Machine Gun Mama

Machine Gun Mama stars Mexican star Armida, Elmer Brendel, Wallace Ford, and Jack LaRue. Ollie and John are bringing the elephant somewhere ( its not really explained....), and when they break down, they decide to sell her to the carnival. Alberto and his daughter Nita run the carnival, but it's not doing so well. It's quite dated, but tells a solid story. Sort of. Nita and John hit it off.Then there are some misunderstandings, then some more misunderstandings. It's a shortie, at only 60 minutes. Armida was getting into films just about the same time as Carmen Miranda, and they must have both been quite exotic at the time. It's all quite contrived, but it's all over in an hour. And not single machine-gun. Hmm..

"Machine Gun Mama", not at all what I had expected in regards for a title. In my opinion the also known as title "Tropical Fury", suits it much much better. In most factor's though, I found it to be quite hilarious. The plot itself was pretty good. Definitely, a one of it's kind, and as I had mention before in the summary for this film "bravo for Luis Alberni", he without a doubt stole the show. Really, he was a master at all he had done, film and in everyday life. Unfortunately, in return, Alberni - much to the dismay of being a character actor - had in most films been underrated, just as many other character actors had been within that era of film. Also, I find that without him in "Macine Gun Mama" the movie would not be nearly as good. Everyone in it although contributed, therefore deserve some slice of credit. Yet, the movie's #1 star should without a doubt be Alberni. Not Armida.

Machine Gun Mama—I must admit that I couldn't finish this one… This is a really low- budget and very annoying 'comedy'. Think about the premise—two idiots from Brooklyn are roaming about Mexico with an elephant that they found! Uggh. And, to make it worse, the film is anchored by Wallace Ford—an okay supporting actor but a guy without enough talent or screen presence to keep the film afloat. The worst part of all this is that the film really came off as very forced and not the least bit funny—a pretty severe problem with a comedy. And, when the trio came upon an insane Mexican lady who loves to fire machine guns wildly, I started to regret having tried this film. With a bad script, bad acting and a dumb premise, I actually found it impossible to keep watching this one—and I almost always watch even the worst film until the very end. What a dumb movie.

I know this movie may seem slow and old fashioned to many younger viewers, but to a person, such as myself, who has seen thousands of movies over the years, this movie is very appealing and enjoyable. It provides a moment of relaxation and simple human emotional fulfillment. The lead female role is very well played and very believable. The actress reminds me of Dolores Del Rio. The other characters are highly stereotyped but that focuses emphasis upon the female lead who carries the story from beginning to end. It is in reality a modern adaption of a morality tale similar to Chaucer. It contains all of elements of a story - mystery, romance, misunderstanding, fear, drama, confusion and eventual resolution. I highly recommend this movie.

Do not be misled by the title "Machine Gun Mama." This is NOT a thriller dealing with the exploits of a small gang like Ma Barker's, as suggested in the "Big Book of B Movies" by Robin Cross (who clearly had not seen the film). If this movie had been made by Paramount they would have called it "The Road to Mexico" and cast Hope, Crosby, and Lamour. Unfortunately the recipe never quite worked when other studios tried it, and it does not work here.

Much of the blame in this instance lies with the miscasting of Wallace Ford, who gives us stolid worthiness in a part which calls for debonair insouciance. His sidekick, played by El Brendel, is the sort of comical Swede already out-dated by 1944. Armida makes a delightful female lead, out-spitfiring Lupe Velez in a tempestuous sequence which gives the film its title, and astonishingly reminiscent of Kathryn Grayson both visually and vocally in her two musical numbers. All three are often upstaged by Luis Alberni as an excitable Latin type, and occasionally even by an elephant and an unseen flea of outstanding beauty (which may give you an inkling of the credibility level of the plot).

Even so, the film remains a decent light-hearted frolic, suitable for a wet afternoon when something intellectually undemanding is called for.