Broadminded

The star of this movie is listed as Joe E. Brown, the big-mouthed (literally) comedian who looks as if he could eat a hamburger in one bite. However, stealing the scene whenever he is present, is Bela Lugosi, in a change-of-pace role considering he starred in "Dracula" earlier that year (1931). Here, Bela (a native Hungarian) is a hot-tempered South American (Pancho). When Joe E. Brown (Simpson) accidentally spurts some ink on Bela's dessert at a diner, Bela goes into a maniacal rage. So naturally, their two paths keep crossing. Later Joe E. Brown has a fender-bender with Bela's car... Bela winds up driving off with Brown's car in tow! Bela has some wonderful opportunities to show his comedic abilities. When his girlfriend asks Bela to explain a mix-up to Joe E. Brown (Simpson), Bela goes: "To Simpson-- never!" and opens his mouth wide in a mugging imitation of Joe E. Brown. A must-see movie for Bela Lugosi fans who only consider him a horror actor.

1931's "Broadminded" was an early vehicle for the hugely popular Warners star Joe E. Brown, known for his unusually large mouth and inevitable yelp when in trouble (in later years he would become immortalized by three words to climax 1959's "Some Like It Hot" - "well, nobody's perfect!"). As an athlete and former circus clown his rubbery features already looked like a clown without makeup, and this screenplay by Bert Kalmar and Harry Ruby takes every advantage for facial expressions and bits where he impersonates a gorilla, then Dr. Jekyll and Mr. Hyde. One need only endure a fairly embarrassing opening reel, where police raid a 'baby party,' all the guests dressed as toddlers with bottles not filled with milk, and an enraged Senior Hackett (Holmes Herbert) hoping to straighten out his ladies man son Jack (William Collier Sr.) by sending him away from New York with cousin Ossie (Brown), who's an even bigger carouser than put upon Jack. A long trip to California is made far longer by Jack's insistence on stopping to flirt with every girl en route (even one milking a cow!), but once they pull over at the Cactus Cafe the fun really starts at the 15 minute mark. Here we get to see Bela Lugosi, still basking in his newfound stardom after "Dracula," making for an excellent comic foil as South American Pancho Arango, unable to get through a promising meal with Ossie throwing salt over his shoulder ("dandruff!"), then using Pancho's own fountain pen to turn his cherished dessert from strawberry to blackberry. A busload of female students distracts Ossie long enough to ram into the car in front of him, which turns out to be driven by a still fuming Pancho: "first you spoil my shortcake and now you ruin my rear end!" Jack and Ossie end up at a hotel where they've made the acquaintance of brunette Constance (Ona Munson) and blonde Penelope (Marjorie White), but Ossie's attempts to humor Connie's disapproving aunt (Grayce Hampton) get him into more trouble (it's a jaw dropping sight watching him eat celery as noisily as possible). When he begins to talk about punching out some South American 'bozo,' who should be in the booth right next to him but Pancho and his gorgeous girlfriend Gertie (Thelma Todd), giving Ossie the full Lugosi stare as he stammers and stutters, admitting defeat by feigning laryngitis. When a blackmailing former flame tries to halt Jack's engagement to Constance, Gertie is hired to play the fiancee to accept Jack's damning love letters but again Pancho spies his girl in a negligee and gets the wrong idea. Kalmar and Ruby were best known for their work for The Marx Brothers but went on to script two more vehicles for Brown, as well as Eddie Cantor and Wheeler and Woolsey. Those unfamiliar with Brown's appeal as a star comedian probably won't be swayed by his material here, but his ability to use his entire body makes him akin to Buster Keaton, and Thelma Todd was always a welcome presence opposite the cinema's top comedians. The underrated Marjorie White unfortunately has no opportunity to display her skillful singing and dancing, a diminutive dynamo who excelled in Wheeler and Woolsey's "Diplomaniacs" before her final screen performance in The Three Stooges' "Woman Haters" (she also appears with Bela Lugosi in "Oh, for a Man!" "Women of All Nations," and "The Black Camel"). With nearly 9 minutes screen time, Lugosi not only holds his own in another surefire box office success, he also gets the girl for the fadeout.

The normally likable Joe E. Brown is trapped here in an extremely unfunny comedy with an extremely poor script. Missing is his usual screen persona of a brash, cocky naif and is seen here as just a dimwit. The screenplay is surprisingly awful and seems ad-libbed in places. Vaudeville was still alive but I have to think it was funnier than the lame jokes contained in this picture, many of which fall completely flat. Hard to believe Mervyn Leroy directed this mess.

Trapped in this movie is some pretty good acting talent, especially Thelma Todd who was a foil in some Marx Bros. pictures as well as some Laurel and Hardys. Also on hand is Bela Lugosi as a South American playboy. It's hard to tell if comedy was his oeuvre because, as mentioned, there is very little humor here. Give him an A for effort.

Not much to recommend this film except for Bela Lugosi and hard-core Joe E. Brown fans.

Even staunch fans of Joe E. Brown may be disappointed by this one, which fails to utilize his comic skills, such as they are, with maximum effectiveness. The foremost liability is the scenario, bulging with some of the feeblest jokes and flat sight gags that one is likely to find outside of a high school drama club original. But wait.....

Playing against type (to say the least) are Bela Lugosi doing an effective comic turn as a temperamental Latin/Hungarian (his accent is variable), and Ona Munson (she of the gritty roles in "Gone With the Wind" and "Shanghai Gesture" that came later) as an ingenue. These are curiosities worth seeing. But wait.....

Thelma Todd is here, too, playing the kind of role she did best, even if she hadn't Groucho's priceless reactions to her vamping. And what of Marjorie White, someone altogether new for me (and like Thelma Todd, destined to die young): a perky pepperpot with exceptional comedic attributes, mugging and bouncing throughout, creating a very appealing character without any of the comic (sic) lines having been written for her.

All in all, a third-rate picture well worth seeing.

Harry Ruby and Bert Kalmar, who would work on three Marx Bros. films, including "Animal Crackers" the play of which was out the year before this film, are the authors of 'Broadminded'.

It's clear to me that this film is the Warner Bros. idea of how to cash in with a cheapie madcap story.

Thelma Todd is as wonderful as ever. She was a fine actress who always managed to do a fine job even with the sorriest material.

Grayce Hampton who played what should have been Margaret Dumont's role is flat and unfunny. The male lead, played by William Collier Jr., looks like a peeled potato, and yet he's a lady killer. He picks up every good looking woman he sees. But he's lumpy and wimpish. He's a very poor choice for the role. I think he's supposed to be Zeppo Marx playing the love interest, but he's not even that good.

Ona Munson is pretty good as the female lead, but she's not given anything to do.

Joe E. Brown who is the putative star does what he does. He mugs unmercifully throughout, and he makes the most out of his circus clown mouth, and he makes a tremendous number of unwarranted sounds. I grew up in the last years of his really active career, and I thought he was great until I was about seven, when that wore off, and from then on I found him to be darn near intolerable.

But even if were someone else playing the part, it would still be a (in my opinion of course) dull and completely predictable film.

There is absolutely zero witty repartee in this film. There's no singing, no dancing, no harp or piano or guitar playing.

Bela Lugosi does steal the greasepaint mustache that Groucho put on, but now it's in the form of extenders for Lugosi's sideburns.

Lugosi pretty much mugs his way through this film along with the rest, but he looks as though he's playing along because he's being paid. And he's never convincing. He's always Bela Lugosi gone slumming. Not that he was bad, but I'd say that he was skirting it.

I'm glad I had a chance to see this film, I've been hungering for it for several decades now, and it's often presented in movie books as practically a tour de force performance for him.

It isn't.

I did not keep a copy of the film, although I've got many Lugosi films in my library. I just don't think I'll ever want to sit through it again. As it was, it took me two days to get through it.

I gave it a five rating because my tastes aren't universal, and Lugosi and Todd fans should certainly see it.