Doubting Thomas

An ordinary businessman is appalled when his no-talent wife becomes infatuated with amateur theatrics, propelling Mr. DOUBTING THOMAS into a bizarre world populated by stage-struck eccentrics.

Will Rogers is perfectly cast as the perplexed husband with the wry, homespun humor, bursting balloons of pomposity at every turn. His was a unique personality - always a joy to watch. His dialogue gives him ample opportunity to charm the audience & show once again why he was one of Hollywood's - and America's - favorite personalities.

Will is given two female co-stars worthy of him. Billie Burke, as his wife, is her usual wonderful, flighty self, perfectly playing one of the air head parts she practically patented. Monumental Alison Skipworth, formidable as the play's directress, all but steals the entire picture in her hilarious role. It is a shame this splendid actress is almost forgotten today.

It's also a pity that young Frank Albertson, as Will's son, is given no chance to display his considerable musical comedy talent. The rest of the cast - Gail Patrick, Sterling Holloway, Johnny Arthur, John Qualen - are all given moments to shine.

This was the first Will Rogers' movie I'd seen, and I really came to dislike him in it. His constant, increasingly unfunny putdowns during the rehearsal in his home started to irritate me quite quickly, and coupled with his controlling behaviour of his wife I thought he came across as an annoying and unpleasant character. I know Rogers' is a movie icon, so I'll give him the benefit of the doubt that his other characters are not as unlikeable as this one.

Rogers aside, the rest of the movie is a gem! The disastrous play, overacting amateur actors, Billie Burke's larger than life take-off of Mae West, the pompous director, and the backstage disasters all make it very funny, especially if you've ever been involved with community theatre.

Small-town "Brown Breakfast Sausage" manufacturer Will Rogers (as Thomas Brown) maneuvers to prevent fluttery wife Billie Burke (as Paula) from taking a role in a local play, fearing she may pursue a career as an actress. To make matters worse, their son Frank Albertson (as Jimmy) may lose pretty fiancée Frances Grant (as Peggy Burns) to the footlights. Like his dad, Mr. Albertson wants to marry a housewife. Under the direction of portly and pompous Alison Skipworth (as Mrs. Pampinelli), both women get parts in the town play - along with several other Hollywood hopefuls. Their dramatic efforts to get "discovered" by a visiting talent scout turn to comedy, but Mr. Rogers may get the last laugh…

"Doubting Thomas" was the film playing in theaters when its star's plane crashed. Thus, Will Rogers joined the list of media celebrities who died suddenly, and with obviously much more to contribute. His popularity can best be described as a combination of John Wayne and Oprah Winfrey; relative to the times, he may have been bigger. Rogers' final films were thankfully past the "creaky" transition from silent to sound, but the best of them have core ideals that are unacceptable. In this case, the message "a woman's place is in the house" is hammered home. Not a bad place to be, but everyone should be allowed to consider a career. Fortunately, Ms. Burke and the other women in the cast opted to entertain.

Other than that, the film is excellent. As always, Rogers is a natural; while presently not acknowledged as a great actor, his performance could have been envied by Spencer Tracy. Burke looks like she's influencing Betty White. All of the supporting cast is wonderful. Repeating her stage role expertly, Ms. Skipworth is worthy of a "Best Supporting Actress" award. You'll want to rewind after seeing Ms. Grant's fantastic dance; she moves her body with incredible fluidity. And, don't miss the very, very young William "Billy" Benedict as a golf caddy. The entire "production" staged by director David Butler for "director" Skipworth is hilarious, with sound-effects man Sterling Holloway (as Spindler) leading the charge.

******* Doubting Thomas (7/10/35) David Butler ~ Will Rogers, Billie Burke, Alison Skipworth, Sterling Holloway

As if the "bad acting" given by an amateur stock company isn't bad enough, the actual performances aren't much better--even when given by such well-known names as WILL ROGERS, BILLIE BURKE, FRANK ALBERTSON and GAIL PATRICK. David Butler was a reliable director of lightweight material in the '30s and '40s but this is one of his weakest efforts.

The only genuine laughs come from the actual first night performance of the amateur theatrical play where everything goes wrong--all in highly exaggerated style, with STERLING HAYDEN missing all his cues and the other actors bumping into each other and the scenery while the highly theatrical diva ALISON SKIPWORTH frets over each mishap while urging them all on to greater heights.

Outside of that, the rest of the film is hurt by dull dialog when it requires wit--even the barbs thrown around by Will Rogers fall flat most of the time. Billie Burke does her standard dotty act and overdoes the "bad acting" to such an extent that it becomes a parody of what's supposed to be funny.

Summing up: Dated farce falls apart long before the third act featuring a supposedly "talented" Will Rogers (in a faux screen test) making a fool out of himself as a Bing Crosby-like crooner. Forget about it!

Billie Burke plays the wife of sausage magnate Will Rogers who is asked to fill in for one of the leads in a local theatre production after the original actress suddenly becomes a widow (her husband "fell over" after she told him she'd gotten the part!). Pre-feminist comedy-quickie from Fox served as Rogers' final film. It isn't politically-correct, but it's a broadly savvy whimsy about amateur productions and the effusive show people they attract. Rogers knocks out a series of acerbic asides, though Alison Skipworth nearly owns the film as the play's goosey manager. In the tag, sickly-sweet Burke pulls a fast one on Will that shows us she's one step ahead of her husband, yet her quick thinking also keeps her firmly ensconced in the kitchen. One must wonder now what female audiences of 1935 felt about that! ** from ****