Strike Me Pink

The fifth and final movie of Broadway star Eddie Cantor's films for producer Sam Goldwyn's independent production company, it was considered the weakest by critics and fans at the time. Even Leonard Maltin gives this a low rating compared to the three stars (out of four) he gives to the other Cantor films. While certainly not as much of a classic, it is certainly entertaining enough to warrant study in this era of Adam Sandler/Jim Carrey comedys.

Always typecast as the scaredy cat milquetoast, Eddie Cantor continues in that mold here as a laundrymat employee who ends up becoming manager of an amusement park owned by a feisty little old lady (Helen Lowell). It seems that the previous managers have all met with fatal accidents thanks to a racket that wants to install pinball machines in the park against the old ladies wishes. When Cantor manages to show a little more verve in front of the old lady and her daughter (Sally Eilers, a sadly forgotten actress), he is offered position of manager of the park, and celebrates with his pal by visiting his favorite singer, Georgia (Ethel Merman) who flirts with him in order to get him to install the pinball machines for her gangster friends.

There are several memorable production numbers which use the Busby Berkley style flare for overhead shots previously used in the Cantor musicals which Berkley choreographed: "Whoopee"; "Palmy Days"; and "The Kid From Spain". Other choreographers took over the reigns for his last three Goldwyn pictures, and here, Roy Del Ruth gets the job. Cantor's "The Lady Dances" production number at the amusement park is very elaborate, although it is Merman's "Shake It Off With Rhythm" that stands out here especially with the dancer whos shadow in the well-polished nightclub floor does her own steps. And when the bevy of chorus girls (thanks to the obvious presence of other chorus girls beneath them) start a dance while sitting on the floor, the number goes into the Hollywood musical books as one of the wackiest production numbers in film history. Merman and Cantor also sing a duet while on a ferris wheel which shows them with old-age make-up. Audiences familiar with Merman's later Broadway, film, and TV appearances will find it amusing to see young Merman (then 27) in old lady disguise.

Merman also sings a torchy number (with chorus) at the beginning that is well photographed but not at all in the same league with her big number. The two big production numbers are topped by a riotous finale (later used in "Abbott and Costello in Hollywood") where Cantor tries to flee from the rackateers (one of whom is William Frawley, aka Fred Mertz) by escaping on a rollercoaster. Of course, all sorts of visual comedy takes place, turning it into a fast-moving and laugh-filled ending. There really isn't a lot of Merman here; She is more a red-herring in the plot than anything else. Helen Lowell, as the old lady, is a live action version of tweety bird's owner; All she is missing is the bird and cage. Parkyakarkus, a popular radio comedian at the time (who also had a brief movie career), is stupidly annoying, a stereotypical foreigner (apparently Greek) who lacks in too many brain cells to be a body guard. Fortunately, he pops in and out of the action so fast he doesn't have time to really become distracting from the wonderful Cantor.

While the film is certainly not a classic, it is enjoyable enough to give a few laughs and smiles thanks to the fine musical numbers. While comedy today is focusing on more sexually explicit gags for more shock value (chickens being used to humiliate the law and Hitler in hell in a tu-tu with a pineapple for a special decoration come instantly to mind in today's comedys), films like "Strike It Pink" focus on a gentler and less crude style to get their laughs. Hopefully, it will turn up on cable or on the late show where they still show old movies rather than infomercials, so today's film students or fans of classic comedy can get an opportunity to enjoy it.

I usually like Eddie Cantor. And this has an agreeable supporting cast. But I found this a chore. Yes, the Dreamland amusement park is appealing. And it has some wonderful Harold Arlen songs. I love the one he and Ethel Merman sing about retiring to a farm. What a funny image that conjures up!

Merman is believable as a nightclub singer. But she isn't believable as a heartthrob. The dancing is fine but I found it hard not to compare it to the Warner's Berekely movies. And in comparison, it does not fare well.

Cantor's movies often have a strange charm. They're goofy but lovable. This one works way too hard. The final sequence seemed inept. I kept thinking how fabulous it would have been with Buster Keaton. Or with Harold Lloyd. With Cantor, it was as light as a cement cream puff.

STRIKE ME PINK (Samuel Goldwyn/United Artists, 1936), directed by Norman Taurog, no relation to the 1933 musical play but based on Clarence Budington-Kelland's the Saturday Evening Post story/ novel, "Dreamland," marks the sixth and final screen collaboration of Eddie Cantor for producer Samuel Goldwyn, and Cantor's second opposite Ethel Merman. Unlike their previous effort in KID MILLIONS (1934), where Cantor and Merman were equally balanced,Cantor dominates in both story and comedy department while Merman, through her limited scenes duping Cantor into believing she's a damsel in distress, taking center stage with her vocalizing and addressing Eddie as "My Hero!" STRIKE ME PINK also goes on record as the only Goldwyn musical where Cantor doesn't perform in black-face.

The story begins at Millwood University where Eddie Pink (Eddie Cantor), a timid and cowardly tailor who finds himself constantly bullied by the students. He is befriended by "Butch" Carson (Gordon Jones), a fellow student who's strong with his fists by fighting Eddie's battles, but weak on brains when it comes to his studies. Eddie's weakness is Joyce Lennox (Ethel Merman), a famous night club singer whose photographs he keeps taped behind closet doors. Aside from helping Butch (a college student for seven years) to pass the final exams, Eddie works on being a strong and fearless through a mail ordered a book, "Man or Mouse: What Are You?" a record and a coin with a man on one side and a mouse on the other. After studying the book from cover to cover, Eddie gains some confidence as instructed through the use of his magnetic finger, magnetic eye and magnetic stand. After Butch miraculously graduates from college, the two come to Dreamland, an amusement park his widowed mother owns. Rather than assuming ownership of the park, Butch enlists four years in the Navy instead, leaving Eddie in charge with Claribel Hayes (Sally Eilers) acting as his over protective secretary. While assuming control of dreamland, Eddie proves his bravery when faced by Vance (Brian Donlevy), a mob boss and his hired thugs consisting of Copple (William Frawley); the knuckle cracking Thrust (Jack LaRue); Marsh (Don Brodie); and Shelby (Charles McAvoy) wanting to insert 150 crooked slot machines on property, and, to make matters worse, Eddie has a hired G-Man (G standing for "Greek"), named Parkyakarkus acting as his bodyguard, who happens to be no help at all.

With the score by Harold Arlen and Lew Brown, and choreography by Robert Alton, the songs include: "High and Low" (sung by Ethel Merman); "The Lady Dances" (sung by Eddie Cantor, and sung and danced by Rita Rio/chorus); "Calabash Pipe" (sung by Eddie Cantor and Ethel Merman); and "Shake It Off With Rhythm" (sung by Ethel Merman). While the songs and staging are unmemorable, "High and Low" is interesting because of its Depression related theme with camera doing most of the movement, rather than the ensemble, capturing every angle in all directions as Merman, in Harlem setting, stands under a lighted street post surrounded by black dancers. For the musical finale, "Shake It Off With Rhythm" comes across as a lively "hot" / "jive" number performed at the Club Lido where Merman sings the tune and Sunnie O'Dea tap dances to her reflection on the mirrored dance floor.

Also in the supporting cast is Edward Brophy, normally as a dim-witted hood, continues to do so here as "Killer," the one hired to do "rub out" Eddie only to find they have one thing in common, the "Man or Mouse" book. Because Killer only read up to page 45 gives Eddie the advantage of giving him his magnetic eye. Fans of the 1950s' TV series, "The Abbott and Costello Show" will take notice of the early screen presence of Gordon ("Mike the Cop") Jones and Sidney ("Fields, the Landlord") Fields. Sharing no scenes together, Fields, also a comedy writer in his own right, assumes his role as Chorley, Joyce's supposedly "dead" brother whom Eddie later believes to be a ghost.

Although portions of its comedy presented appears forced or unfunny, the well stage and often hilarious climax near the end simply makes up for it. Lasting close to 20 minutes, it starting off with a chase between Eddie and the gangsters through the amusement park, followed by a wild roller-coaster ride, then hot air balloon and finally the more deft-defying stunts reminiscent to those bygone silent comedies of either Mack Sennett or Harold Lloyd.

While former American Movie Classics Bob Dorian in a 1992 broadcast of STRIKE ME PINK once mentioned that producer Samuel Goldwyn had originally purchased the property of "Dreamland" for comedian Harold Lloyd, it eventually went to Cantor instead. In fact, I can envision Lloyd instead of Cantor playing the cowardly hero in dangerous stunts for its climax as he did in the silent era. It might have worked out better. Who knows?

STRIKE ME PINK, formerly available on video cassette in the 1990s, had frequent cable television revivals over the years ranging from Christian Broadcast Network (the 1980s), The Nostalgia Channel (early 1990s), Turner Network Television (1992), American Movie Classics (1992-1994, with one final broadcast in 1998), and finally Turner Classic Movies (TCM premiere: April 7, 2006). In regards to comedy, STRIKE ME PINK is an enjoyable 100 minute romp that should not disappoint any avid Eddie Cantor fan. (***)

The last of 6 films starring or including the inimical Eddie Cantor, produced by Sam Goldwyn Studios from 1930-36, which includes pre and post code films. It's also the only one that does not include a segment of Cantor in black face, if that's important to you. I suspect the inclusion of blackface is one reason why Cantor films have not been frequently shown on public TV. In 1937, he starred in a 20th Century-Fox film: "Äli Baba Goes to Town", which is also worth a look if you like his films in general.

We have several threads pursued. Eddy(Pink) plays his usual overly timid nerd character, who initially runs a shop where he offers various services, including a machine that breaks in new shoes. He gives up his shop to become the manager of the amusement park Dreamland. There, he gets mixed up with a gang who want to fill Dreamland with crooked slot machines, threatening to dispose of him like they did the last half dozen managers who refused to cooperate. Eddie is much helped and encouraged by his secretary Claribel(Sally Eilers).

Eddie has a fixation on nightclub singer Joyce Lennox (Ethel Merman). The slot machine gang figure out a way to use this obsession to blackmail Eddie into allowing the slot machines in Dreamland, Ethel being a friend of the gang.

To effectively deal with the gang and his other duties, Eddie mail orders a book and record to teach him self-confidence. In addition to assuming a confident stance in the face of adversity, he learns about "the magnetic eye"(one eye shut), the "magnetic stance" (leaning far forward) and the "magnetic finger"(arm and forefingers thrust forward)(This could be interpreted as a stab at self-help advisers, in general). Anyway, this approach seems to mesmerize his adversaries.

The last part involves a classic silent film-like chase of Eddie by the slot machine gang, including a race on a roller coaster, followed by a nail-biting balloon ride, then inadvertent participation in a trapeze act. All this time, Eddie is trying to protect a 78rpm recording of a full confession by the gang of murdering the prior managers, and the phoniness of the murder charge against Ethel. This whole sequence much reminds me of something silent film luminary Harold Lloyd might do.

The music and dancing is nothing special. Ethel sings "First You Have me High" on a pitch black stage, except for her face: too long and not interesting to me. Eddie sings "The Lady Dances" on stage, abetted by chorus girls and specialty dancer and singer Dona Drake(also known as Rita Rio), who wiggles and gyrates her body, along with dancing and singing. Then, Eddie and Ethel sing "Calabash Pipe" while atop a Ferris wheel, followed by their singing it while imagined senior citizens in a buggy. Later, Ethel sings "Shake it off with Rhythm", abetted by a dancing chorus, in a big production.

Dona Drake was a very light-skinned African American, who passed herself off as an exotic-looking Caucasian. She was very energetic, as shown in this film. Sometimes, as in this film, she was a specialist singer and/or dancer. In other films, such as the Crosby-Hope "The Road to Morocco", she had a significant role in the screenplay. Seems like she should have had a much more visible Hollywood career.

Of the 5 members of the shot machine gang, I was already familiar with Brian Donlevy, William Frawley, and Jack La Rue..... Harry Parke served as Eddie's supposed body guard, who popped up every now and then. When Eddie and Ethel took a boat ride through the pitch black Tunnel of Love, we hear kissing sounds, but Eddie protested that he didn't kiss her. Turns out it was Parke, hiding in the back seat. Parke also accompanied Eddie in that perilous balloon ride.

If you like Eddie's comedies in general, you should like this one, despite the disparaging remarks of some reviewers. Currently, it's part of a 4 film collection of Eddie's comedies, I can recommend.

Strike Me Pink has Eddie Cantor playing his usual schnook against the world character with the background of an amusement park.

Eddie runs a store near a college and he's constantly being bullied and would have been intimidated out of business but for perennial student Gordon Jones. Jones keeps the bullies at bay while Eddie learns some assertiveness training. When he graduates finally due to some help from Eddie the plan is for the two of them to go and run the amusement park his mom owns.

She's being bullied herself by some gangsters headed by Brian Donlevy who want to put slot machines in the park. Eddie's assertiveness training pays off albeit in some unusual ways.

Strike Me Pink is vintage Eddie Cantor when he was probably at the height of his popularity. He would be departing from Sam Goldwyn after this film and never was really showcased properly for film after his Goldwyn days were over. View some of Cantor's Goldwyn films next to what Danny Kaye later did and you can see the influence Cantor had on Kaye's style.

Ethel Merman plays the vamp for the second and last time with Eddie Cantor. She also was never better on screen than when paired with Cantor by Goldwyn. She was cast ironically by Cantor's daughter Marilyn who was a fan of her's after seeing her on Broadway and lobbied with Goldwyn. Marilyn was an adolescent at the time, but Goldwyn agreed with her and Merman was in Kid Millions and then Strike Me Pink. They have a really nice duet together in Calabash Pipe.

Cantor brought over some of his radio family for this film in the persons of Harry Einstein as the befuddled Greek, Parkyakarkus and Sidney Fields. Yes, that is the same harried landlord of Abbott and Costello in the Fifties. Fields was an old vaudeville pal of Cantor's who brought him out of that dying institution and put him on radio in front of the mike and also as a writer. With Gordon Jones who was Mike the Cop on Abbott and Costello that makes two A&C regulars in this film.

The chase scene through the amusement is the climax and according to a recent biography of Cantor, two stuntmen doubles suffered broken legs during the filming of that dangerous sequence. All to obtain a phonograph record where the bad guys have confessed their evil deeds.

If you want to see one of America's funniest men at the height of his popularity by all means catch Strike Me Pink when it is broadcast next.