Li'l Abner

L'IL ABNER is a minor classic from the golden age of musicals. Dogpatch and its denizens are stylistically realized in this comic-strip of a film. Peter Palmer (Abner), Billie Hayes (Mammy Yokum) and Stubby Kaye (Marryin' Sam), among others, bring the eccentric citizens of this burg to musical life with humor and vitality. Among the best songs are "Jubilation T. Cornpone," "The Country's in the Very Best of Hands," and the "Rag Off'n the Bush" dance. Put your Sondheim sophistication aside and enjoy this wonderfully down-home parody of government and backwoods folk.

as well as a knowledge of history to appreciate the political satire of this film. But I believe all it takes is an understanding of human nature, which is immutable. "Li'l Abner" does reflect the mores of its time, but so does everything. To judge it against today's work is useless and immature.

Al Capp was a satirist, and this movie is the best visual representation we have extant today of his genius. His books are mostly out of print; a sad lack for us. But this film contains timeless and true reflections of life. The one that tickles me most is "Put Them Back," when women wanted "perfect" men (buff, cut and all those other adjectives of current popularity) only to realize that people who are self-absorbed in their own perfection have nothing to provide to others. Talk about a telling statement of today!

The production design was perfect for its goal: to recreate the cartoon-like atmosphere of Capp's strips. The colors, costumes and sets draws one into the strip itself.

I'm an unabashed fan of the American musical as an artform. "Li'l Abner" fills all the slots of the musical in a superior achievement. Is it dated? Of course it is - it's over 40 years old. Is it obsolete? Absolutely not, just as human nature in all its good and bad can never be obsolete.

If you don't take the time to learn about the ebbs and swells of the human tide, you'll never understand what life is about. Instead of being negative about a time and place you didn't experience, try learning about it. After all, those who don't learn from history are doomed to repeat it. (Can we say "weapons of mass destruction?"

Sure, it's hokey, brash, and fairly simple. It's a living *cartoon*! The songs and jokes are very dated ... which is fantastic! Li'l Abner is actually a fabulous political satire from the 50's. Not only that, but thankfully Michael Kidd's original athletic choreography from Broadway has been captured for posterity. And, hey. Any film that features Valerie Harper, Beth Howland, and Julie Newmar before they were stars ... plus Leslie Parrish (author Richard Bach's wife!) as Daisy Mae ... jeesh. It's a national treasure!

Lil Abner ran as a comic strip for over 20 years before being converted into a long running Broadway musical. The original production had Peter Palmer in the lead with Edie Adams instead of Leslie Parrish being Daisy Mae. It debuted in 1956 and ran for two years.

Our government has determined Nevada with its contribution of Las Vegas to our culture should no longer be a site of atomic testing. Dogpatch with its 100% unemployment should be. So everyone's to pack up and leave in a week.

Needless to say the residents of Dogpatch who Al Capp created are not ready to leave, but they are blindly patriotic. They have to find some thing worth salvaging in Dogpatch.

They hit on it with Mammy Yoakum's Yoakumberry tonic which she has been feeding a spoonful of to Lil Abner since his birth. He's grown up big and strong with a soloflex physique.

Let's just say that there's a problem with Yoakumberry tonic. Mammy Yoakum may have hit upon steroid abuse 30 years ahead of time. That leads to all the complications, matrimonial and political, contained in the plot.

I liked the production and the surreal sets, very much like Warren Beatty's production of Dick Tracy later on, another cartoon character. I didn't like the fact that the best song of the Gene DePaul-Johnny Mercer score was left out of the film. It's called Love in a Home and Bing Crosby did a fine record of it back in 1956.

Peter Palmer had he come along even 10 years earlier might have given folks like Howard Keel and Gordon MacRae competition for musical leads in film. As it was, musicals were slowly dying out as they became to expensive to produce.

The one who got the most attention on Broadway and Hollywood was Stubby Kaye as Marrying Sam. DePaul and Mercer wrote a wonderful satirical song called Jubilation T. Cornpone about a less than able southern general who was proud to call Dogpatch his hometown. Kaye was a great performer and fortunate are we that in Guys and Dolls and Lil Abner we have his two best known performances preserved.

By the way, the character General Bullmoose who Howard St. John played, is a spoof of Eisenhower's flannelmouth Defense Secretary Charles E. Wilson. He was the President of General Motors and during his confirmation made that comment that came out "what was good for General Motors was good for the USA." He was the perfect living caricature of a blowhard businessman and Al Capp had a field day with him. Hence the choral song What's good for General Bullmoose is good for the USA.

Dogpatch may have been useless, but it's sure a nice place to visit.

Li'l Abner is a fine example of the American musical. After all, it has Stubby Kaye in it, so it must be good. Stubby Kaye is probably the highest profile actor in this musical, although his legacy seems to have been forgotten in the last couple of decades. In Li'l Abner, he plays Marryin' Sam, an itinerant preacher whose route has brought him back to Al Capp's Dogpatch in time for the annual Sadie Hawkin's Day race. Through the first half of the film, he is continually discussing the various grades of weddings he offers; "the four dollar wedding, now with that I start by giving yo' a haircut, clipping yo' toenails, and giving yo' a bath, iff'n yo' needs one. And confidentially, yo' needs one...." Based on Al Capp's weekly comic, writers Norman Panama and Melvin Frank manage to capture something of the cheerful lunacy and social satire that the original strip was famous for. Capp was a true satirist, cheerfully savaging anything that came within his gaze, inverting everything he touched, and sparing nothing and no one. The film can't quite lay the same claim to fame, but does at least try to follow in Capp's footsteps.

As with any musical, it is the song and dance numbers that either carry the film or let it fall. Here, Gene de Paul gives us big brassy music with memorable melodic hooks. But it is Johnny Mercer's lyrics that really stand out. When Stubby Kaye leads the town in a song celebrating their founder, that "beloved man a'settin' up there on that beloved horse," Jubilation T. Cornpone, Mercer best captures Capp's spirit:

"They say that General grant was pretty good with a jug Who went drink for drink with him And wound up under the rug? Why it was Jubilation T. Cornpone

[...]

When a Northern spy came into town for a night Who was it snuck in her room And lost a glorious fight? Why it was Jubilation T. Cornpone"

It might be obvious that this is my favourite song in the film, though many of them are eminently hummable-"Put 'Em Back ", Stubby Kaye (again!) leading the assembled in "Dearly Beloved" at the wedding of Daisy Mae and Earthquake McGoon ("Dearly beloved/ we is gathered here today/ to put this unfortunate sinner away..."), and "The Country's In The Very Best Of Hands" (showing that current concerns about big government and globalization were alive and well back in 1959). Leslie Parrish is satisfying as Daisy Mae (showing miles of leg), Peter Palmer is acceptable as Li'l Abner (lots of muscles, a great smile, and a decent voice), Stubby Kaye is, well, Stubby Kaye, and Julie Newmar doesn't get a word, but is the center of every scene she's in as Stupefyin' Jones. Overall, Li'l Abner is something unusual for the American musical; a fine, fun film with a point to make.