Les joies de la famille

Despite his marvelous comic con-men, who always outwits the rubes and dolts about him, there is a side of W.C. Fields that few people ever notice: he is usually a hopeless, henpecked husband when he is married. His Ambrose Wolfinger (in MAN ON THE FLYING TRAPEZE) is probably the most helpless married man that he ever portrayed.

Ambrose has actually been married (presumably more happily) to a previous wife, who has died. But they had a little girl (now grown up) named Hope (Mary Bryan) who is his one total ally in the family. His second wife, Leona Wolfinger, née Nesselrode (Kathleen Howard) is strict and shrewish with him. And his mother in law and brother in law Claude (Grady Sutton, playing a totally disreputable liar, trouble-maker, leech, and thief for a change) make his hell total.

In this film Fields is controlled by events and people - he rarely shows any of the spunk and cleverness that his Great McGonigal or Egbert Souse or Larson E. Whipsnade show. He tries to get two burglars charged in court, but they were drinking apple jack that he had allowed to ferment, so the idiot crabby judge ignores the burglary and charges Fields with violating the prohibition laws! He tries to see a wrestling match, but is delayed by traffic problems, a tire that runs away from him, a set of traffic cops, and arrives too late to see the match, only to be knocked down by one of the wrestlers being thrown on him. To make the situation even more absurd, he did not realize this ticket was stolen by Claude, who seeing him lying on the ground sneers at him as "Drunk again!"

He is also harried by his boss (Lucien Littlefield) at work, and he has to lie to get a miserable afternoon off to see the match (he says his mother-in-law died). When the truth comes out, Littlefield (on his own - as he subsequently regrets) fires him.

This is how it goes throughout the film. Except for Mary Bryan and for his secretary (Carlotta Monti, who has a nice moment at Littlefield's expense), all of the characters use and abuse Fields. He is only finally aroused when Claude tries to slap Hope, and Fields defends her, knocking out Claude. But even after that he still seems lost regarding what to do to pick up his life.

The film is funny - witness the business about Field's filing system at the office (he's a memory expert). When the actual head of the firm (Littlefield's boss - Oscar Apfel) tries to find things without Fields around, he goes nuts with the system. Littlefield tries to defend his action, only to be told by Monti that he has libeled her by suggesting Fields and she were out together at the match. Littlefield is then informed that if he can't get Fields back he'd better start looking for a new job (in the depression).

Howard's role is curious. Like her performance in IT'S A GIFT, she is extremely strict and suspicious. At one point, when Fields is getting ready to go down and check for burglars, she is begging for him to hurry and not to forget his gun. He takes the gun out, and accidentally fires it. High strung by the situation, the shooting scares Howard into a faint - Fields looks at her and with a slight trace of hope in his voice he asks, "Are you dead?" Yet, he did marry her, and at the end, when stuck alone with her mother and brother (who won't look for work), she seems to realize that - for better or worse - Ambrose was a good provider. In the end she is reunited with him and with her step-daughter.

It is a good comedy, and if it lacks the polish of THE BANK DICK and IT'S A GIFT and THE OLD FASHIONED WAY it is still worth watching.

This was one of W.C. Fields' favorite films, and in fact was closest to his own family situation, or at least his version of it. It also reprises many of his skits worked out with the writer J.P. McEvoy, which he also replays in It's A Gift and other W.C. Fields' movies of the domestic type, like The Bank Dick.

I love this movie; it contains much of the actual W.C. Fields. The son, Claude, for example. W.C. Fields' and Hattie Fields, his wife, were estranged while their son, William Claude, Jr., grew up. Fields believed, according to biographers, including his grandson, that his wife turned his son against him. He always believed that if he'd had a daughter, she would be a more loyal child. In this movie, the son, Claude, is awful to him, while the daughter, Hope (!), is loyal and loving.

The gags fly: "How can you hurt a person by throwing him on his head?" "It must be hard to lose your mother-in-law." "Yes, it is, almost impossib-, um, yes." Or my favorite exchange, the most brilliantly poignant comment on an unhappy marriage, I think, ever portrayed in a movie. "Is your toast warm, Dad?" "No, dear, it's cold. But it's all right. I've been eating cold toast now for eight years; I like it." All the while looking as miserable as anyone ever could. God, he was brilliant.

There's also the sense that Ambrose, the character The Great Silly plays, is someone lost in a world that he doesn't understand. The scene where instead of the burglars, HE is the one sent to jail. Or the scene where he's parked in a no parking zone, and the painful exchanges with the cop, the chauffeur, etc. Or when he loses the car's wheel and chases it down the hill, over the dale, down the railroad tracks, barely escaping death twice.

His actual mistress (W.C. and Hattie, Catholics, never divorced), Carlotta Monti, plays his secretary, and is the one who explains that her mother is good friends with Hookalakah Meshobbab, somehow without howling with laughter.

Ah, what a film, and it's a disgrace that it's not on DVD yet.

This is one film that most W C Fields Fans would want to buy--if it were available on video from Universal, the video source that has the deepest, darkest vaults in the video business. What Universal is not releasing (among many other Fields films) is a saga of Fields in his "Henpecked Husband" role as an office manager who has the answers to everything in the interior of his massive roll top desk. He is unappreciated by his wife, mother-in-law, and do nothing step-son, but loved by his grown daughter--a reoccuring theme in many of his movies. All he wants to do is take the afternoon off to go to the wrestling match, and being a loyal employee who does not want to offend his boss, thinks of an excuse to leave for the day. From here his day goes downhill. Does he ever see the match? Try to turn on the television and see this film, if it ever shows up on the major film "networks". Or, just pray for Universal to release this film on video. It's a great Fields film. Don't miss it if you can!

Burglars singing in the cellar scene is hysterical. "What are they singing?" Fields asked his distraught wife. The breakfast scene where his wife reads poetry while Fields finds nothing to eat. "And best of all," she declares, "it has no punctuation." Fields in jail with a killer. "I had three wives, and this is the first one I've ever killed." "That's very much in your favor," notes Fields. This film is wonderful. It is a shame it's not available on video.

Something's amiss if I'm posting the first and only comment on this important Fields comedy, and I think I know what it is: none of his mid-30s Paramount triumphs are available for viewing! Videotapes of Fields films ca. 1932-6 are seemingly nonexistent, and they're never on television (cah-mon, Turner Classic Movies, look alive here!) End result: many thousands of younger viewers -some of 'em already fans of 30s movies- are being cheated of their comedy birthright. (Of course, his later and equally-funny Universal jobs are readily available - witness the ever-spiraling reputation of THE BANK DICK, for starters.) And you can sing THE BANK DICK's praises morning, noon and night and get nothing but 'amens' from me, but a case can be made for mid-30s Fields-at-Paramount as his best and most fertile period, and TRAPEZE -which came at the end of that run- embodies every virtue inherent in the Great Man's work. When a Fields movie fires on all cylinders, it should almost seem a throwaway: meandering plot, disconnected bits of old vaudeville, sitcom surrealism and Falstaffian braggadocio loosely strung together with a nonchalant mean streak adding the sting in the tail. (Certainly, every fan of FAWLTY TOWERS needs to see this one!) Here, he plays Ambrose Wolfinger, a man as put-upon and abused in his fruitless search for middle-class contentment as BRINGING UP FATHER's Jiggs (complete with his very own harridan Maggie, played here by Kathleen Howard, whose baleful countenance could've cowed Groucho into meek silence!) The plot revolves around Fields' doomed attempts to sneak away from work to see his favorite wrestler, the aforementioned Mr. Mishabob, with neither his boss nor his wife ever being the wiser. That's it; that's the plot, thin enough to be rejected for an episode of LIFE OF RILEY. And as usual with Fields, this ludicrously threadbare conflict is the essence of his art, as we watch this browbeaten fellow struggle to maintain a sense of decorum as everyone and everything in his universe conspires to crush, defeat and deny him this one simple desire, with hilarious results. (Well, I told you about that mean streak, right?) The beauty of Fields and TRAPEZE is that, though he's essentially a small, petty, unlikable prig, everyone AROUND him is a thousand times worse - so horrid and poisonous that he becomes sympathetic and even heroic by comparison (with the exception of the one pearl of sentiment he allowed himself, the loving and understanding daughter who defends him by allowing him to think she needs HIS protection). There aren't very many comedies that deliver such richness of pleasure from such skeletal premises: in fact, most of them were made by Fields. Will someone please revive this gem before the last print falls to dust?