Check and Double Check

"Check and Double Check" has been kicked around as one of the worst examples of racism extant in a film. While the characterizations are not exactly enlightening, there is some humor in the film, which would directly be related to fans of the radio series. The main problem most people have is the blackface of the lead actors from the radio show. One must remember that this was the number one radio show of it's era. Yes, the characters are portrayed as somewhat stupid bumblers, but so are a lot of white and ethnic characters from other radio and television series. Think "Gilligan's Island", "The Beverly Hillbillies", "Ma and Pa Kettle" or "Dagwood Bumstead". I have seen only a few samples of the TV series "Amos and Andy" but what I have seen is a truly funny and very warm-hearted series. Also, the characters get treated with respect by other, more sophisticated characters within the stories in both the TV and film versions. The most truly disgusting racial stereotypes I have ever seen in a film are in "Birth of a Nation," the truly appalling portrayal of the KKK as heroes in this wins hands down for me as the low point in portrayal of racial stereotype.

Typical Amos 'n Andy story-line has the boys trying to make a go of their "open-air" taxi business while they get caught up in a society hassle.

It involves driving musicians to a fancy party.

All the regular characters are here (or mentioned), including the famous Mystic Knights of the Sea.

The only film appearance of radio's long-running characters.

Guess the movie didn't make much money since there wasn't another. I've only heard bits and pieces of the radio show, but I have the entire TV series on DVD. The TV series is hysterical and anyone who thinks it's somehow racist, is nuts.

This movie, on the other hand is a whole different deal. Amos and Andy are white in black face. It's really odd to watch that these days.

Plus, it's just not a good film.

Just why is it that people are offended at Amos and Andy today? It can't be the jokes, the bad grammar, the ignorance. I can show examples of that in a whole lot of films without a black face in them. I do remember as a kid seeing the television version of Amos and Andy and later on watching such shows as Sanford and Son and Good Times, I'd be hard pressed to see the difference in the humor.

But you have to see Check and Doublecheck and realize that it was a pair of white ex-vaudevillians who were playing these characters. And playing them servile. Note right at the beginning of the film as the Fresh Air Taxi was holding up traffic and a cop asks them to move along. Note the tone he takes with them and note the "yassuh" response that both of them give. Later on Amos and Andy are busy reminiscing about the good old days on the plantation back in Georgia before they came to Harlem. Back in Georgia dealing with Klan and lucky to be making enough money to exist on as sharecroppers. Of course you know they're going to help the son of the old plantation owner.

The plot as it is Check and Doublecheck has the son of that former plantation owner previously described looking for the deed to an old abandoned house in Harlem so he can claim title, sell it, and be rich enough to marry his intended. His path crossed that of Amos and Andy who are on a kind of treasure hunt for their Mystic Knights of the Sea Lodge. The intended bride is played by Sue Carol who left acting to become an agent and her most famous client was her fourth and last husband Alan Ladd.

Also in the film are Duke Ellington and his Orchestra. Ellington made his screen debut here and he played himself in several films after this. For that reason this film should be seen, to hear one of the great jazz bands of the last century.

The premise they bring Ellington in is in itself ridiculous. Remember this film is made in 1930 and while Ellington played at Harlem's Cotton Club he didn't get too many bookings at Westchester society parties. But that's what this film would have you believe. That crowd would have more likely hired Leo Reisman or Ray Noble. And of course the band gets there via The Fresh Air Taxi Company.

Singing with the band are The Rhythm Boys, recently detached from Paul Whiteman's Orchestra which included their lead singer Bing Crosby. According to Gary Giddins recent biography of Crosby, Ellington was dissatisfied with the vocal group he had and had RKO hire the Rhythm Boys to sing offstage while three black performers lipsynched. That is one ironic twist of fate. Later on Bing and his partners, Al Rinker and Harry Barris recorded their song from this film Three Little Words with Duke Ellington's orchestra which was a mega hit back in the day.

Even with a hit song coming from this film, Check and Doublecheck created no big demand for Amos and Andy films. Freeman Gosden and Charles Correll stayed on radio for another 25 years with their characters. Maybe just as well they only made one more film appearance in the all star Big Broadcast of 1936.

Well, I just picked up an original film print of CHECK AND DOUBLE CHECK and have to say I was very pleasantly surprised. After many years of reading one abysmal review after another, I found the film to be a fairly impressive RKO comedy. But I also think this film can only be viewed in the context of its time of release. And not for racial stereotype reasons. First, the film obviously came about by the strong popularity of the AMOS 'N ANDY radio program. However, comparison cannot be made between the film and the program as we know it because the program only began a year before this film was made (Amos 'n Andy had, in fact, had recently been known as Sam 'n Henry). So the smooth, well-oiled manner of the 40's heyday was still many years to come. Structure-wise, CHECK AND DOUBLE CHECK somewhat resembles RKO's popular Wheeler and Woolsey films and features the two comics in traditional musical-comedy leading/though supporting roles. The story plot is very typical of shows of the day - DIXIANA, COCOANUTS, etc (Ralf Harolde repeats his villainous visage from DIXIANA). The picture is very well photographed from the standpoint of RKO's current production values and it is very well recorded. One interesting note - one that can only be gleaned from having an actual film print - is that the picture was released in nine reels. Given that the running time is 77 minutes, it is probable that there was some trimming done after the previews. An interesting note about the music in the film. Duke Ellington and his Cotton Club Orchestra are the featured performers. At one point in the film there is a very bluesy, Harlemesque introduction to a number. But the film then cuts to a shot of the band playing "Three Little Words" in standard foxtrot tempo. Upon this number's conclusion, the band goes into a blues number. We then go outside to the garden where a scene between the romantic leads is played and the band is again heard in the distance playing "Three Litte Words". The duo even comment on the song and its meaning. It is apparent there was some moving around of sequences taking place here. And it's possible there was additional music recorded that did not make it into the final release print. As for Amos 'n Andy, there is a nice mix of verbal and visual set-pieces. There is also one surprisingly effective scene where Amos 'n Andy are told that their former employer/benefactor has died and Andy makes a very sorrowful speech about his goodness. It's one of the most genuinely emotional monologues I can recall from any RKO film of that very early talkie period. The one semi-drawback to the film is that Freeman Gosden (Andy) is not able to play Kingfish as he did on radio. In CHECK AND DOUBLE CHECK, Kingfish is played by Russ Powell (in blackface - as are many others in the cast including at least one band member and stuttering comic Roscoe Ates). Film fans will remember Powell as the dockman at the beginning of KING KONG ("You going' on that crazy voyage?!"). Powell doesn't have quite the delightful devil about him that Gosden did in his portrayal of Kingfish on the radio - or Tim Moore on television. Had CHECK AND DOUBLE CHECK been made six or seven years later, it might have had more polish and pacing. But even by the mid-thirties it is unlikely that a blacked-up Amos 'N Andy would have been welcomed in the cinemas. So we have only this one feature as a pictorialization of the proprietors of the Fresh Air Taxi Cab Corporation. If you can put yourself back into a 1930 frame of reference, give it a try. You might be pleasantly surprised.

People like to worry themselves to death over proving how they aren't "racist." Black Americans at this end of the century are pretty heavily groomed by the system to be extremely sensitive of any possible conceivable slight.

Both of these folks will be delighted to take offense at the very mention of the name "Amos and Andy," whether they've ever actually SEEN any version of the show or not. A&A are the very SYMBOL of Hollywood racism, defaming the image of blacks. Supposedly.

I would take it that "Amos and Andy" represents (however accurately or not) a broadly caricatured representation of regular poor black folks. You could make it out to depict them as foolish, but no more so I say than do shows aimed at poor whites. I have in mind for starters the Beverly Hillbillies.

Nor are the depictions of Amos and Andy harsher than those of Ma and Pa Kettle. Now THERE is some negative stereotyping.

But hey! It's just a joke, and not particularly mean. Amos and Andy as characters aren't deep, but they're affectionate and good natured, just a couple of regular joes trying to get by. Doesn't strike me as much of a hate crime.

Oh, and they're pretty damned funny, too. Note that this bears the same screenwriter's name as several Marx brothers classics, Bert Kalmar. This ain't quite up there with "Duck Soup," but it's pretty funny stuff. The kingfish and the lodge stuff put me in mind of the Flintstones' "Water Buffalo" lodge, and the silly rituals and blowhard leaders trying to puff themselves up to look like alpha-males.

Also, this film stops for some straight up film time for the most righteous Duke Ellington orchestra. There is very limited film available for any musicians of the era, especially black ones. This part alone justifies the film's existence for me.

C'mon, loosen up folks. Eddie Murphy makes 10 times more stinging jokes. At least Amos and Andy weren't pimps or dope-dealers or crooks.