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IMDbPro

Cai Cai, Balão

Título original: Strike Me Pink
  • 1936
  • Approved
  • 1 h 40 min
AVALIAÇÃO DA IMDb
6,4/10
521
SUA AVALIAÇÃO
Eddie Cantor, Dona Drake, and Ethel Merman in Cai Cai, Balão (1936)
ComedyDramaMusicalRomance

Adicionar um enredo no seu idiomaMeek Eddie Pink becomes manager of an amusement park beset by mobsters.Meek Eddie Pink becomes manager of an amusement park beset by mobsters.Meek Eddie Pink becomes manager of an amusement park beset by mobsters.

  • Direção
    • Norman Taurog
  • Roteiristas
    • Clarence Budington Kelland
    • Walter DeLeon
    • Francis Martin
  • Artistas
    • Eddie Cantor
    • Ethel Merman
    • Sally Eilers
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,4/10
    521
    SUA AVALIAÇÃO
    • Direção
      • Norman Taurog
    • Roteiristas
      • Clarence Budington Kelland
      • Walter DeLeon
      • Francis Martin
    • Artistas
      • Eddie Cantor
      • Ethel Merman
      • Sally Eilers
    • 16Avaliações de usuários
    • 5Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 4 vitórias no total

    Fotos16

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    Elenco principal91

    Editar
    Eddie Cantor
    Eddie Cantor
    • Eddie Pink
    Ethel Merman
    Ethel Merman
    • Joyce Lennox
    Sally Eilers
    Sally Eilers
    • Claribel Higg
    Harry Einstein
    Harry Einstein
    • Parkyakarkus
    • (as Parkyakarkus)
    William Frawley
    William Frawley
    • Mr. Copple
    The Goldwyn Girls
    • Dancers
    Helen Lowell
    Helen Lowell
    • Hattie 'Ma' Carson
    • (as Helene Lowell)
    Gordon Jones
    Gordon Jones
    • Butch Carson
    Brian Donlevy
    Brian Donlevy
    • Vance
    Jack La Rue
    Jack La Rue
    • Mr. Thrust
    • (as Jack LaRue)
    Sunnie O'Dea
    Sunnie O'Dea
    • Sunnie
    Dona Drake
    Dona Drake
    • Mademoiselle Fifi
    • (as Rita Rio)
    Edward Brophy
    Edward Brophy
    • Killer
    Sid Fields
    Sid Fields
    • Chorley Lennox
    • (as Sidney H. Fields)
    Don Brodie
    Don Brodie
    • Mr. Marsh
    Charles McAvoy
    • Mr. Selby
    Stanley Blystone
    Stanley Blystone
    • Miller
    Duke York
    Duke York
    • Smiley
    • Direção
      • Norman Taurog
    • Roteiristas
      • Clarence Budington Kelland
      • Walter DeLeon
      • Francis Martin
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários16

    6,4521
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    Avaliações em destaque

    4Handlinghandel

    A Lead Balloon

    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.
    7hsticker

    Shades of Busby

    Several numbers in the film are worth a look just because of the clear influence of Busby Berkeley. The numbers show sophistication and modernist sensibility very different from the tone and style of the rest of the material, and very Berkelesque. In the "High and Low" number,for example, filmed mostly in closeups, Merman's white skin is strongly silhouetted against her very black costume, which itself blends into the black background. Its a chiaroscuro effect highly reminiscent of Winnie Shaw's "Lullaby of Broadway" number in Gold Diggers of 1933.

    Later, in "Shake Me Off With Rhythm", the shiny dance floor reflects the dancers so completely that a reflection begins to dance on its own, itself a reminder of Bojangles by Fred Astaire in Swingtime, which was released in the same year. At another point, dancers intertwine so that their one's arm become the other's legs and it becomes difficult to distinguish them, their intertwined bodies still reflected by the shiny floor in a very modernist composition. It all feels like Busby, off center, inventive, playful. Worth a look.
    8bkoganbing

    Cantor Strikes Again

    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.
    lzf0

    The last and the least of the Cantor-Goldwyn films.

    If you have not seen "Whoopee!" or "Palmy Days" or "Kid Millions" or "Roman Scandals" or "The Kid from Spain", you may think that "Strike Me Pink" is a pretty funny comedy. However, compared to the films mentioned above, it just doesn't make it. Instead of writing for his usual "frightened and nervous little man" persona, Cantor is given a script which would be better suited to Harold Lloyd. The musical numbers, though serviceable, are not even close to the great songs introduced in the previous pictures. Casting Ethel Merman, so perfect in "Kid Millions", as the romantic lead was a total mistake. Parkyakarkus and Bill Frawley are descent comic foils for Cantor, but somehow it all seems a little contrived. If you have seen the other films Cantor made for Goldwyn, this one may be a little disappointing. Don't get me wrong! There are some funny bits in the film. It's certainly not a total disaster, but compared to the films which came before it, it leaves much to be desired.
    6mark.waltz

    Strike your funny bone.

    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.

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    Enredo

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    Você sabia?

    Editar
    • Curiosidades
      According to contemporary articles in the New York Times and Variety, Clarence Budington Kelland wrote his story as a vehicle for Harold Lloyd. The novel was serialized in The Saturday Evening Post from May 25 to June 29, 1935.
    • Erros de gravação
      In the dance number around 1:14:30, during the shot from above where the circle of women in white are trading places with men in black, the couple in the upper right run into each other and fail to complete the spin. The lady especially breaks into laughter and shakes her head, as her partner laughs and looks around (probably looking for someone to shout cut).
    • Citações

      Eddie Pink: Dead men don't hiccup.

    • Conexões
      Featured in Broadway: The American Musical (2004)
    • Trilhas sonoras
      First You Have Me High (Then You Have Me Low)
      (1935) (uncredited)

      Music by Harold Arlen

      Lyrics by Lew Brown

      Sung by Ethel Merman and danced by chorus including The Goldwyn Girls

      Also sung by Eddie Cantor a cappella

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    Detalhes

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    • Data de lançamento
      • 24 de janeiro de 1936 (Estados Unidos da América)
    • País de origem
      • Estados Unidos da América
    • Idioma
      • Inglês
    • Também conhecido como
      • Strike Me Pink
    • Locações de filme
      • Cyclone Racer Roller Coaster, Nu Pike Amusement Park, Long Beach, Califórnia, EUA
    • Empresa de produção
      • The Samuel Goldwyn Company
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 40 minutos
    • Cor
      • Black and White
    • Proporção
      • 1.37 : 1

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    Eddie Cantor, Dona Drake, and Ethel Merman in Cai Cai, Balão (1936)
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