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Joe E. Brown is a member of that exclusive club of actors (such as "Singin' in the Rain's" Jean Hagen) who would probably be forgotten but for one role that made them immortal. (You may at one time have been exposed to Brown's "Nobody's perfect.") Before today, I'd have run out of Brown roles after a second (Cap'n Andy in "Showboat").

But TCM, bless its heart, has been running a festival of Brown films from the early sound era, which showcase the young Joe as a superb physical comedian as well as the yowling rubberface we remember so fondly.

"You Said a Mouthful" seems typical of Brown's early films: The naive and good-hearted Joe gets himself caught up in a sticky situation that is ultimately resolved through a display of goofy yet surprisingly impressive physical prowess (reminiscent of, although nowhere nearly as surreal as, Keaton's). And because of the physical nature of the comedy, much of the action takes place outdoors, which makes the films seem fresher and more grounded in reality, in spite of all the old cars and "funny" clothes. Also (even though I've seen nothing I would call vulgar or even risque), the fact that these films were made before the stranglehold of the Production Code seems to allow for a much fresher attitude towards physical expression (including the occasional glimpse of a little harmless flesh) than you'd see in films made just a few years later (and which now seem far more antique).

Is it time for a re-appreciation of Joe E. Brown?

1932. The snappy opening music. The Dilbert with his Big Idea, laughed out of the office. Goes to L.A. to get an inheritance. Thanks to a shyster lawyer, ends up with only 5 dollars and a pickaninny. Destitiute, As it happened, our hero and ward were bound for Catalina for a $6 day job, when fate stepped in. Mistaken for a marathon swimmer and ends up in the Catalina race for $25,000, though he can't swim. Plug Joe E. Brown into this farce, and you have an early talkie classic. Of course, much of this will offend the politically correct, and much of the humor will escape current audiences. But there are so many fun moments -- the mock-cerebral inner dialogs of the half-wit hero, the amazing costumes (were they serious back then?), the vintage shots of Catalina Island, Ginger Rogers' fresh plump face, the wonderful "I found my heart in Avalon" soundtrack....

In real life, Wrigley had offered a $25,000 prize for swimming first from Catalina to the mainland. And some actually entered who couldn't swim. But 1932 was the Depression, and people would do anything for a windfall, even if they couldn't.

Of course, much of this seems corny and dated, but watch it more than once, and I think the rustic charm will grow on you. There will never be another Joe E. Brown. After all, "Nobody's perfect."

Abandon all connections with reality ye who watch this movie. This is a silly comedy. Joe E. Brown stars as Joe Holt, a dreamer who works in the shipping room of a swimwear company. He is also the target of his bullying coworkers, so when he finds he has inherited a million dollars, he packs and moves to California. The fortune turns out to be much less than imagined. Plus his aunt's will asks that he take charge of the son of the aunt's homemaker. Sam is a young black boy who quickly latches onto Joe as a father figure.

Low on funds, Joe decides to take a job in a hotel on Catalina. Joe is mistaken for a champion long distance open water swimmer and is entered in a race from Catalina to the mainland, though he can't swim.

Ginger Rogers plays Alice Brandon, the young woman who somehow becomes his sweetheart, but promises to stick with him only if he wins the race. At this point in her career, Ginger has become a screen presence, showing much more ease and talent than just a couple of years before.

Joe E. plays his character with his usual physicality, wackiness and indomitable self-confidence. But his trademark big-mouth yell is overused here and becomes tiresome. Also overdone is a long bit where he "waterskis" behind a motorboat. Note that he wears his glasses even when swimming.

Joe E. Brown comedy about an inventor of an "unsinkable bathing suit" who is mistaken for a champion swimmer. Ginger Rogers plays the girl who falls for him but doesn't know the truth. Black child actor Allen 'Farina' Hoskins is great as Brown's ward he inherited from his aunt. I'm not the biggest fan of Joe E. Brown. I often find him to be a very limited comedian, relying solely upon rubberfacing and exaggerated voices -- the kind of stuff that toddlers laugh at. But every once in awhile I come across one of his movies that impresses me. This is one of those movies. Brown actually plays a character here instead of himself, which means he actually acts. My favorite parts were the little bits of business where we'd get to hear Brown's thoughts, which sound like lines from a bad novel. Fans of Brown will undoubtedly like this one but it's also one of his few movies I've seen that I would recommend to non-fans.

This is neither the best or worst thing Joe E. Brown ever did. It was made during his "salad days" over at Warner Brothers/First National where he did his best talking picture work. Brown plays Joe Holt, a shipping clerk who invents an unsinkable bathing suit and dreams of better things as he is constantly hazed and disrespected by his fellow employees. He soon learns he has inherited the estate of a relative in California. However, all he winds up with is five dollars and a young ward, played by Farina of Our Gang fame. Joe's luck soon turns, though, when he is mistaken for a championship swimmer by the same name. Deathly afraid of water, our hero would have confessed the mix-up to his hosts immediately if it were not for two things - the good eats at his hosts' comfy estate and, more importantly, the attention of an attractive young lady, Alice (Ginger Rogers), who just adores good swimmers.

The film has some good Joe E. Brown moments in it, who in many ways had the kind of early talkie career that Buster Keaton could have had if he had not been tied to a studio that so misunderstood his potential (MGM). MGM's forte was drama not comedy, and certainly not physical comedy. Ginger Rogers is in a transitional role here, as she is playing someone who is splitting the difference between her earlier flapper persona and her more hardened chorine image in the Berkeley musicals. Farina does a good job as Joe's ward and the only real friend Joe has. Preston Foster, as Joe's rival for both the championship and Alice, bears a striking resemblance to Ralph Bellamy both physically and in how Bellamy played the cad in some of his earlier screen roles.

A good film from the precode era that doesn't have a precode moment in it, which is odd considering its stars.