Gozando a Guerra

RKO gave the vaudeville comedy team of Wheeler and Woolsey a second starring feature with this fairly funny piece set in Paris during the Great War. The boys are AWOL from their lowly ranks in the army and running amok amongst the girls in the wicked city. Meanwhile the colonel (former singer George MacFarlane) is juggling a romance with the sparky Olga (scene-stealing Leni Stengel) and the suspicion of his wife (Edna May Oliver's film debut), while his youngest daughter (the team's resident cutie, Dorothy Lee, fixing on curly-haired Wheeler as usual) is on the prowl for someone to ‘be nice' to her.

The movie has a watchable mix of pure comedy (the roller skating waiter, the scented letter, the café scene), songs (the usual duet for Wheeler and Lee; plus a fun bit for Woolsey and Stengal where he ends up dancing in a fountain in his underwear), and romance – with the obligatory happy endings after all the mayhem. What does jar though is the attempt to signpost the war by sending the boys to the Front – this section just doesn't fit somehow.

Bert Wheeler and Robert Woolsey play a couple of soldiers during the late World War who like to be permanently on holiday in Paris. It seems in Half Shot At Sunrise that the majority of Pershing's military police force are out chasing them. And the police seem to have been trained at the Keystone Academy.

But while all this is going on Wheeler has made the acquaintance of their perennial leading lady Dorothy Lee who is the daughter of their commanding officer George MacFarlane. In fact MacFarlane would like to dally with a Mam'selle or two. If you were married to Edna May Oliver that would be understandable.

I never understood why Wheeler who was always playing these schnook characters before Woody Allen perfected them was always getting the girl. I always thought the strong end of the team was Woolsey with those wisecracks and that ever present cigar which seem to have been implanted in his mouth.

Fans of the duo and others should like this amusing military comedy.

Always say "Dorothy Lee" in the same breath as "Wheeler and Woolsey". Here our favorite pert, loose-limbed ingénue has a grand time singing and dancing and trading quips with the two comedians who are on the loose in Paris in 1918. The script by Roscoe "Fatty" Arbuckle, Ralph ("Five Dollars-A-Word") Spence, James Ashmore Creelman (who will always be remembered for King Kong) and the famous Broadway librettist Anne Caldwell represents a deliciously zany parade of visual and verbal nonsense which the performers endeavor to keep moving at an admirably fast pace despite the well-meaning efforts of stodgy director Paul Sloane to slow it down. A special pat on the back (if "back" is the right word) for Leni Stengel who makes quite an impression in a whole crowd of lovely Parisians. Production values are remarkably extensive. RKO were obviously expecting to clean up on this one.

Sure it seems more than a bit stale in this day and age, but consider the state of film when this was made. The audio is a bit weak, but sound in films was still a cutting edge concept. Much of the dialog regarding these two soldiers attempting to pick up women seems sanitized, but this was made a decade before Clark Gable uttered the word damn and caused an uproar. When you look back at it, Half Shot at Sunrise was probably well ahead of its time.

The thin plot involves two US army privates stationed in Paris during WWI who are constantly AWOL and looking to score with any and all ladies they encounter. One of the most pointless and destructive conflicts in history was happening all around them, but these two only care about scoring with women! At least they have their priorities straight! On their trail are a couple tough-talking MPs, a two-timing Colonel, his amorous daughter, and..... well there just isn't a lot of plot here. Some of the dialog is just too parsed to be taken seriously. "These men make love to every woman they meet," an MP warns the colonel's pretty young daughter after he learns she may be smitten by one of these two. Some of the jokes provide more than a few chuckles. In one scene, Woolsey and Wheeler are disguising themselves as officers to impress a table of French ladies. "Why don't you want to play a general?" one asks the other. "Because then there's no chance of promotion!" the other replies. Probably the biggest laugh I had was after one of them whispers a proposition into the ear of a French girl. She replies with a long angry response in her native language. "What did she say?" asks one of our heroes. "She said no," the other replies. Ha! If you want to see one of the earliest and tamest sex comedies imaginable, then check this film out. I think youtube has the entire thing available. See where some of our more contemporary filmmakers may have gotten some inspiration. One of these two main characters is named Tommy Turner. Just like the most raunchy member of the gang in Porkys! 6 of 10 stars.

The Hound.

A few years before Radio Pictures became RKO and started making big money with Fred and Ginger and King Kong, the studio churned out a series of outrageous Wheeler and Woolsey comedies, none sillier than this one made in 1930. The jokes come fast and furious, most terrible, but every once in awhile a good one lands. The delightful Dorothy Lee (who was to become a staple of many a W & W film in the future) sings and dances with Bert. The big surprise here is the performance of Berlin-born Leni Stengel as the French vamp Olga; she is not only sexy and vivacious but wonderfully funny. Why she never went on to a brilliant career as a comic actress is a mystery. The Paris street scenes designed by Max Ree and shot on the Hollywood backlot are particularly realistic, demonstrating how well-made even lesser Hollywood films were in the years when sound had just come in and everyone was experimenting. Wheeler and Woolsey are an acquired taste. Their bad jokes have a way of getting to you if you don't watch yourself.