World Premiere

Although I only saw this once in the early 80's I remember it as an unfunny, insubstantial satire on Hollywood with a deteriorating Barrymore as Rupert De Grasse, film director for Miracle Films, and a poor immitation of his classic turn as Oscar Jaffe in "Twentieth Centruy", even down to a his "I close the iron door" line.

Though it was made in the midst of his self ridicule period, Barrymore doesn't make such a spectacle of himself in this, in fact he makes very little impact at all since despite his top billing he's in the movie very little. Most of this shapeless movie concentrates on the shenanigans of Nazi Fritz Feld and De Grasses annoying double talking side kick who reminded me of one of Dick Dastardly's cohorts. The story for what it's worth deals with the desperate producer/director's attempt to drum up publicity for his newest movie, one of a long line of disastors.

This movie is such a waste of time, even for Barrymore addicts, who'll feel short changed and bored by all the subplots. Admittedly the last scene with various critics trying to make sense of the chopped up film De Grasse finally premieres is quite droll. Otherwise avoid.

Thanks to a screening by movie archivist Eric Grayson, I had the chance to see a very rare print of this comedy about a Hitler-like figure orchestrating the destruction of a Hollywood propaganda movie via two stooges.

John Barrymore, who was near death from his alcoholism, plays the clownishly conceited producer of the film. He is awful, as is the usually terrific Eugene Pallette, who as Barrymore's right-hand man, is all screaming and gesticulating. I suspect that having to play off the degraded Barrymore had something to do with it.

Frances Farmer plays the star of Barrymore's film, who spends most of the movie in a jealous rage because her husband and leading man (Ricardo Cortez) is chasing a blonde supporting actress (Virginia Dale). The blonde's husband (Don Castle) is a publicist, but their marriage is a secret because otherwise it would jeopardize her career.

Fritz Feld as the pseudo-Hitler and Sig Ruman and Luis Alberni as the buffoonish saboteurs give the best performances; but even their antics grow stale, thanks to a tedious script by Earl Felton and Gordon Kahn. A tiger and a monkey provide thrills and humor; Feld slapping the tiger across the face provides the movie's single best moment.

Like a previous reviewer I have also only ever seen this film surface once. This was on TV here in Australia, possibly in the early 80s or a little earlier. My memory of it is that it was a satire come comedy come espionage thriller which I enjoyed immensely, despite the low one and a half star rating that I remember seeing in the current edition of Maltin at the time. I have wanted to see it again ever since, but have not had much luck in tracking a copy down. It was advertised for sale as a DVD item from a now defunct (or so I believe) internet vendor, but when I actually received the DVD it was some kind of rap music video with the same title! But I digress.

This was John Barrymore's next to last feature. (His last was Playmates in support of Kay Kyser!) It was during this period that Barrymore's career was in decline, and his roles were inclined to humorous self parody. While his performance here does not plumb the depths of self- caricature the way his role in Playmates does for example, my memory of the performance here is nevertheless along similar lines. Unlike many who find these and other similar roles towards the end of his career a demeaning waste of his talents, I actually enjoy THIS John Barrymore more than the posturing ham of his earlier years. Don't get me wrong folks...I appreciate the earlier works more than somewhat...it's just that I enjoy all of Barrymore's roles from the last few years of his career a lot more. (Am still waiting to see Hold That Co-ed by the way, which seems to be a starting point of sorts for these kind of Barrymore flicks).

Paramount had apparently lost interest in Frances Farmer by this time in her career, as they appear to have been relegating her to their B features or loaning her out to other studios. Her last two Paramount pics appear to be this and Among the Living, the latter being yet another film I am also waiting to see again after close to 40 years, a very fine dramatic thriller containing one of Albert Dekker's finest early performances. In any event Miss Farmer, who could be a very effective actress, was certainly not put to much worthwhile use in World Premiere as I have very little memory of her at all from this film.

Which brings me to the real stars of World Premiere and the main reason for watching it, Fritz Feld and Sig Rumann. Though nominally only supporting players they really do steal the film, and it is such a pleasure seeing them with far more sizeable roles than the mere walk-ons in which they were frequently cast. It has always been my contention that what gave the Golden Years of Hollywood their gold was the large reservoir of wonderful supporting character players which could always be drawn upon, and these two guys are among my favourites.

Hoping whoever owns the MCA library now will make this available again some time, but given the track record of MCA and Universal titles that seem to have sunk into oblivion, I am not holding my breath.