The Tenderfoot

A Texas cowboy with funds to invest arrives in New York City. Just how long will it take for THE TENDERFOOT and his money to be parted?

Comic Joe E. Brown has a wonderful time, striding about Manhattan in a ten-gallon hat & boots, packing a pair of six-shooters and carrying a lasso. No hick he, shysters of both sexes find he's not an easy mark--until he's taken in by a couple of desperate play producers who want to unload 49% of their latest flop. Brown is a constant wide-mouthed delight, whether roping his luggage at Grand Central Terminal, trying to be neighborly to a bunch of chorus boy cowboys, or galloping after a group of taxi-driven gangsters on a busy New York street, he makes this rather naughty Pre-Code comedy boil.

Perky Ginger Rogers scores as a secretary honest enough to want to protect Joe and his money. Lew Cody & Robert Greig ooze false charm as the producers (Greig even looks a little like the great Mostel) and brassy Vivien Oakland stirs things up a bit as the play's spoiled star.

Movie mavens will recognize Herman Bing as an opinionated chef, Nat Pendleton as a jealous husband and Richard Cramer as a gangster, all three uncredited.

The last few seconds of the film, involving some very peculiar triplets, is hilarious.

Joe E. Brown stars as a cowboy duped into financing a Broadway show. Ginger Rogers is the city girl who tries to help him. How much you'll like this depends on how you feel about Joe E. Brown. His comedy is basically all rubberfacing and a silly voice. I'm not big on Brown and this did little to change my opinion of him. However, it's one of his less obnoxious movies. When he's playing straight instead of doing shtick, he's affable and pleasant to watch. I am a fan of Ginger Rogers and it's always good to see a movie of hers I haven't seen before. This is early Ginger but she's still the best part of the movie. It's a pretty forgettable film but if you're a fan of Brown's you will probably enjoy it a little more.

"Whoooooopie!" ... I caught this movie for the first time on TCM early this morning and found it somewhat entertaining. Not ROFLOL slap-stick, or vaudevillian in the class of the Three Stooges or even Laurel and Hardy but that which was in it for innocent amusement. What did somewhat crack me up was when he was informed that the only costumes they had were that of Shakespeare and nothing associated or fitting the Broadway play they were performing - I believe it was a western. Yet there were some moments to suggest that I was in 1932. For one, in the restaurant the menu contained Kosher items and the comment made about a "tribe," and on the Brown's hat band, swastikas with some other symbols were briefly shown. Not really sure what that was all about but it reminded me a bit of when the Three Stooges poked fun at the threat in Europe that was emerging at the time. Nevertheless it was a fun movie and to see a young Ginger Rogers was well worth it. I'm certainly glad to have experienced it and the script alone was worth commendation. It wasn't great but it was fair.

"The Tenderfoot" is from the days just before the Hollywood Production Code became strictly enforced in 1932. Primarily family fare, a few words and themes are slipped in that would become taboo within a few months and for decades to come. None of these should preclude a family audience today.

Examples include a cowboy, who upon arriving in NYC, spots a group of men in cowboy suits who turn out to be obviously gay chorus boys. Later in the film, he malaprops "ejaculation," instead of "salutations!" Yes, there's plenty of innuendo--much of it sophisticated and/or subtle, but nothing that isn't heard (ahem, recycled) on U.S. network primetime/family television today.

Ginger Rogers appears as Brown's feisty love interest, but don't expect her to sing, dance or wear ostrich feathers. Still, she's charming and more interesting here than in her Oscar-winning role in 1940's "Kitty Foyle."

Joe E. Brown, who is probably best remembered today for his turn as Osgood Fielding III in "Some Like It Hot," plays the cowboy broadly. Still, he's much more palatable than in other frequently seen performances (reference Flute in 1935's "A Midsummer Night's Dream).

In addition to the historical interest, the film is an enjoyable and well produced piece of fluff. The short 70-minute run time seems even shorter to me. Hope you enjoy it!

Comedian Brown gets a showcase here. As a swaggering wealthy Texan, he visits New York where he gets involved with con men using a Broadway show to fleece him. Good thing Rogers is on hand to help him out. Generally, the movie gets better as it goes along, even though Brown's style of humor is mainly a matter of taste. The first part has him practically yelling his lines and mugging it up mercilessly as he establishes his rustic character. Frankly, I found much of this annoying. But as the plot takes over, his character settles down some, but without losing his comedic shtick. Sorry to say, Rogers is largely wasted as the assertive secretary, but it's still early in her illustrious career. There's one scene that's a real grabber, coming near the end. Brown's on a horse chasing the baddies in a car down a city street. But it's a real city street not a backlot set. There's a lot of weaving back and forth, the car even going down a city sidewalk. I'm surprised any LA jurisdiction would let them take liberties like that. Still, it's a grabber in what's otherwise a fairly static story. All in all, the movie should please fans of the big-mouth funny man; for others, it's mainly a matter of taste.