Esperto Contra Sabido

During his early years in talkies, W. C. Fields was searching for the right on-screen personality to attract a national audience. After two feature sound films where he had to share credit with other headliners and four shorts, the former vaudeville star finally found his niche in October 1933's "Tillie and Gus." One two-reeler example of his adversarial relationship with viewers, produced by Mack Sennet, now employed by Paramount Pictures, was 1932's 'The Dentist.' Fields is a hot-tempered dentist who abuses his patients and staff, cheats at golf, and assaults his caddies.

One film historian noted,"Fields must have known that 'The Dentist, presented a serious flaw for a comedy image that was intended to endure." "Tillie and Gus" showcased his warmer side, albeit still somewhat crusty personality. Some say the movie was inspired by Marie Dressler and Wallace Beery's 1933's "Tugboat Annie." Fields is teamed up with veteran actress Alison Skipworth as Tillie, who had a similar build to Dressler. Tillie and Gus are both con artists in Asia posing as missionaries. The two get wind that Tillie's brother died and may have left her an inheritance. Arriving in Northern California, the two noticed the executor of the brother's will, Phineas Pratt (Clarence Wilson), has swindled everything from the family, except an old steamboat. They decide to get even by rehabbing the boat and staking everything they have on a thrill-a-second steamboat race.

Time Magazine appreciated the turn of direction of Fields playing a kinder, more benevolent character who saves Baby LeRoy from drowning. Fields recalls one scene where the year-old baby was crying repeatedly. "I quietly removed the nipple from Baby LeRoy's bottle, dropped in a couple of noggins of gin, and returned it to Baby LeRoy," he said. "After sucking on the pacifier for a few minutes, he staggered through the scene like a Barrymore." The script makes fun of the fact Fields wasn't exactly enthralled with children and babies. Tillie asks Gus upon meeting her baby grandson for the first time, "Do you like children?" Gus replies, "I do if they're properly cooked."

Actress Skipworth, after her appearance with Fields in 1932's "If I Had A Million," displayed an on-screen chemistry with the comedian, playing in four movies together. Skipworth's acting career stretched back to 1894 when she appeared in her native-London stage at 31. Her film debut was in 1912, but she favored live acting until talkies arrived. Her busy movie career ended in 1938, but she lived until 1952.

For Fields, "Tillie and Gus" shaped the screen persona for the 53-year-old actor. His fans, old and new, appreciated his wit so much more without the abrasive behavior of his past characters.

"Tillie and Gus" is a must-see early Paramount effort by the great W.C. The Great Man is in top form, and is ably aided by Ms. Skipworth. I recently purchased the DVD of this film, and was taken aback during a quick sequence within the courtroom scene in the early part of the film. It has been noted, and can be verified upon viewing, that Edgar Kennedy let slip the "s" word, when uttering the exclamation "oh sh*t" in the Laurel & Hardy short, "A Perfect Day" and unless I'm mistaken, he utters the magic word much more blatantly during the courtroom scene in "Tillie and Gus" in which Kennedy plays the judge. Unless my ears deceive me, the exchange between High Card Harrington, the Judge and Gus goes: High Card: "Six shots" The Judge: "Six sh*ts" Gus: "Six Cigars." Everyone, please take a look at this scene and see if you hear what I heard! I watched it ten times in a row, and still can't believe it.

Tillie And Gus has Alison Skipworth and W.C. Fields respectively in the title roles in this shortest of the feature films of W.C. Fields. It runs slightly less than an hour, but a lot of laughs get packed in. I also think if the term can be applied to Fields, he's at his most heroic in this film that is too rarely seen.

Fields and Skipworth worked well together in their part of the Paramount classic If I Had A Million so Adolph Zukor decided to give them a shot at a feature. I only wish they had done more joint projects.

Skipworth is unusual because she's an equal partner with Fields in chicanery. Usually Fields is married to a bossy tyrant like Kathleen Howard, but Skipworth is more an equal. She loves him despite his ways, but doesn't take anything off him either.

Aunt Tillie and Uncle Gus are called in by their niece Julie Bishop and her husband Phillip Trent who've been the victim of a bottom feeding shyster played deliciously by Clarence Wilson. All they have left is a ferry boat that has seen better days and Wilson is determined to get his hands on that too.

It all gets settled in a boat race and Fields sabotages the opposing boat as nicely as the Marx Brothers sabotaged La Traviata in A Night At The Opera. Seeing Fields in one of those old diving suits is funny enough, what he does to the boat is hilarious.

Bishop thinks her uncle and aunt are missionaries, they're actually a pair con artists. But they never had a greater mission than helping a family member. Blood is thicker, just ask the Corleones.

In any event this film proves you don't mess with Tillie And Gus.

"Tillie And Gus" is a "Sleeper" for W.C. Fields. It is not one of his movies that he is best remembered for, but it has several components that make it a great curiosity. First of all, Fields is teamed up again with Alison Skipworth, the craggy character actress, who in her earlier stage career in England was known to be a great beauty. She is also as far as I'm concerned, Fields' greatest female co-star. She interacts with him well as she did in "If I Had A Million" and "Six of A Kind". The two are formerly man and wife in this saga, working as "missionaries" on different locations who are found out for their flim-flam ways and sent packing back home where they are summoned to the dockside of a niece, her husband and infant son (Baby Leroy), who are being swindled out of their inheritance by shyster lawyer Phineas Pratt. The niece owns a run-down riverboat, threatened to be put in mothballs by a newer boat. A race is run to determine which boat has superiority over the other, and who keeps the river franchise. Fields' and Skipworth's goals is to help win the race, receive the money to thwart Pratt, and to kick the bum out! Memorable scenes include The "Missionaries" working together to refix a poker game on the train to their benefit, and Fields' memorable line to the question "You like children?". "Only if they are properly cooked", he says. This film is seldom seen on television and never seen as a video. The rights to this and many other Fields' films are buried in the vaults of Universal Pictures. It should be released for all of us to see again.

Tillie and Gus was the last film directed by Francis Martin. Alison Skipworth and W C Fields star in this tale of two swindlers who have come to help out their family after a relative has died. In this, we get to see a lot of Fields' tricks with props - the hat and cane bits, cards, rolling the coin along his knuckles. And of course, he teams up with Clarence Wilson (the lawyer) again, from several of his previous films. Gotta love the "make your own paint" bit, when he adds in a scoop of lead, (which we now know is poisonous when ingested) as directed by the radio host. Did people really mix up their own paint ?? Baby LeRoy steals the show once again (Fields would make four movies with him-- has an interesting bio on IMDb). In Tillie and Gus, it all comes down to the big race to see who gets the job as ferryboat for the town. While quite a good, plain, fun, simple story, it's not the usual hilarious, non-stop antics that we see in some of the other W C Fields flicks.