan Baez, actually took him to court. But viewers needn't expect much of Capp's celebrated wit in this 1940 cinematic take on the much-celebrated residents of Dogpatch, USA; more silly than clever and more embarrassing than entertaining, L'IL ABNER has been justly neglected for more than a half a century.
Still, it does have a few charms, and most of these are among the cast. Director Albert S. Rogell was a workhorse of the silent era, and the film is crammed to overflowing with a host of silent actors taking one more shot at fame--with the great Buster Keaton the most celebrated name on the roster. Sad to say, they are largely wasted, but we're at least given a chance to see them once more, a decade after their stars faded.
The most successful members of the cast are actually the younger players, with Jeff York (billed as Granville Owen) unexpectedly effective in actually looking the part of L'il Abner himself. Martha O'Driscoll is merely acceptable as Daisy Mae, but Billie Seward strikes all the right notes as the man-hungry Cousin Delightful. And now and then a moment "pops" enough for you to see a little of what made Capp's concepts so wickedly funny.
The plot is standard Capp, but it lacks Capp's bite: Daisy Mae loves Abner, Cousin Delightful wants him for herself, and Abner prefers pork chops. In terms of production values, the film was very obviously done on the cheap, and Rogell's direction is hardly inspired: not only is the camera static, the pace is positively leaden. Fans of the original strip will probably find it a guilty pleasure, but even they will likely admit that this is Al Capp with both fangs pulled.
Gary F. Taylor, aka GFT, Amazon Reviewer
Still, it does have a few charms, and most of these are among the cast. Director Albert S. Rogell was a workhorse of the silent era, and the film is crammed to overflowing with a host of silent actors taking one more shot at fame--with the great Buster Keaton the most celebrated name on the roster. Sad to say, they are largely wasted, but we're at least given a chance to see them once more, a decade after their stars faded.
The most successful members of the cast are actually the younger players, with Jeff York (billed as Granville Owen) unexpectedly effective in actually looking the part of L'il Abner himself. Martha O'Driscoll is merely acceptable as Daisy Mae, but Billie Seward strikes all the right notes as the man-hungry Cousin Delightful. And now and then a moment "pops" enough for you to see a little of what made Capp's concepts so wickedly funny.
The plot is standard Capp, but it lacks Capp's bite: Daisy Mae loves Abner, Cousin Delightful wants him for herself, and Abner prefers pork chops. In terms of production values, the film was very obviously done on the cheap, and Rogell's direction is hardly inspired: not only is the camera static, the pace is positively leaden. Fans of the original strip will probably find it a guilty pleasure, but even they will likely admit that this is Al Capp with both fangs pulled.
Gary F. Taylor, aka GFT, Amazon Reviewer
Not as Bad as You'd Think
arfdawg-129 January 2017
The Plot.
Li'l Abner becomes convinced that he is going to die within twenty-four hours, so agrees to marry two different girls: Daisy Mae (who has chased him for years) and Wendy Wilecat (who rescued him from an angry mob).
It is all settled at the Sadie Hawkins Day race.
The movie isn't as bad as some reviewers say. It's actually somewhat interesting to see the first renderings of some of these characters.
A few giggles here and there and a notable appearance of Buster Keaton as Lonesome Polecat.
Li'l Abner becomes convinced that he is going to die within twenty-four hours, so agrees to marry two different girls: Daisy Mae (who has chased him for years) and Wendy Wilecat (who rescued him from an angry mob).
It is all settled at the Sadie Hawkins Day race.
The movie isn't as bad as some reviewers say. It's actually somewhat interesting to see the first renderings of some of these characters.
A few giggles here and there and a notable appearance of Buster Keaton as Lonesome Polecat.
A one-joke film....and the joke wears awfully thin.
planktonrules5 July 2009
I am sure that nowadays the Li'l Abner comic strip loses a lot in translation. Its popularity over the years is one of those things that people today can't really understand. So, from the outset this weird little film has a big strike against it--especially because, by comparison, "The Beverly Hillbillies" is downright sophisticated.
The film is set in the rustic village of Dogpatch--home of Li'l Abner and his kin. Oddly, Abner himself and his determined love interest, Daisy Mae, look relatively normal despite their clothes. But, as for most of the other major characters, they are, to put it bluntly, a group of freaks. Underneath tons of makeup and prosthetics, his parents and a few of the townsfolk look more like extras from the movie FREAKS than anything else! It's all rather creepy and comical. Sure, they did look a lot like the comic strip characters as well, but they just made me feel a bit repulsed.
As for the film, there's a threadbare plot about Daisy Mae and Wendy Wilecat both wanting to get hitched to Abner. However, this plot doesn't even begin until late in the film. Instead, it's just a series of "comical" vignettes--most of which were never funny and only a few of which the audience might have laughed at in 1940. It's all rather sad seeing actors like Buster Keaton stuck in supporting roles, though for some of the old-time silent comedians (such as Chester Conklin and Al St. John), they are buried under so much makeup, wigs and prosthetics that you can't tell it's them--something I assume they felt grateful for when the film debuted.
Overall, a one-joke film that is creepy and hard to watch from start to finish. The only positive value you might have is to use it to insult Southerners (and in particular, people from Arkansas and Tennessee)--but that would seem awfully cruel...unless you really, really hate them.
The film is set in the rustic village of Dogpatch--home of Li'l Abner and his kin. Oddly, Abner himself and his determined love interest, Daisy Mae, look relatively normal despite their clothes. But, as for most of the other major characters, they are, to put it bluntly, a group of freaks. Underneath tons of makeup and prosthetics, his parents and a few of the townsfolk look more like extras from the movie FREAKS than anything else! It's all rather creepy and comical. Sure, they did look a lot like the comic strip characters as well, but they just made me feel a bit repulsed.
As for the film, there's a threadbare plot about Daisy Mae and Wendy Wilecat both wanting to get hitched to Abner. However, this plot doesn't even begin until late in the film. Instead, it's just a series of "comical" vignettes--most of which were never funny and only a few of which the audience might have laughed at in 1940. It's all rather sad seeing actors like Buster Keaton stuck in supporting roles, though for some of the old-time silent comedians (such as Chester Conklin and Al St. John), they are buried under so much makeup, wigs and prosthetics that you can't tell it's them--something I assume they felt grateful for when the film debuted.
Overall, a one-joke film that is creepy and hard to watch from start to finish. The only positive value you might have is to use it to insult Southerners (and in particular, people from Arkansas and Tennessee)--but that would seem awfully cruel...unless you really, really hate them.
Li'l Abner-this first filmed version-was amusing in spots if not overall
tavm27 January 2015
I had the DVD of this version of Al Capp's comic strip for years but it's only been now that I even bothered to watch it. The reason was because since I've been reviewing the Our Gang shorts-and films outside the series featuring at least one member from the series in it-in chronological order, this was next on the list. In this case, former member Mickey Daniels has a cameo in which he does his famous laugh. I also found out that a few supporting characters from various eps of the series are also in this movie like Johnny Arthur (Spanky's father in Anniversary Trouble, Darla's father in Night 'n' Gales and Feed 'Em and Weep), Hank Mann (Drunk worker at train station in Alfalfa's Double, Butch's father in Bubbling Troubles), Marie Blake (Butch's mother in Practical Jokers, the title role in Alfalfa's Aunt), and Edgar Kennedy (the cop in various OG shorts that starred Jackie Cooper). Of them all, only Kennedy was funny enough to me. There's some amusing sound effects and some pretty good visual gags and silent comedian Buster Keaton wasn't too bad with what he was given. In summary, this version of Li'l Abner was okay as entertainment.
Plain awful!
JohnHowardReid12 April 2018
Warning: Spoilers
Copyright 1 November 1940 by Vogue Pictures, Ltd. No New York opening. U.S. release through RKO Radio Pictures: 1 November 1940. Never released in Australia, either theatrically or on television. 78 minutes.
U.K. release title: TROUBLE CHASER.
SYNOPSIS: Suffering a bout of indigestion after eating a Dagwood Bumstead sandwich, Li'l Abner is told by a mischievous barber that he has only 24 hours to live.
NOTES: The plot of this one bears little relationship to the 1959 Paramount musical which was based on the very successful 1956 Broadway play.
COMMENT: Here's a movie that fully deserved its poor reputation. In fact it's plain awful in just about every way. That's a pity because the producer had at least one worthwhile idea. By handing out parts to old-time comedians like Buster Keaton and Chester Conklin in theory he should have gladdened the hearts of picturegoers worldwide. Unfortunately, the witless script lets them down.
In fact, aside from the decorative Martha O'Driscoll, the only featured player to give an attractive performance is Walter Catlett. I suspect he wrote his lines himself. Certainly he delivers them with a panache and style that serves to point up the amateurishness and signal lack of talent of most of the other players. I could go through the cast list awarding dishonorable mentions right and left, but it's most simpler to list those few such as Kay Sutton and Dick Elliott who are halfway competent. Indeed the introduction to Kay Sutton with the camera zeroing in on her eyes is just about the only touch of genuine flair the direction displays throughout.
Fortunately the producer extended his love for the veteran slapstick comedians to the silent period generally, for he has given a job to Herman Raymaker, a successful director of the mid-twenties (e.g. the Rin-Tin-Tin feature, The Night Cry), who was forced into an early retirement a few years after the coming of sound (one of his last films, Trailing the Killer, made in 1932, starred Heinie Conklin who has a small part here). Raymaker directed the Walter Catlett scene as well as the climactic Sadie Hawkins Day race - and maybe even the Skunk Hollow chase as well. These scenes are certainly livelier than the rest of this tediously disappointing, elephantine movie. Hard to believe the waffley, non-satiric, schoolboyish story came from the pen of Al Capp himself. How could he disappoint his fans with such limpid tosh?
U.K. release title: TROUBLE CHASER.
SYNOPSIS: Suffering a bout of indigestion after eating a Dagwood Bumstead sandwich, Li'l Abner is told by a mischievous barber that he has only 24 hours to live.
NOTES: The plot of this one bears little relationship to the 1959 Paramount musical which was based on the very successful 1956 Broadway play.
COMMENT: Here's a movie that fully deserved its poor reputation. In fact it's plain awful in just about every way. That's a pity because the producer had at least one worthwhile idea. By handing out parts to old-time comedians like Buster Keaton and Chester Conklin in theory he should have gladdened the hearts of picturegoers worldwide. Unfortunately, the witless script lets them down.
In fact, aside from the decorative Martha O'Driscoll, the only featured player to give an attractive performance is Walter Catlett. I suspect he wrote his lines himself. Certainly he delivers them with a panache and style that serves to point up the amateurishness and signal lack of talent of most of the other players. I could go through the cast list awarding dishonorable mentions right and left, but it's most simpler to list those few such as Kay Sutton and Dick Elliott who are halfway competent. Indeed the introduction to Kay Sutton with the camera zeroing in on her eyes is just about the only touch of genuine flair the direction displays throughout.
Fortunately the producer extended his love for the veteran slapstick comedians to the silent period generally, for he has given a job to Herman Raymaker, a successful director of the mid-twenties (e.g. the Rin-Tin-Tin feature, The Night Cry), who was forced into an early retirement a few years after the coming of sound (one of his last films, Trailing the Killer, made in 1932, starred Heinie Conklin who has a small part here). Raymaker directed the Walter Catlett scene as well as the climactic Sadie Hawkins Day race - and maybe even the Skunk Hollow chase as well. These scenes are certainly livelier than the rest of this tediously disappointing, elephantine movie. Hard to believe the waffley, non-satiric, schoolboyish story came from the pen of Al Capp himself. How could he disappoint his fans with such limpid tosh?
For the most part, Pretty Fun
dallasryan3 October 2017
This version of Li'l Abner brings you back to the roots of how some of the films were done at this time and how the screwball comedy was at this time i.e. Bringing Up Baby, etc.
Li'l Abner will bring a smile to your face and there will be some good laughs along the way. Not the best of films, but definitely a fun one to see and to bring you back to the roots of what some films were like during this period.
Worth seeing once for the enjoyment and nostalgia. Watch for Buster Keaton in his small role too.
Li'l Abner will bring a smile to your face and there will be some good laughs along the way. Not the best of films, but definitely a fun one to see and to bring you back to the roots of what some films were like during this period.
Worth seeing once for the enjoyment and nostalgia. Watch for Buster Keaton in his small role too.
Busted Flat in Dogpatch
wes-connors14 June 2012
In rural Dogpatch, most eligible young women want to marry hunky Jeff York (as Li'l Abner). Curly blonde Martha O'Driscoll (as Daisy Mae) tries to arouse Mr. York with cleavage and a twisted ankle, but York doesn't want to get hitched. When a phony doctor gives him 24 hours to live, he reconsiders. Also turned on by dark-haired Kay Sutton (as Wendy Wilecat), York eventually finds himself engaged to both women. Based on Al Capp comic strip, this version of "Li'l Abner" is flat and uninspired. It does have an interesting cast of veterans, though, including Buster Keaton (as Lonesome Polecat) doing his stone-faced Indian schtick.
*** Li'l Abner (11/1/40) Albert S. Rogell ~ Jeff York, Martha O'Driscoll, Buster Keaton, Maude Eburne
*** Li'l Abner (11/1/40) Albert S. Rogell ~ Jeff York, Martha O'Driscoll, Buster Keaton, Maude Eburne
a favorite
allegria_joy18 January 2005
I grew up on this one, and it's one of the few that my family still agrees on as being hilarious and worthwhile.
It's about a bunch of wonderfully stereotypical mountain people. The hero is Li'l Abner, a strapping big young man who eats "pork chops for' breakfast, pork chops for' dinner, and for' supper, mo' pork chops." To quote the opening song, "He's the biggest catch in Dog Patch." The entire plot revolves around the impending Sadie Hawkins race where eligible gals chase eligible guys to win husbands.
The characters are what make it worth watching - Mammy Yokum, who stands about 4'7" and has a potato shaped nose and rules all with her inexorable will; Pappy Yokum, whose memory is balder than his bald head and who lives his life in happily forgetful delirium, punctuated by moments of terror brought on by his wife; Hairless Joe, who's basically just big and loud and stupid; Lonesome Polecat (brilliantly played by Buster Keaton), who's basically just weird and small and stupid; and several more. Not quite as quotable as some of the cult classics, but my dad and I regularly allude to some of the lines - "Look - it's Granny!" "I'se a-comin, Pansy, I'se awake!" Give this one a chance. It's somewhat slow, but worth it.
It's about a bunch of wonderfully stereotypical mountain people. The hero is Li'l Abner, a strapping big young man who eats "pork chops for' breakfast, pork chops for' dinner, and for' supper, mo' pork chops." To quote the opening song, "He's the biggest catch in Dog Patch." The entire plot revolves around the impending Sadie Hawkins race where eligible gals chase eligible guys to win husbands.
The characters are what make it worth watching - Mammy Yokum, who stands about 4'7" and has a potato shaped nose and rules all with her inexorable will; Pappy Yokum, whose memory is balder than his bald head and who lives his life in happily forgetful delirium, punctuated by moments of terror brought on by his wife; Hairless Joe, who's basically just big and loud and stupid; Lonesome Polecat (brilliantly played by Buster Keaton), who's basically just weird and small and stupid; and several more. Not quite as quotable as some of the cult classics, but my dad and I regularly allude to some of the lines - "Look - it's Granny!" "I'se a-comin, Pansy, I'se awake!" Give this one a chance. It's somewhat slow, but worth it.
If I had my druthers, this would be buried in the Dogpatch.
mark.waltz4 February 2022
Warning: Spoilers
A hideously ugly, unbelievable cheap version of Al Capp's popular comic strip, this one needs to be seen to be believed as to how hideous it is. Jeff York and Martha O'Driscoll look normal as Abner and Daisy Mae, as do a few other characters, but for the most part, the ensemble is ridiculously scary looking, almost like claymation figures, as the other residents of Dogpatch USA. Johnnie Morris as Pappy Yokum and Mona Ray as Mammy Yokum, look like they've literally just crawled out of the swamp, abd other characters not caring too much better. Kay Sutton appears to just have stepped out of a studio Salon, not looking at all appropriate with her fancy modern hairdo and fully made up face. Talented comedians are wasted and given ridiculous dialogue, and the situations are absurd beyond belief. This is definitely D grade in every way with the legendary Buster Keaton particularly degraded by this.
Those are only familiar with the comic strip through the movie version of the successful 1956 Broadway musical will look at this and wonder how this even got released. Such fine comic performers as Maude Eburne, Edgar Kennedy, Mickey Daniels, Chester Conklin and Doodles Weaver seem either completely embarrassed over it all, or go completely over the top, simply as a way of just getting through it. There is nothing salvageable in this that hasn't been helped by the fact that prints in general are awful. Unfunny and badly cliched, an afront to the genius of Capp, the intelligence of the audience as well as the residents of the Appalachians.
Those are only familiar with the comic strip through the movie version of the successful 1956 Broadway musical will look at this and wonder how this even got released. Such fine comic performers as Maude Eburne, Edgar Kennedy, Mickey Daniels, Chester Conklin and Doodles Weaver seem either completely embarrassed over it all, or go completely over the top, simply as a way of just getting through it. There is nothing salvageable in this that hasn't been helped by the fact that prints in general are awful. Unfunny and badly cliched, an afront to the genius of Capp, the intelligence of the audience as well as the residents of the Appalachians.
Wasnt That Bad
richard.fuller120 June 2004
In comparison to the 1959 musical, this non-musical 1940 version seemed closer to the comic strip in ways the musical missed.
There was more of a feeling of shut-off from society in the 1940 film. Granville Owen was far better than Peter Palmer in '59.
Mammy bathing Pappy Yokum is a scene to behold all on its own. Granted the performers probably didn't need the makeup tho, as Granny Scragg did indeed make for a memorable character with no facial makeup.
Always nice to see Buster Keaton.
The very first person we would see was Daisy Mae (in bed, no less), so clearly there was supposed to be some launching of a screen beauty here.
This movie would make better use of the dregs of Dogpatch society, such as Fantastic Brown's wife saying it is time for his bath.
We also see Abijah Gooch (always liked that name) and Hannibal Hoops.
By far one of the best lines must be when Hairless Joe proclaims about the ten dollar reward for Earthquake McGoon, "ain't that much money in all tarnation!"
Peter Palmer may have been able to sing better, but Granville Owen got the character down much better.
The actor who portrayed Earthquake McGoon here would be the actual wrestler who inspired the character in the comic strip. Using the term 'actor' loosely, as he really didn't offer much of a performance.
This movie would have none of Capp's 'satirical humor' in it, but if the musical contained any of the strip's statements, it really didnt shine through there either.
There was more of a feeling of shut-off from society in the 1940 film. Granville Owen was far better than Peter Palmer in '59.
Mammy bathing Pappy Yokum is a scene to behold all on its own. Granted the performers probably didn't need the makeup tho, as Granny Scragg did indeed make for a memorable character with no facial makeup.
Always nice to see Buster Keaton.
The very first person we would see was Daisy Mae (in bed, no less), so clearly there was supposed to be some launching of a screen beauty here.
This movie would make better use of the dregs of Dogpatch society, such as Fantastic Brown's wife saying it is time for his bath.
We also see Abijah Gooch (always liked that name) and Hannibal Hoops.
By far one of the best lines must be when Hairless Joe proclaims about the ten dollar reward for Earthquake McGoon, "ain't that much money in all tarnation!"
Peter Palmer may have been able to sing better, but Granville Owen got the character down much better.
The actor who portrayed Earthquake McGoon here would be the actual wrestler who inspired the character in the comic strip. Using the term 'actor' loosely, as he really didn't offer much of a performance.
This movie would have none of Capp's 'satirical humor' in it, but if the musical contained any of the strip's statements, it really didnt shine through there either.
Smooth, Cool, Hip, Well Paced Comedy
jayraskin128 December 2004
I was pleasantly surprised watching this comedy for a number of reasons. First, it was not as low budget and amateurish as I expected. It was actually a quite respectable B movie with make-up, sets, stunts and camera-work that matched the level of W.C. Fields and Laurel and Hardy features of the time.
Second, Buster Keaton's short role prefigured the third banana roles he would play in the American International Beach Movies of the 1960's. His on-screen time is less than five minutes, still, I suspect he had a lot more to do with the production of the movie than his bit part would indicate. The gags have a Keatonesque quality. For example the ending scenes of the women chasing men are reminiscent of the ending scenes in his "Seven Chances." The world of Dogpatch has a self contained, parody of the intellectual world quality, as does many of the comedic worlds created by Keaton (See his "Three Ages" for example.
The humor in the movie foreshadows the hillbilly humor of the 1960's television series, "The Beverly Hillbillies." A recent Lucille Ball biog movie suggested that Keaton had played a major part in the success of the 1950's television series "I Love Lucy." If Keaton did play a role in designing some of the gags in this movie, one might suggest that Keaton was in some sense responsible for a great deal of the successful comedies of the 1950's and 1960's.
On the other hand, the producers might have hired them only because they liked his silent film work and he might not have had any input to the film other than his two or three days on set in his bit part. I wonder if anybody else has any information about the role Keaton played in this still charming movie.
Second, Buster Keaton's short role prefigured the third banana roles he would play in the American International Beach Movies of the 1960's. His on-screen time is less than five minutes, still, I suspect he had a lot more to do with the production of the movie than his bit part would indicate. The gags have a Keatonesque quality. For example the ending scenes of the women chasing men are reminiscent of the ending scenes in his "Seven Chances." The world of Dogpatch has a self contained, parody of the intellectual world quality, as does many of the comedic worlds created by Keaton (See his "Three Ages" for example.
The humor in the movie foreshadows the hillbilly humor of the 1960's television series, "The Beverly Hillbillies." A recent Lucille Ball biog movie suggested that Keaton had played a major part in the success of the 1950's television series "I Love Lucy." If Keaton did play a role in designing some of the gags in this movie, one might suggest that Keaton was in some sense responsible for a great deal of the successful comedies of the 1950's and 1960's.
On the other hand, the producers might have hired them only because they liked his silent film work and he might not have had any input to the film other than his two or three days on set in his bit part. I wonder if anybody else has any information about the role Keaton played in this still charming movie.
Kettle, Pot
tedg13 October 2006
Every urban culture has a myth about some primitive people that is essential to their identity. Often of course it is the original people that were displaced, and that's the most natural. The Nordic countries do it in this way. But that slot is filled in strange ways across the world. Brazil fills the spot in several ways, with natives, slaves, and the now relatively backwards Portugal being juggled.
In the US, we do something similar, though we handle our native Americans differently. We handle our guilt by overly romanticizing them, a role they eagerly accept. (Indeed, they have reinvented their history around this notion of nobility.) But we do have what everyone else has in this myth of a simple people. You can see this in movies, naturally, as movies are where we as a society mainly maintain our persistent myths these days.
So we have two types of movies that fit this. Blacks aren't allowed in this category. We handle them differently. Immigrants before the recent Hispanic wave of the 60s are particularly represented. The biggest recent example was "Big Fat Greek Wedding," which follows the rather strict model of embracing a sort of innocent stupidity while laughing at it. Its a sort of being in and being out at the same time.
And we have slight variant on this, something I'll call the hillbilly movie. This usually IS hillbillies, Clampets, or Ma and Pa Kettles. The purest form has them puzzled by shoes or plumbing fixtures. This movie is in that tradition.
Its a strange experience if you know the comic strip. That strip was highly political. It and "Pogo" were often the most intelligent things in US newspapers for decades. Al Capp was in a way the political opposite of Gary Trudeau who today does "Doonesbury," perhaps not as clever in narrative but very influential. The strip inspired the famous Lockheed skunkworks, which made secret spy stuff, the inspiration both in name and attitude.
If you know the history and the strip, you'd come to this expecting a deeply political and introspective thing. Instead, this snaps to the hillbilly model, except the characters have prosthetics and histories that resemble their drawn forms.
You might only want to watch this to see how easily movies embrace some of our cultural legacies and at the same time find it difficult to be insightful in useful ways.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
In the US, we do something similar, though we handle our native Americans differently. We handle our guilt by overly romanticizing them, a role they eagerly accept. (Indeed, they have reinvented their history around this notion of nobility.) But we do have what everyone else has in this myth of a simple people. You can see this in movies, naturally, as movies are where we as a society mainly maintain our persistent myths these days.
So we have two types of movies that fit this. Blacks aren't allowed in this category. We handle them differently. Immigrants before the recent Hispanic wave of the 60s are particularly represented. The biggest recent example was "Big Fat Greek Wedding," which follows the rather strict model of embracing a sort of innocent stupidity while laughing at it. Its a sort of being in and being out at the same time.
And we have slight variant on this, something I'll call the hillbilly movie. This usually IS hillbillies, Clampets, or Ma and Pa Kettles. The purest form has them puzzled by shoes or plumbing fixtures. This movie is in that tradition.
Its a strange experience if you know the comic strip. That strip was highly political. It and "Pogo" were often the most intelligent things in US newspapers for decades. Al Capp was in a way the political opposite of Gary Trudeau who today does "Doonesbury," perhaps not as clever in narrative but very influential. The strip inspired the famous Lockheed skunkworks, which made secret spy stuff, the inspiration both in name and attitude.
If you know the history and the strip, you'd come to this expecting a deeply political and introspective thing. Instead, this snaps to the hillbilly model, except the characters have prosthetics and histories that resemble their drawn forms.
You might only want to watch this to see how easily movies embrace some of our cultural legacies and at the same time find it difficult to be insightful in useful ways.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
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