A Filha do Saltimbanco

POPPY is an atypical W. C. Fields film even though this was the second time he filmed the story (earlier it was the 1925 D. W. Griffith silent SALLY OF THE SAWDUST with Carol Dempster and Alfred Lunt as the young lovers). This gentle little comedy/drama, originally a turn of the century stage melodrama, casts Fields as a carnival con man with an 18-year-old daughter Poppy (Rochelle Hudson). While in a small town, Hudson falls in love with the mayor's son (Richard Cromwell) and Fields, thought to be a distinguished lecturer, attracts the attention of the presumably wealthy Madame DePuizzi ("Madame DePussy" according to Fields!!) deliciously played by Catherine Doucet. Seems the Mme. is quite a con herself - she is only a presumed heiress, being the former mistress of a now deceased wealthy man of the town whose only actual heir, a daughter mysteriously disappeared twenty years ago. Fields with the help of shady attorney Lynne Overman concocts a story that he is the widower of the daughter, making his own daughter the heiress of the estate. Meanwhile Mme. "dePussy" starts to show her claws and is in cahoots with Cromwell's old girlfriend and others to shame Hudson for her carnival background and disprove Field's claims.

The atmosphere for this 1880's tale is quite charming and effective and there are several wonderful Fields comic bits, particularly his barter of a "talking dog" although I found his croquette travesty a misfire that didn't work. His performance is top notch however and the charming young Hudson and the equally adorable Cromwell are very appealing. Maude Eburne stands out among the supporting cast in a delightful role as a local matron who takes an interest in Rochelle and becomes her only friend in town. POPPY is perhaps a bit too genteel for W.C.'s biggest fans who like him best in a wild comedy but it's still a pleasing and successful albeit modest picture.

WC Fields stars as a circus performer whose daughter claims to be heir to a small-town fortune. A sentimental comedy with music and schmaltzy love story (Rochelle Hudson, Richard Cromwell), Field is--as always--watchable and quite good in a fairly straight role. However, character actresses Catherine Doucet and Maude Eburne steal the film as a fake countess and Hudson's benefactress. Fields film regular Bill Wolfe is also fun. This old-timey comedy has a Chaplin-like feel in its blending of humor and pathos. A near-miss for Fields but still worth watching for his good performance and a couple of classic routines.

POPPY (Paramount, 1936), directed by A. Edward Sutherland, stars WC Fields as Professor Eustace McGargle, a role he originated in the 1923 stage production of the same name, and reprized in a silent 1925 adaptation retitled SALLY OF THE SAWDUST for United Artists, directed by D.W. Griffith, starring Carol Dempster not as Poppy, but as Sally. This 1936 version, which premiered June 25, 2001, on Turner Classic Movies, is said to have been more faithful to the play than the Griffith-directed incarnation. Aside from the usual Fields comedy supplements, he also manages to show the sentimental side to his character, as he did as The Great McGonigle in THE OLD-FASHIONED WAY (1934), where he also cheated suckers while finding time to be a loving and caring father to his grown daughter. POPPY could very well have been a sequel to THE OLD-FASHIONED WAY, considering the same time period and Fields' character names in both films sounding identical, from McGonigle to McGargle. However, I find POPPY to be one of Fields' more quieter comedies. Host Robert Osborne of TCM mentioned prior the presentation of the movie that Fields was quite ill and in great pain during the making of the movie, but succeeded in finishing the film in what might have been his farewell performance (which explains why WC wasn't having his usual field day as he did in his past comedies). Had Fields died following the completion of the film, what a fine conclusion it would have been to his great career, with W.C. not only reprising the role he made famous on stage, but in saying this memorable line to his on-screen daughter, Poppy, as he gives her his expert fatherly advice, "Never give a sucker an even break," before the fadeout.

Set in 1883, Professor Eustace McGargle, a swindling carnival man wearing top hat, checkered pants and spats, comes to a small town with his daughter, Poppy (Rochelle Hudson) where he establishes himself as the prize medicine selling star of a traveling carnival, while Poppy wanders about and meets and falls in love with Billy Farnsworth (Richard Cromwell), a mayor's son, but because of Poppy's sideshow background, the Farnsworth family look down on her. Only Sarah Tucker (Maude Eburne), a matron woman, takes a liking to Poppy, and later discovers something about her true identity that makes things right again with the Farnsworths.

Aside from the romantic subplot between Hudson and Cromwell (who nearly resembles MGM's own Franchot Tone when wearing that derby), Fields manages to come off with some good comedy routines, such as cheating a bartender into buying his "talking" dog; purchasing frank-furthers (or better known to some as hot dogs) for himself and Poppy from a vendor (Tom Kennedy) with McGargle telling him that he will get paid at the conclusion of his engagement. The outraged vendor demands the money for his hot dogs, so McGargle and Poppy decide that since they cannot pay for them, they might as well give them back to him, half-eaten, ending with this funny exchange: Kennedy: "Listen you tramp, how am I gonna sell these again?" Fields: "First you insult me, then you ask my advice concerning salesmanship!" This amusing bit is soon followed by McGargle selling medicine bottles for one dollar. A naive patron (Bill Wolfe) acquires one and pays for them by giving McGargle a $5 bill, but never gets his $4 change. Instead, McGargle quiets down the customer by giving him four more bottles, and "No more!!"; followed by some amusing bits involving character actress Catherine Doucet as Countess Maggie Tubbs DePuizzi. When Fields is not on screen, Hudson as Poppy gets to sing one nice song, "Rendezvous With a Dream" (by Ralph Rainger and Leo Robin) twice. The title tune of "Poppy" is sung by off-screen singers during its opening credits. Also featured in the cast are Lynne Overman as a hick lawyer; Rosalind Keith as the snobbish Frances Parker; and Granville Bates, among others.

In spite of some leisure moments, POPPY, at 73 minutes, is really worth viewing and rediscovering to fans of the Great Tomato Nose Thanks to TCM for bringing this rare gem back on TV again. Currently available on DVD. (***1/2)

When POPPY was filmed, W.C. Fields was in poor health. Suffering from back pain, he had to wear a kind of corset to keep his back straight. His condition was aggravated when he fell off a bicycle during shooting, fracturing a vertebra. This apparently accounts for Fields' relatively limited screen time, despite his top billing. But when he does appear, he shows no signs of illness. Indeed his humorously iconoclastic personality dominates the film.

It is a blessing that Fields is in this film at all. Without him, POPPY would be forgettable. The late 19th century settings, particularly a carnival locale, are pleasing to the eye. Director Edward Sutherland imbues this milieu with pastoral charm, evoking a nostalgia for a simpler, more innocent time. Never mind if that time wasn't actually as rosy as this film indicates.

Alas, the charming period atmosphere cannot enhance the tired scenario. The romance between Poppy (Rochelle Hudson), a girl from the wrong side of the tracks, and Billy Farnsworth (Richard Cromwell), a boy from a wealthy and prestigious family, was old hat even in 1936. Hudson is bland and Cromwell is wooden, so one feels little empathy toward them.

Fields rescues POPPY from tedium. As Poppy's guardian Professor Eustace McGargle, he flimflams his way through everything. His larcenousness provide for some wonderful routines that elevates the film to classic comedy such as when he cons a bartender (Wade Boteler) into purchasing a "talking" dog and when he tries to get hot dogs for himself and Poppy without paying. These bits remain in one's memory after the love story is forgotten. Fields also reveals a tender, avuncular side in his intimate moments with Hudson. One understands her dedication to him, despite his crookedness.

POPPY does not rank among Fields' best work. But it demonstrates his greatness not only in that he rises above ordinary material, but that he vigorously soldiers throughout his scenes despite his real life ailments.

During his career W.C. Fields was on the legitimate stage long before he was ever in Hollywood and was a star of the Ziegfeld Follies for many seasons. In his stage career Fields only did two book shows, the second and better known of them is Poppy. And he did both silent and sound versions of that role.

This version of Poppy has Fields with daughter Rochelle Hudson as part of a traveling carnival that stops in one of the small towns where she falls for the son of the mayor Granville Bates. The son is played by Richard Cromwell. She falls hard too, but Fields see an opportunity for a really big con by passing her off as the daughter of one of the town's leading citizens who left and married a carnival man years ago and left a daughter unaccounted for.

There's a rival claimant in Catherine Doucet who was a cousin of the heiress and she's being stage managed by Lynne Overman as shrewdly as Fields is doing for his daughter. I can't say more, but some unexpected facts come to everyone's attention in the end.

The original story of Poppy was written by Dorothy Donnelly who collaborated with many folks, most prominently Sigmund Romberg as a lyric writer. The original show on Broadway had a full blown score with a bunch of composers all writing songs with lyrics by Donnelly and she wrote the book as well. None of which were used in this film.

Fields is a bit more serious in this part than he normally is, still there are enough Fields type situations to satisfy his fans. What was interesting is that he was being equally matched by Doucet and Overman in chicanery.

Poppy is a much dated old fashioned story, but with W.C. Fields even a somewhat muted Fields it still rates a look.