Cai Cai, Balão

I haven't seen the whole movie, but just happened upon the last 15 or 20 minutes on TCM. Most of this time was filled by a chase scene that was actually kind of exciting (though it strained credulity that Our Hero wasn't killed about 8 times) and often funny. I was often thinking, "How did they do that?" I don't know about the rest of the film, but his part was definitely worth seeing.

An interesting aspect of changing technology was that the object of the chase was to get/keep possession of a phonograph record, presumably the only copy of an important recorded conversation. It wouldn't have happened in the digital age!

The fifth and final movie of Broadway star Eddie Cantor's films for producer Sam Goldwyn's independent production company, it was considered the weakest by critics and fans at the time. Even Leonard Maltin gives this a low rating compared to the three stars (out of four) he gives to the other Cantor films. While certainly not as much of a classic, it is certainly entertaining enough to warrant study in this era of Adam Sandler/Jim Carrey comedys.

Always typecast as the scaredy cat milquetoast, Eddie Cantor continues in that mold here as a laundrymat employee who ends up becoming manager of an amusement park owned by a feisty little old lady (Helen Lowell). It seems that the previous managers have all met with fatal accidents thanks to a racket that wants to install pinball machines in the park against the old ladies wishes. When Cantor manages to show a little more verve in front of the old lady and her daughter (Sally Eilers, a sadly forgotten actress), he is offered position of manager of the park, and celebrates with his pal by visiting his favorite singer, Georgia (Ethel Merman) who flirts with him in order to get him to install the pinball machines for her gangster friends.

There are several memorable production numbers which use the Busby Berkley style flare for overhead shots previously used in the Cantor musicals which Berkley choreographed: "Whoopee"; "Palmy Days"; and "The Kid From Spain". Other choreographers took over the reigns for his last three Goldwyn pictures, and here, Roy Del Ruth gets the job. Cantor's "The Lady Dances" production number at the amusement park is very elaborate, although it is Merman's "Shake It Off With Rhythm" that stands out here especially with the dancer whos shadow in the well-polished nightclub floor does her own steps. And when the bevy of chorus girls (thanks to the obvious presence of other chorus girls beneath them) start a dance while sitting on the floor, the number goes into the Hollywood musical books as one of the wackiest production numbers in film history. Merman and Cantor also sing a duet while on a ferris wheel which shows them with old-age make-up. Audiences familiar with Merman's later Broadway, film, and TV appearances will find it amusing to see young Merman (then 27) in old lady disguise.

Merman also sings a torchy number (with chorus) at the beginning that is well photographed but not at all in the same league with her big number. The two big production numbers are topped by a riotous finale (later used in "Abbott and Costello in Hollywood") where Cantor tries to flee from the rackateers (one of whom is William Frawley, aka Fred Mertz) by escaping on a rollercoaster. Of course, all sorts of visual comedy takes place, turning it into a fast-moving and laugh-filled ending. There really isn't a lot of Merman here; She is more a red-herring in the plot than anything else. Helen Lowell, as the old lady, is a live action version of tweety bird's owner; All she is missing is the bird and cage. Parkyakarkus, a popular radio comedian at the time (who also had a brief movie career), is stupidly annoying, a stereotypical foreigner (apparently Greek) who lacks in too many brain cells to be a body guard. Fortunately, he pops in and out of the action so fast he doesn't have time to really become distracting from the wonderful Cantor.

While the film is certainly not a classic, it is enjoyable enough to give a few laughs and smiles thanks to the fine musical numbers. While comedy today is focusing on more sexually explicit gags for more shock value (chickens being used to humiliate the law and Hitler in hell in a tu-tu with a pineapple for a special decoration come instantly to mind in today's comedys), films like "Strike It Pink" focus on a gentler and less crude style to get their laughs. Hopefully, it will turn up on cable or on the late show where they still show old movies rather than infomercials, so today's film students or fans of classic comedy can get an opportunity to enjoy it.

I've seen quite a few Eddie Cantor films and some of them are wonderful films. However, Cantor also made a few clunkers--and STRIKE ME PINK is one of them.

The film starts out well. Cantor plays a milquetoast owner of a dry cleaning business. Because he's so afraid, he takes a correspondence course to make him an assertive man. This aspect of the film is pretty funny and I really was hooked.

When Cantor's friend graduates college, Cantor is offered a job running the amusement park owned by his friend's mother. They hire him because he acts tough and assertive--and they need that because hoods (led by Brian Donlevy and William Frawley) are trying to force the park to place crooked slot machines on the property. The last three managers all met with "unfortunate accidents" or just disappeared, so it looks as if Cantor is in over his head.

Again, so far so good--the set up is just fine and the film is a mildly amusing comedy. However, one problem is noticeable half-way through the film. While Cantor himself often sings cute little songs in his films, this time there are some Busby Berkely-like production numbers and the addition of a lady singer that frankly didn't work. The humor, at times, took a back seat to irrelevant musical numbers. The dumb plot involving the dark-haired lounge singer just didn't work at all.

By the middle of the film, the quality and humor started to fade. However, towards the end the film got really, really bad--like the writers had no idea what to do with the film. Going from a gentle comedy to a "wacky" and outrageous comedy just failed miserably. All too often, Cantor wasn't even in a scenes--just his stunt double. Additionally, with the awful roller coaster scene, too much of a reliance on rear-projection and dippy stunts sank the film. At this point, I just couldn't wait for it to end. It's a shame really, as I wanted to love this film--too bad it all turned to crap at the end.

I usually like Eddie Cantor. And this has an agreeable supporting cast. But I found this a chore. Yes, the Dreamland amusement park is appealing. And it has some wonderful Harold Arlen songs. I love the one he and Ethel Merman sing about retiring to a farm. What a funny image that conjures up!

Merman is believable as a nightclub singer. But she isn't believable as a heartthrob. The dancing is fine but I found it hard not to compare it to the Warner's Berekely movies. And in comparison, it does not fare well.

Cantor's movies often have a strange charm. They're goofy but lovable. This one works way too hard. The final sequence seemed inept. I kept thinking how fabulous it would have been with Buster Keaton. Or with Harold Lloyd. With Cantor, it was as light as a cement cream puff.

Strike Me Pink has Eddie Cantor playing his usual schnook against the world character with the background of an amusement park.

Eddie runs a store near a college and he's constantly being bullied and would have been intimidated out of business but for perennial student Gordon Jones. Jones keeps the bullies at bay while Eddie learns some assertiveness training. When he graduates finally due to some help from Eddie the plan is for the two of them to go and run the amusement park his mom owns.

She's being bullied herself by some gangsters headed by Brian Donlevy who want to put slot machines in the park. Eddie's assertiveness training pays off albeit in some unusual ways.

Strike Me Pink is vintage Eddie Cantor when he was probably at the height of his popularity. He would be departing from Sam Goldwyn after this film and never was really showcased properly for film after his Goldwyn days were over. View some of Cantor's Goldwyn films next to what Danny Kaye later did and you can see the influence Cantor had on Kaye's style.

Ethel Merman plays the vamp for the second and last time with Eddie Cantor. She also was never better on screen than when paired with Cantor by Goldwyn. She was cast ironically by Cantor's daughter Marilyn who was a fan of her's after seeing her on Broadway and lobbied with Goldwyn. Marilyn was an adolescent at the time, but Goldwyn agreed with her and Merman was in Kid Millions and then Strike Me Pink. They have a really nice duet together in Calabash Pipe.

Cantor brought over some of his radio family for this film in the persons of Harry Einstein as the befuddled Greek, Parkyakarkus and Sidney Fields. Yes, that is the same harried landlord of Abbott and Costello in the Fifties. Fields was an old vaudeville pal of Cantor's who brought him out of that dying institution and put him on radio in front of the mike and also as a writer. With Gordon Jones who was Mike the Cop on Abbott and Costello that makes two A&C regulars in this film.

The chase scene through the amusement is the climax and according to a recent biography of Cantor, two stuntmen doubles suffered broken legs during the filming of that dangerous sequence. All to obtain a phonograph record where the bad guys have confessed their evil deeds.

If you want to see one of America's funniest men at the height of his popularity by all means catch Strike Me Pink when it is broadcast next.