Strike Me Pink

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. (***)

Several numbers in the film are worth a look just because of the clear influence of Busby Berkeley. The numbers show sophistication and modernist sensibility very different from the tone and style of the rest of the material, and very Berkelesque. In the "High and Low" number,for example, filmed mostly in closeups, Merman's white skin is strongly silhouetted against her very black costume, which itself blends into the black background. Its a chiaroscuro effect highly reminiscent of Winnie Shaw's "Lullaby of Broadway" number in Gold Diggers of 1933.

Later, in "Shake Me Off With Rhythm", the shiny dance floor reflects the dancers so completely that a reflection begins to dance on its own, itself a reminder of Bojangles by Fred Astaire in Swingtime, which was released in the same year. At another point, dancers intertwine so that their one's arm become the other's legs and it becomes difficult to distinguish them, their intertwined bodies still reflected by the shiny floor in a very modernist composition. It all feels like Busby, off center, inventive, playful. Worth a look.

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.

I haven't seen the whole movie, but just happened upon the last 15 or 20 minutes on TCM. Most of this time was filled by a chase scene that was actually kind of exciting (though it strained credulity that Our Hero wasn't killed about 8 times) and often funny. I was often thinking, "How did they do that?" I don't know about the rest of the film, but his part was definitely worth seeing.

An interesting aspect of changing technology was that the object of the chase was to get/keep possession of a phonograph record, presumably the only copy of an important recorded conversation. It wouldn't have happened in the digital age!

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.