Torre de Babel

INTERNATIONAL HOUSE (Paramount, 1933), directed by A. Edward Sutherland, is a minor comedy that has grown into a classic, thanks to its frequent television revivals over the last few decades, later distribution on video cassette and DVD, and classic movie cable channels, first on American Movie Classics in 1992, and then, nearly ten years later, its resurrection again, this time on Turner Classic Movies, in 2001. After all these years, this 1933 gem is still very funny.

Set in Wu-Wu, China, Doctor Wong (Edmund Breese), the inventor of the radio scope (now known as television), is staying at the International House, a luxurious hotel, where he plans to meet with representatives who want to submit bids to buy his invention. One of them is Tommy Nash (Stuart Erwin), an employer for the American Electric Company visiting China on behalf of his firm. Unable to get a train to Wu-Wu (the bridge is washed out), he decides to take his car and drive there. At the train station, he encounters Peggy Hopkins Joyce (Peggy Hopkins Joyce), who overhears his plans and talks herself into riding with Nash, in hope to also get to the International House and see this latest invention that has made news headlines. Reaching International House, Tommy locates his fiancée, Carol Fortescue (Sari Maritza), who is upset because she has learned about his lady passenger, causing friction in their relationship. Complications ensue when Tommy, who always acquires some childish diseases such as chicken pox or mumps, acquires the measles and is put in quarantine, although in reality he has only a harmless rash. But this is the way one of Nash's competitors, General Nick Petronovich (Bela Lugosi), also one of Peggy Joyce's ex-husbands, puts him away while he tries to submit a bid for the radio scope. His plan fails when the entire hotel is quarantined and Petronovich finds he is unable to return inside the hotel, forcing himself to obtain a room at a sleazy hotel across the street.

Also at the hotel are Doctor Burns and Nurse Allen (George Burns and Gracie Allen); Lumsden Hare as the confused Sir Mortimer Fortescue, Carol's father; and Franklin Pangborn as the harassed hotel manager. Nearly a half hour from the start of the story comes Professor Henry R. Quail (WC Fields), entering the hotel rooftop via his auto gyro (airplane) from Juarez, Mexico, looking for Kansas City. Since Kansas City is "lost", Quail is here to stay at International House, disrupting everything and everyone around, which leads to misunderstandings, such as Petronovich witnessing from the hotel room across the street Quail sleeping in the same room as his ex-wife, Peggy, to a wild and crazy chase that leads Quail to drive his little car around the hotel and down the fire escape. (For any Paramount movie of this sort, "Anything Goes," so don't explain logic). The Burns and Allen comedy exchanges, which are part of the storyline, succeeds in stirring up some chuckles today. And see who gets the last laugh when Fields encounters Gracie wanting his autograph.

Aside from 70 minutes of sheer comedy madness and very risqué dialog that somehow got past the censors, INTERNATIONAL HOUSE takes time for some forgettable tunes written by Leo Robin and Ralph Rainger. The first, a production number that echoes a Busby Berkeley dance routine, is "The Chinese Teacup and the Coffee Mug" (performed on the rooftop by Sterling Holloway and Lona Andre, sung by an unidentified and unseen vocalist). As Doctor Wong demonstrates his invention by trying desperately to get the Six Day Bicycle Race, the radio scope picks up famous entertainers of the day, such as Colonel Stoopnagle and Budd demonstrating their numerous inventions such as a revolving gold fish, a one dimensional alarm clock, etc., which sounds all "too peachy"; to vocalists singing songs, including "Thank Heaven for You" (sung by Rudy Vallee); "My Blue Bird is Singing the Blues" (sung by Baby Rose Marie); and "The Reefer Man" (sung by Cab Calloway and his band). All these musical interludes are brief, usually under five minutes. "The Reefer Man" was one song that suffered the TV's ax from some commercial TV stations, along with what Fields says when he finds a cat in his car, but fortunately these scenes have been restored. An instrumental song, "Look What I've Got," (introduced in a Maurice Chevalier musical, A BEDTIME STORY, 1933) is played during a hilarious scene where Fields and Joyce are preparing to take their showers and go to bed, unaware of each other's presence in the bedroom. This segment alone must be seen to be believed.

In spite of former famous Ziegfeld showgirl Peggy Hopkins Joyce obtaining top-billing in the cast, it is today acclaimed a W.C. Fields comedy. He practically walked off with the movie. At the time of the film's release, Joyce was not only well-known world wide celebrity with numerous ex-husbands, but a headliner in many circulated newspapers. Today she is virtually forgotten and her name rests in the land of the obscure. To learn more about this once famous actress, here appearing in her only talkie and final film, read the 2000 biography by Constance Rosenblum titled "Gold Digger: The Outrageous Life of Peggy Hopkins Joyce," and then go see this movie. (***)

Although he's on the screen for only half the time this is classic early Fields. Before he became the put upon family man he was this obnoxious but nevertheless hilarious blustering boasting egomaniac. Perfect scene with him and Gracie Allan. Fields is at his nastiest best here- "what is the penalty for murder in China?" Gracie Allan is equally funny with George Burns impeccable as her comedy foil. I loved the line about not telling where she went to school.. There are other highlights as well.Skip the stupid romance and most of the Peggy Hopkins Joyce scenes but enjoy the pre-code sexiness, particularly in the Tea-Cup number and Fields comment after looking in a key hole at the hotel. A fast wild ride a'la 30's comedy and not to be missed by fans of the genre.

Early form of television that doesn't need a broadcast station brings people from all over the world to Wu Hu China with the hopes of buying it. Among those at the hotel guests are George Burns and Gracie Allen (as the hotel doctor and nurse), Bela Lugosi as a Russian General, WC Fields as a mad Professor, Frank Pangborn as the Hotel manager, and Sterling Halloway. While through the magic of TV we see Rudy Vallee, Rose Marie and Cab Calloway (who performs Reefer Man).

Wild comedy that is the sort of big budget multi star film that could only have been made in the studio system. Tighter story wise than many of the films of this sort its really more an excuse to have Burns and Allen and WC Fields be very funny for just over an hour. The jokes come along at a good clip, and since this is really pre-code they are often shaded slightly blue. To be certain the Burns and Allen stuff is close to being a cliché form of their routine, but its still funny. Fields arrival by auto-gyro heralds the arrival of Fields as a comic force to be reckoned with, as the film ceases to be about nothing so much much as Fields running over everyone and everything.He's a hysterical. Also amazing is Bela Lugosi in a rare comic turn. Bela plays it straight and his slow burn is funny enough that he clearly in the running with Edgar Kennedy as the man with the best one in Hollywood. He's so good at being silly one can't help but wish he had never made Dracula and been typecast as such.

This is a real gem.

A lot of commotion falls upon the International House hotel in Wu Hu China. Doctor Wong is planning to demonstrate a new television device and sell it to Tommy Nash, representative of the American Electric Company. Nash escorts Peggy Hopkins Joyce to the hotel as well, which makes his fiancé jealous. Also jealous is Joyce's ex-husband, Gen. Nicholas Petronovich, who is also trying to buy the invention. Gen. Petronovich tries to have Nash quarantined, but only succeeds in quarantining the hotel, with him outside the hotel. The arrival of Prof. Quail, millionaire and drunkard, creates more chaos in the hotel with his crude manners, and enrages Gen. Petronovich when he mistakenly believes Quail is sleeping with Peggy. The International House turns into madness as everyone tries to return the hotel to normal. The movie is entirely plot less, but relies on its silliness to move along, and it works. Fields is a riot drunkenly stumbling around delivering his trademark one liners. Many of the other big stars make appearances via Wong's television (Rudy Vallee, Cab Calloway, Stoopnagle and Budd). Gracie Allen's hair-brained lines have a slight logic behind them to make them funny. The movie seemed to be a bit too chaotic at times, but the chaos works in certain scenes. Rating, 7

I've always wanted to use the word 'melange' in a review and here I finally have done it. That word is appropriate because this film is jam-packed with a wide variety of items--like a chef salad of films! There's a lot of comedy with W.C. Fields as well as Burns and Allen, romance with Stu Erwin and his sweetie, a jealous ex-husband (Bela Lugosi) and a lot of special appearances by radio stars (such as Baby Rose Marie--the same lady who later starred on "The Dick Van Dyke Show") and Cab Calloway--singing the ultra-bizarre "Reefer Man"--a film that makes fun of pot smoking! Yes, I did mean marijuana! This Pre-Code film has a lot of racy material other than the film--such as plenty of double-entendres by Fields, cohabitation and a song and dance number with surprisingly scantily clad ladies. Only a year later, after a tougher Production Code was enacted, much of this film simply wouldn't have been allowed--it just wasn't "proper family entertainment" according to the Hays Office (which is lampooned in a comment by Fields late in the film).

In many ways, the film is like a variety show and the plot really is rather irrelevant, though it is interesting to see such an early film talk about and supposedly demonstrate television. With so much variety in the film, many of the segments fall a bit short, but since they come and go so quickly, you're bound to be entertained only a moment later. Not great entertainment, but clearly an important film for lovers of classic cinema.