The Kid from Spain

Forced into Mexico by crooks, a nervous young man impersonates THE KID FROM SPAIN--an imaginary bullfighter -- to keep from getting arrested.

Follies star Eddie Cantor prances his way through this naughty pre-Code comedy. Rolling his eyes and clapping his hands, he uses every trick at his disposal to amuse and he succeeds quite nicely. Cantor never slows down, but, like a mischievous little boy, he seems forever looking for new trouble to explore. His climactic scene in the bullfighting arena remains his best remembered movie moment.

Robert Young seems an odd choice to portray a Mexican college boy, and his problematic courtship of pretty Ruth Hall is totally lacking in excitement, but fortunately it isn't given an inordinate amount of screen time. Polish comic actress Lyda Roberti makes a good foil for Cantor; her amusing face almost matches his own in stealing scenes and her singing & acting are delightfully offbeat.

The dastardly deeds are handled by two of the era's best bad guys--John Miljan as an evil matador and J. Carrol Naish as his grimy sidekick. In addition, Cantor gets to share comedy sequences with three funny fellows--Paul Porcasi as a harried border guard; beefy Noah Beery as Miss Hall's very stern papa & Stanley Fields as a dumb-as-mud killer.

Movie mavens will recognize diminutive Edgar ‘Blueboy' Connor as a bull trainer and a young Betty Grable as one of the chorus girls--both uncredited.

Busby Berkeley directed the movie's musical production numbers, including the opening scene in a girls' dormitory, which seems to serve no other purpose than to expose a good deal of female flesh. The film's conclusion seems a bit abrupt. The villains have not been punished and the Young/Hall romance is still unresolved, but Cantor seems quite happy so why quibble?

Set in a girls' dormitory that looks more like a palace, it is astonishingly sexy, even by pre-code standards (you won't believe some of the innuendo they got away with); it is also one of the only two big production numbers that Busby Berkeley staged for this movie. Choreographically they're standard stuff compared to what he would do later in his career, but you can still spot glimpses of his genius. As for the rest of the movie, a very slight plot provides the framework for some funny moments (Mexican border standoff, "can you shoot me if I stand over here?", and what may be the first use of slow motion for comic purposes on the screen). **1/2 out of 4.

In the 1930s Eddie Cantor made a series of pleasant, sometimes sexy, consistently entertaining, fast paced comedies. This is, in my opinion, one of the better ones. The songs are wonderful, the gags are funny, the 1930's atmosphere is thick, and Eddie himself is so energetic throughout he seems to float.

It's a wonderful picture. Very recommended for 1930's film buffs and musical comedy enthusiasts.

I loved Cantor in this film. In fact, it was my first Eddie Cantor film. His crazy eyes and fast quips kept my attention throughout! Although, this movie is really old and seems only one step above a silent film (judging by all their facial dramatics), it shines as a funny pre-groucho marx sarcastic fun fest. Poor innocent Eddie Cantor, knee-deep in trouble as usual escapes from a girl's dormitory, he is found hiding in and gets caught up with bank robbers. Running with his friend to cross the border to Mexico, Cantor tells the border's cops that he too, is Mexican. Cantor outwits the bad guys by pretending to be a bull-fighter. Trying to escape, he encounters many hilarious characters along the way and actually has to perform in a bull-fight - hilarity ensues. Cantor is always known for his quick thinking and fast talking, so some of his best lines are thrown around in this movie. Also, there are the 1932 Goldwyn Girls including Jane Wyman, a platinum blonde Paulette Goddard, Toby Wing and a sixteen year-old named Betty Grable (not credited). This film is a real must-see!

I like Eddie Cantor movies. This is an early talkie and one of his best. It has two superb dance sequences from Busby Berkeley.

I'd have rated it an 8 but for the number done in black-face. Yes, I know that was fairly standard at the time. It grates today, though. The whole thing is fun. It's improbable but that can be the key to the charm of a Cantor movie.

Nevertheless, the highlight for me was his leading lady. I'd heard the name Lyda Roberti. Probably I've seen her before, too. But I was knocked out by her delightful comic performance. Here was a pretty woman, svelte and attractive, who was a topnotch comic. She presaged such greats as Joan Davis and Judy Canova.

I see she died young. What a loss to Hollywood then and to those of us who treasure vintage movies now! Lyda, you were sublime!