Sing and Like It

I was very surprised by this. It's genuinely funny. Nat Pendelton was at the top of his game in 1934. (The Thin Man - 1934) The scene where he winds up with a mouthful of gum after kissing his girlfriend was a scream.

I would really like to see more of Nat. He is a real discovery (like Warren William) capable of many faceted parts. He was a Silver medalist at the 1920 Olympics.

The entire cast was sharp as was the dialog. Zasu Pitts had her typical part and her hand movements were as always (and that mother song). Ned Sparks was also as always. Pert Kelton was looking good. A flick to really have a laugh at. you gotta' see it.

Can't beat THAT cast! Zasu Pitts. Ned Sparks. Ed Horton. A gangster's girlfriend Ruby (Perl Kelton) wants to star in a show, so when the gangster "Fenny" (Nat Pendleton) hears "Annie" singing (Zasu Pitts), he puts together a show for her, not the girlfriend. The singing and acting are terrible, but Fenny likes her, so they proceed. And of course, the girlfriend wants the lead role for herself, so Annie better watch out! This one gets a little rough around the edges... the film code wasn't being enforced yet. Honestly, if this had a different cast, I probably wouldn't have liked it as much.. I DO love Sparks and Horton. Also interesting to note that in the first couple scenes, Pendleton calls Ed Horton and one of the other guys "Honey" and "Dearie". Directed by Bill Seiter. Another interesting thang -- when Ben Mank introduced this film on Turner Classics, he stated that Walter Brennan appears in the film, but the trivia section states that Phil Tead is often mistaken for Brennan. Pretty good film, but probably because those key actors are so awesome.

I couldn't agree less with the negative comments about this delicious little film! It's not about talent squandered -- it's about talent SHOWCASED! Many of the best character actors from the RKO lot appear in this film and their work is stupendous! The film is, in many ways, a parody of the gangster genre -- it's got a very Runyonesque take on the underworld, where kingpins are sentimental and their molls are sharp as a tack. The surface humor is broad -- but the wit is sharp and incisive: If the screenplay were any more tightly written I'd swear it was Mamet or Sorkin who created the dialogue.

The handling of theatre critics and their work is particularly vicious -- and never fails to make me guffaw! For anyone who understands allusion and parody -- and who appreciates good comedic writing -- this is the film to see!

This down at the heels production provides a lot more laughs than a lot of star filled comedies of its day with leads brought up from the supporting ranks. Zasu Pitts, Nat Pendleton, Edward Everett Horton, Pert Kelton and Ned Sparks more or less apply the same type they excel at in other films without stars stepping in front of their shot or impeding the flow of humor with a half baked romance and for the most part carry it off nicely.

T. Fenny Sylvestor ( Pendleton) makes a good living at cracking safes and kidnapping. During a job he hear's Annie Snodgrass (Pitts) warbling a tune about mom at a rehearsal. stopping the heist dead in its tracks. He then devotes himself to putting Annie on the Broadway stage by way of intimidation.

Sing and Like It is populated with Runyonesque characters playing it broad and sober. The cast of scene stealers have the patter down right and the script by Marian Dix and Laird Doyle runs from high sarcasm (after all Ned Sparks is in the room) to subtle wit (" Look at all the diamonds I've given ya' and not a mark on ya." ) It's unfortunate both writers had brief careers given the promise displayed here.

William Seiter's direction allows for dead moments (How many times must we listen to Ms. Pitts murder the same tune?) as well as a fair share of brutal slapstick in places but overall the team of second stringers he fields all have a good game making Sing and Like It a winner.

I've seen this a few times and it always makes me laugh. Great cast playing for all it's worth, and very pre-code: When told she is to be Annie's chaperone, Ruby replies "She'd be safe on a battleship"; the gum scene; Ruby: "I belong to the world", Fenny: "You probably did before you took up with me." The end has a couple of neat twists too. It drags a bit in the middle, but all in all it's quite sarcastic and funny. And let's not forget Annie Snodgrass, who must sacrifice all because she is an "artist". The "Mother Song" is a neat take-off on a musical genre of the late 20s: "Who taught you wrong from right, while holding you so tight, who misses you tonight... Your Mother". Listen to the words, if you can take the delivery: it's one of the sappiest songs ever written. If you like old movies, pre-code humor and sarcasm, and plenty of 30s slang, this is to be seen.