Poppy

I left this one for last from the films in the W.C. FIELDS COMEDY COLLECTION VOL. 2 because it's always been reported that his contribution is swamped by the plot; I ended up enjoying it more than I had expected to and, in fact, consider this an underrated star vehicle.

It's true that the sentimental narrative, romantic subplot and even a couple of songs get in the way of the comedy highlights, but Fields himself is in fine form here (he originated the role of Professor Eustace McGargle on stage and had already appeared in a Silent version of the Dorothy Donnelly play called SALLY OF THE SAWDUST [1925] - directed, of all people, by D.W. Griffith and, for this reason, making it one of the very few Fields Silents released on DVD!). Incidentally, the star was seriously injured during the making of POPPY - not that his performance is effected in any way. Here, also, we're treated to the same kind of period atmosphere as in THE OLD FASHIONED WAY (1934): Fields, however, is a sideshow performer instead of the manager/lead actor of a theatrical troupe and has exchanged the awkward golf practice of YOU'RE TELLING ME! (1934) for the game of croquet - at which he's equally inept (besides playing an instrument called the kadoola to replace his memorable juggling act in THE OLD FASHIONED WAY). As in MAN ON THE FLYING TRAPEZE (1935), too, here we get various instances of Fields' unique and hilarious shriek whenever he takes a fall.

Among the film's best gags/lines are the following: the 'talking' dog scam; Fields berating a hot dog vendor for 'seeking his advise' in the sale of two half-eaten loaves, after the latter insulted him by suggesting that Fields couldn't afford to pay for them; he keeps running into a cadaverous fellow he swindled and who relentlessly asks for his money back; Fields mistaking a helpful gesture as to his presumed wife's distinctive features (the man indicated a mole under her ear, but Fields thought he meant she had sideburns!); his remark about the horse he was fleeing on dying out on him right in front of the police station. By the way, the last line of the film, "Never give a sucker an even break", gave the name to one of Fields' most famous vehicles (also included in the set and which I watched earlier this week).

Now I need to pick up the four remaining Fields films that are available on DVD - the afore-mentioned SALLY OF THE SAWDUST, SIX OF A KIND (1934), David COPPERFIELD (1935) and THE BIG BROADCAST OF 1938 (1938) - all but the first of which have been issued as part of some collection or other. Incidentally, there are still enough unreleased Fields movies from the Talkie period to compile yet another Universal set; so, let's hope they deliver sooner rather than later...

POPPY is an atypical W. C. Fields film even though this was the second time he filmed the story (earlier it was the 1925 D. W. Griffith silent SALLY OF THE SAWDUST with Carol Dempster and Alfred Lunt as the young lovers). This gentle little comedy/drama, originally a turn of the century stage melodrama, casts Fields as a carnival con man with an 18-year-old daughter Poppy (Rochelle Hudson). While in a small town, Hudson falls in love with the mayor's son (Richard Cromwell) and Fields, thought to be a distinguished lecturer, attracts the attention of the presumably wealthy Madame DePuizzi ("Madame DePussy" according to Fields!!) deliciously played by Catherine Doucet. Seems the Mme. is quite a con herself - she is only a presumed heiress, being the former mistress of a now deceased wealthy man of the town whose only actual heir, a daughter mysteriously disappeared twenty years ago. Fields with the help of shady attorney Lynne Overman concocts a story that he is the widower of the daughter, making his own daughter the heiress of the estate. Meanwhile Mme. "dePussy" starts to show her claws and is in cahoots with Cromwell's old girlfriend and others to shame Hudson for her carnival background and disprove Field's claims.

The atmosphere for this 1880's tale is quite charming and effective and there are several wonderful Fields comic bits, particularly his barter of a "talking dog" although I found his croquette travesty a misfire that didn't work. His performance is top notch however and the charming young Hudson and the equally adorable Cromwell are very appealing. Maude Eburne stands out among the supporting cast in a delightful role as a local matron who takes an interest in Rochelle and becomes her only friend in town. POPPY is perhaps a bit too genteel for W.C.'s biggest fans who like him best in a wild comedy but it's still a pleasing and successful albeit modest picture.

In this film, W.C. Fields who was one of the great elder comedians of his time plays a carnival performer. He and his daughter, Poppy, arrive in town. It's there that Poppy falls in love with the town's most eligible handsome bachelor. It's a mutual attraction but her breeding and heritage is not attractive. Poppy is a carnival girl who was raised by her father and traveled from town to town with the carnival. She certainly wouldn't get approved by the local society. Anyway, there are tricks and turns that changes everything without spoiling it. W.C. Fields was a comic genius on stage and in film before television. He was one of the great legends that came to film in his winter of his career. Even though, the cast is first rate but the writing is weak. Anyway it's entertaining and unforgettable. Watch W.C. Fields performing is a timeless treasure.

POPPY (Paramount, 1936), directed by A. Edward Sutherland, stars WC Fields as Professor Eustace McGargle, a role he originated in the 1923 stage production of the same name, and reprized in a silent 1925 adaptation retitled SALLY OF THE SAWDUST for United Artists, directed by D.W. Griffith, starring Carol Dempster not as Poppy, but as Sally. This 1936 version, which premiered June 25, 2001, on Turner Classic Movies, is said to have been more faithful to the play than the Griffith-directed incarnation. Aside from the usual Fields comedy supplements, he also manages to show the sentimental side to his character, as he did as The Great McGonigle in THE OLD-FASHIONED WAY (1934), where he also cheated suckers while finding time to be a loving and caring father to his grown daughter. POPPY could very well have been a sequel to THE OLD-FASHIONED WAY, considering the same time period and Fields' character names in both films sounding identical, from McGonigle to McGargle. However, I find POPPY to be one of Fields' more quieter comedies. Host Robert Osborne of TCM mentioned prior the presentation of the movie that Fields was quite ill and in great pain during the making of the movie, but succeeded in finishing the film in what might have been his farewell performance (which explains why WC wasn't having his usual field day as he did in his past comedies). Had Fields died following the completion of the film, what a fine conclusion it would have been to his great career, with W.C. not only reprising the role he made famous on stage, but in saying this memorable line to his on-screen daughter, Poppy, as he gives her his expert fatherly advice, "Never give a sucker an even break," before the fadeout.

Set in 1883, Professor Eustace McGargle, a swindling carnival man wearing top hat, checkered pants and spats, comes to a small town with his daughter, Poppy (Rochelle Hudson) where he establishes himself as the prize medicine selling star of a traveling carnival, while Poppy wanders about and meets and falls in love with Billy Farnsworth (Richard Cromwell), a mayor's son, but because of Poppy's sideshow background, the Farnsworth family look down on her. Only Sarah Tucker (Maude Eburne), a matron woman, takes a liking to Poppy, and later discovers something about her true identity that makes things right again with the Farnsworths.

Aside from the romantic subplot between Hudson and Cromwell (who nearly resembles MGM's own Franchot Tone when wearing that derby), Fields manages to come off with some good comedy routines, such as cheating a bartender into buying his "talking" dog; purchasing frank-furthers (or better known to some as hot dogs) for himself and Poppy from a vendor (Tom Kennedy) with McGargle telling him that he will get paid at the conclusion of his engagement. The outraged vendor demands the money for his hot dogs, so McGargle and Poppy decide that since they cannot pay for them, they might as well give them back to him, half-eaten, ending with this funny exchange: Kennedy: "Listen you tramp, how am I gonna sell these again?" Fields: "First you insult me, then you ask my advice concerning salesmanship!" This amusing bit is soon followed by McGargle selling medicine bottles for one dollar. A naive patron (Bill Wolfe) acquires one and pays for them by giving McGargle a $5 bill, but never gets his $4 change. Instead, McGargle quiets down the customer by giving him four more bottles, and "No more!!"; followed by some amusing bits involving character actress Catherine Doucet as Countess Maggie Tubbs DePuizzi. When Fields is not on screen, Hudson as Poppy gets to sing one nice song, "Rendezvous With a Dream" (by Ralph Rainger and Leo Robin) twice. The title tune of "Poppy" is sung by off-screen singers during its opening credits. Also featured in the cast are Lynne Overman as a hick lawyer; Rosalind Keith as the snobbish Frances Parker; and Granville Bates, among others.

In spite of some leisure moments, POPPY, at 73 minutes, is really worth viewing and rediscovering to fans of the Great Tomato Nose Thanks to TCM for bringing this rare gem back on TV again. Currently available on DVD. (***1/2)

WC Fields stars as a circus performer whose daughter claims to be heir to a small-town fortune. A sentimental comedy with music and schmaltzy love story (Rochelle Hudson, Richard Cromwell), Field is--as always--watchable and quite good in a fairly straight role. However, character actresses Catherine Doucet and Maude Eburne steal the film as a fake countess and Hudson's benefactress. Fields film regular Bill Wolfe is also fun. This old-timey comedy has a Chaplin-like feel in its blending of humor and pathos. A near-miss for Fields but still worth watching for his good performance and a couple of classic routines.