Esperto Contra Sabido

A light comedy, certainly, not on par with Fields' classics such as The Bank Dick, It's a Gift, and That Old-Fashioned Way, but Tillie and Gus is still a fine 1930s comedy. And Fields is in top form, with several great set pieces - a crooked card game, making paint, and throwing firewood down to the boiler room. Alison Skipworth is also quite good. The only major disappointment is Baby LeRoy, who, in his first pairing with Fields, was probably just too young. He's still cute and mischievous, but he and Fields never go at it in the same way as they do in That Old-Fashioned Way and It's a Gift. Even more creepy is the fact that Baby LeRoy's voice had to be dubbed, probably because he wouldn't make the required noises. This makes him seem like the antichrist - even more so. 8/10

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.

Let's get this over with right now: I'm a lifetime W. C. Fields fan. Having read every recognized biography about him, I believe Fields's comedic genius as a performer and writer should be lionized in 24K gold and featured at the Smithsonian. We shall not see another bombastic comedian like Fields for many decades to come, which is precisely why his films continue to entertain and delight old and new generations of movie fans.

The Tillie and Gus plot is thin and straightforward but holds up substantially (in 2021) even though it was first released more than 88 years ago in 1933. Tillie and Augustus find mean old Phineas Pratt attempting to cheat a young couple out of her father's inheritance, including the rights of a ferry franchise and a ferry boat. The only way to keep the franchise is to win a race against Pratt's boat. And we're off!

No spoilers here. Watch this film as soon as possible. This is the way comedy was meant to be seen, heard, and enjoyed.

TILLIE AND GUS was one of three films (four with the "all star" ALICE IN WONDERLAND) where he appeared with Alison Skipworth. It was the only time in his talking films where Fields was actually built into a co-starring situation with a partner. The only similar situation he faced were in those now obscure silent comedies he made in the late 1920s co-starring Chester Conklin. But here, in SIX OF A KIND (where pairs of male/female partners were enhanced by Burns and Allen and Charlie Ruggles and Mary Boland), and IF I HAD A MILLION (in the "road hog" sequence) the chemistry and balance between "Uncle Claude" and "Skippy" was amply demonstrated. Skipworth was nobody's fool in her comic roles, and here she fully demonstrates that she is capable of confronting her thoroughly untrustworthy partner, and even (occasionally) controlling him.

Fields and Skipworth are married relatives of a young woman (Julie Bishop) who has inherited some property, including an old ferry boat. Unfortunately, the estate is in the hands of a crooked lawyer (Clarence Wilson), who is trying to gain legal ownership by every trick he knows. Fields and Skipworth return to assist their niece, her husband (Philip Trent) and their baby son (Baby Leroy - his first film with Fields). Despite Fields' grumblings, his own dislike for Wilson makes him stick it out to assist the young people.

The film is funny, but in episodes. At the beginning we see Fields, before he returns to the town where Bishop is) facing a trial in another jurisdiction. His repartee with the Judge (the great Edgar Kennedy) is a marvel. Another high spot (in a bit that other comedians have used - like Lou Costello on his television show), is when Fields is trying to repair part of the ferry boat, listening to instructions on the radio, but in leaving the room misses an important piece of information that the radio repairman is now discussing another thing to repair, and so Fields gets hopelessly befuddled trying to understand the logic of what he is accomplishing by these instructions.

Skipworth had a nice moment or two also. Wilson has purchased a modern ferry boat to drive the old one out of business. George Barbier is it's captain. Skipworth goes at night to spy out the new craft, and possibly find some way to damage it. Barbier, also on the watch sees her, and goes down to confront this interloper.

Barbier: "Do you know who I am?" Skipworth: "No! Isn't there somebody around to tell you?" Barbier hesitates - he did not anticipate that answer. He continues. Barbier: "I'm the Captain of the "Keystone"." Skipworth (looking him over): "Then what are you worried about?!" Barbier, slightly confused about the way the conversation has gone, but deciding to try once more. Barbier: "You don't understand...." Skipworth (without missing a beat): "I'm not the one who is lost!"

TILLY AND GUS is truly a very amusing movie to watch

"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.