The Old Fashioned Way

There will never be another W.C. Fields in the entertainment world. He was one of a kind, an original, and unique in his style of comedy. He never played sympathetic characters like his peer comedians like Charlie Chaplin, Buster Keaton, or Harold Lloyd. In this film, he plays the head of a traveling theater company. They stop in a small town where his daughter falls in love. He often plays father figures to the young women. In order for his show to succeed, he conned a local widow which I thought was wrong in how it ended up. The film is a comedy and sometimes light-hearted. W.C. Fields was a comic genius and one of the great old time performers and movie stars of his day. It's worth watching this film at least once to appreciate his comedic genius.

The Old Fashioned Way has W.C. Fields as the head of a troupe of strolling players who are just above the poverty level and Fields has to stay one step ahead of the law to dodge his many creditors. Part of that troupe is his daughter Judith Allen and she's got a young man played by Joe Morrison who wants to leave college and go on the stage in pursuit of her.

This is a period film and it goes back to the turn of the last century right about the time when a young juggler named W.C. Fields was going into vaudeville. The Old Fashioned Way offers us a rare treat to see Fields doing the juggling act which he started in show business with. I'm sure Fields drew from his experiences way back when to both write the original story on which the film is based and to give his usual good performance.

The film has a musical score of mostly old public domain standards, but the songwriting team of Mack Gordon and Harry Revel wrote a couple of original songs for the film. Gordon and Revel were with Paramount at the time, but would soon move to 20th Century Fox where they wrote a number of songs Alice Faye introduced. Morrison has a nice tenor voice and a pleasing, but somewhat limp personality. He does the best known song from the film, Poor Folk well with his tenor, but I have a bootleg radio recording of Russ Columbo doing it on one of his radio shows. Russ's baritone is far more suitable to the number than Morrison's tenor.

Still the show in this film is Fields and no one comes near stealing this film from him. Actress Jan Duggan plays the rich spinster who has stage ambitions and who Fields courts relentlessly, even putting himself through the torture of hearing her sing a really stupid song about gathering sea shells. Duggan would play Bill Fields's foil in several more film after The Old Fashioned Way.

Fans of the eternal Fields will like The Old Fashioned Way and if you see it you'll become a fan of W.C. Fields.

There is very little that hasn't been said about the great W. C. Fields. "The Old Fashioned Way" would have been prosaic had it starred anyone else other than WCF. Fields was one of the few comic actors in the history of cinema who could produce priceless jocularity out of a boring script. Unlike perhaps 99% of all the other comic actors of his and our time, Fields never had to work very hard for a laugh. His humor was brought about through subtlety. Watch him very closely and you will discover in essence what natural humor is all about: his mutterings; his facial gestures; his body language; the inflection of his voice; his slight of hands. W. C. Fields doesn't just look and act funny-- he IS funny.

I saw "The Old Fashioned Way" about 30 years ago for the first time and, except for the juggling act and Baby Leroy scene, thought it was pretty innocuous. Of course, I was only a teenager back then and actually thought that "Billy Jack" was the greatest dramatic movie of the 20th century. I'm also ashamed to say that I thought Chevy Chase was actually funny. Ugh! As my tastes matured, I began to realize that so many aspects of life are beyond our control, and all one could ever hope to do was to learn not to take life so seriously. That, I believe, is why W. C. Fields' sense of humor is timeless and continues to relate to future generations.

The next time you watch a W. C. Fields movie, look closely and you may find certain aspects of yourself within Fields' character. Why do you think Homer Simpson has lasted so long??? If you take what has been said in this review into consideration, you will cherish this film for years to come. Fix yourself a dry Martini and enjoy the movie.

If anything, this film is a must-see for two of W.C. Field's scenes: 1) Fields' first meeting with Baby Le Roy (who also appears in It's a Gift), which is easily one of the best comedy scenes in the movies, and 2) Fields' juggling routine, for which he was very famous when he was a vaudevillian, justly so. There are several other great moments of slightly lesser value. Also, the plot and the supporting characters are consistently entertaining and endearing, so this one's a real winner. 9/10

Quintessential W.C. Fields comedy (again, billed as Charles Bogle, he provided the story himself) boasting a pleasant period setting and a plot that revolves around a troupe of traveling players led by The Great McGonigle. The star is given yet another memorable introduction - being signaled by his daughter of the presence of the law, representing their creditors, on his way to the train which is to take them to the next town; here, again, we have a daughter who is willing to forgive her rascally father his every whim and foible.

The film, as such, relies more on atmosphere than the typical Fields 'sketches' and this, perhaps, lends it a charm - and a freshness - that it wouldn't otherwise possess. Among its many notable scenes are: Fields thinking the military reception waiting at the train station is for his troupe's benefit; the dinner sequence with a rampaging, famished troupe and Fields' hilarious encounter with Baby LeRoy (who throws food at him and drops his watch into a jar of molasses) - Fields manages to get even with the child by kicking him when no one's watching!; the rich old lady's cringe-inducing singing audition, with the star reacting accordingly (he's hoping to secure her financial backing for the play the troupe will be presenting in town by promising her a role in it - this is eventually whittled down to a single line, which she's never even called upon to deliver!); Fields falling off the stage during rehearsals, etc.

"The Drunkard" set-piece occupies a good deal of the second half: a hoary melodrama which the troupe performs with gusto - with Fields as the mustachioed and hissable villain of the piece who, at one point, reprises the immortal line from his short THE FATAL GLASS OF BEER (1933) "'T ain't a fit night out for man nor beast". With the closing of each act, the curtain comes crashing down making a loud thumping sound; still, the film is clearly intended as a valentine to the days of vaudeville - and even includes a wonderful juggling routine towards the end that showcases Fields' amazing dexterity (in spite of his advancing age, corpulent physique and propensity for booze).

The final sequence finds The Great McGonigle keeping busy as a medicine showman - having left his daughter behind, so as not to interfere with her happiness alongside a stage-struck boy emanating from a respectable family. Typically, for comedies from this era, romance and songs have been incorporated into the narrative as much as a device by which to counterbalance the star's antics as for purely commercial reasons (since these films were largely intended for family consumption).