Hellzapoppin'

I grew up on this movie, I have the movie completely memorized and I still laugh at the jokes. Granted I must say that its not for everyone, people who like a more sophisticated kind of humor may not like this movie. But if you want good old fashioned slap stick, one-liner, running gag, and completely random kind of comedies this is for you. I must say that the jokes do go by pretty fast and you could miss a good one liner really easily if you don't give the movie your full attention. Also, a good copy of the film may be a little difficult to come by, but its worth watching. If anyone in the movie business is reading this that has the power to do so, please get this out on DVD!

Hellzapoppin' is brilliant - fast, funny, visual, one-liners, dance numbers, romance - just pure and simple escapist entertainment - It is a feast of corny, surprising, surreal, slapstick, pratfall humor that will work until the end of time.

Moreover it uses tricks and ideas, like talking to the audience, that were way ahead of its time.

The show about a show plot works wonderfully, but it is the little surprises, the oddities, and the fun that make this one of the best laugh-out comedies of all time and should be seen by every comedy writer and actor - pure joy from beginning to end - and above all pure entertainment.

Huge fun and very much recommended.

A really crazy, fun ride through a Broadway show, there are moving sets, one liners and all around comic mayhem. The irrepressible Martha Raye is all over this film, being a bit obnoxious, overbearing and, eventually, kind of humiliated. But she is just one person in a seemingly endless array of actors who walk in and out of scenes. I loved the film'special effects, they were actually fairly impressive for a film from the early 1940's. There is lots of music, lots of dancing, slapstick, drama and..well, you get the idea. The film whizzes along quickly, and its this pace that makes it never boring. As a matter of fact, blink your eyes and you'll miss something. Enjoy this, it really was a lot of fun.

A Hollywood chorus carols in saccharine style: 'I once had a vision of Heaven, and you were there', only to fall straight through the floor... into the infernal regions where, the opening title tells us, any resemblance to a motion picture is purely coincidental.' Well, there is quite a lot of resemblance, but the wildness of the ensuing number, full of devils gleefully "canning" their victims, announces that this is not going to be one more musical.

Ole Olsen's and Chic Johnson's only film triumph has the virtues of its limitations. It came to the screen as a freak Broadway hit, a melange of old sch-ticks, novelty acts and occasionally inspired improvisations which caught the theatre public's fancy in the late 1930s. How to squeeze all this into a film, given that straight recordings of revues had gone by with the talkies' earliest days and cinema-goers usually failed to warm to staginess, unless it was transformed into Busby Berkeley spectacle that would not chime with a crazy comedy? Probably more by another fluke than by calculation, Universal stumbled on the answer: make the impossibility of fixing theatrical spontaneity on celluloid the main running gag in the picture. The result is unique: structurally, if not frame by frame all through, this is the most playful travesty of movie conventions ever to become a big hit for a big studio.

Much of the vaudeville material has dated, though pleasantly enough- the Congeroo jitterbugging is a wow- and some of the gimmicks become familiar by imitation; but boredom is avoided, and several laughs- such as the taxi joke at the beginning. the "Rosebud" line and Cook's bullet-proof vest at the end- are imperishable. How did it happen? Most of the principals, including director Potter, and the stars, were theatre and vaudeville rather than Hollywood types. The script sports its scorn of movie narrative rules, not just in John B Fulton's special effects (freeze, reverse motion, a reprise of his Invisible Man trickery) but in its mockery of plot conventions.

A millionaire pretending to be poor so a rich girl will love him for himself? "That's crazy!" "That's movies!" Mischa Auer as a genuine Russian prince in exile pretending to be phony? It's so the socialites will be amused at knowing his non-secret and will pick up the tab for him, whereas a real nobleman is banal and has to be a waiter. A lavish musical show, with water ballet, mounted in a country house? No problem if Chic and Ole can wreck it, in a good cause.

No doubt other drawbacks governed the screwball treatment. Olsen and Johnson were not built for slapstick, hence other forms of visual excitement. More seriously, and despite faint echoes of Abbott and Costello, they were a fairly bland and over-ingratiating duo. Like Rowan and Martin, they anchored and mediated the eccentricities of Auer, Martha Raye, Hugh Herbert etc and explained, or protested about, the film's oddities. Breaking the frame, giving the game away to the spectators, arguing with a behind-the-scenes collaborator in front of the paying public: heretical in Hollywood, not so unheard-of on the New York boards where comedians played to their claques.

Temporarily O&J gave the off-the-wall comedy an extended life, just as the Marx Brothers were flagging. Like the brothers at MGM, Ole and Chic played matchmaker to more sexually appealing support, took a break for musical or romantic interludes and had road-tested their own contributions: not by sneak-previewing them but by dint of having done the show 1,400 times already.

The world war would speed up the tempo of such entertainment, as would the influence of radio, with its avoidance of 'dead air'. Jokes about the draft and shortages have crept into the Hell scene, and throughout the pace is snappy. However their later films, after the first reel of "Crazy House", showed that O&J could not extend their partnership as fruitfully as Laurel and Hardy, the Marxes or the Ritz Brothers. Or Hope and Crosby, whose "Road" series, with their talking animals and to-camera asides were mining the same seam.

Never mind. The director may have shot the screenwriter in disgust at the finish, but nearly 70 years on, many will find "Hellzapoppin" a lot more fun than "Being John Malkovich", and as cinematically quirky.

This movie pops up regularly on TV or at revue cinemas and I'm always surprised at how many youngsters are familiar with it.

Olsen and Johnson never had the following of Laurel and Hardy or Abbott and Costello but they were capable vaudeville comics who made a few movies, Hellzapoppin and Crazy House are the best remembered. Hellzapoppin is the a much sanitized film version of Nat Perrin's famous stage revue.

The jokes come fast and furious, some of them are very dated now and some were never very funny to begin with, but you don't have time to analyze, you're into the next before you know it. There are some familiar faces Misha Auer, who had a long career playing the same character (a Russian aristocrat with dubious credentials), the loud and brassy Martha Raye and the very funny Hugh Herbert with his "yoo-hoo's" and mumbled asides the audience. The special effects were innovative for their time.

As brief respites from the madness there are a number of variety acts, synchronized swimming, crazy diving, a few pleasant songs with the corny lyrics typical of the period and the fantastic dancing of the Harlem Congeroo Dancers which even today is greeted by gasps of amazement and applause.

Well you can't say the maker's of this movie weren't trying to entertain.