Isso Mesmo, Está Errado!

This is Kyser's first film and it sparkles with bounce and personality. Credit director Butler for keeping things moving, and band members for showing that making music is not their only talent. Kyser himself is a delight with real comedic skill. I like the way he allows his plain looks to blend into the story-line; at the same time, it's rather refreshing to see a less-than-handsome face in the starring role. And, of course, there's the lovely and toothsome Ginny Simms, singing her way into my heart, at least. I gather Kyser's band were not concert performers like Goodman's, Dorsey's or Miller's, but were more for fun and sheer entertainment. They certainly succeed here.

The story itself amounts to a clever spoof on movie-making, with Menjou as the studio schemer, and includes assorted real-life gossipers of the day like Hedda Hopper. And, oh yes, mustn't forget the hilarious screen test, where Lucille Ball matches Kyser pratfall for pratfall. Knowing how her career will eventually turn out, this is a tasty glimpse of things to come. Then there's the old gal who plays Grandma (May Robson) who is a real hoot with genuine sass and sparkle. We also get about 20 minutes of the Kyser radio show Kollege of Musical Knowledge. It's enlightening for those of us not old enough to remember; however, I think 10 minutes would have been enough. Nonetheless, the movie never drags, and is really a lot more fun than many other musicals featuring bigger name bands and celebrities. All in all, "That's Right..." amounts to an unexpected movie delight.

Yes, I know Lucille Ball is in this movie, but if you blink, you'll miss her. She's in one mildly funny scene.

Otherwise, this movie revolves around band leader Kay Kyser. He's an engaging guy, so he more or less carries the picture.

What he doesn't carry is the musical numbers, which are all forgettable and can be skipped. Given that there are a fair number of them, that's unfortunate.

"Kay Kyser's Kollege of Musical Knowledge" was an extremely popular weekly radio broadcast when RKO signed Kyser and his band to this, their first film. The studio's faith in the bespectacled band-leader paid off handsomely at the box office, this initial effort grossing more than a million dollars in domestic admissions alone. All told, the studio netted around $520,000 in U.S./Canadian rentals after paying all print, advertising and distribution expenses. On a negative cost of $300,000 this returned a tidy profit which was split three ways: RKO, Butler and Kyser himself.

As to whether the film is still entertaining today, that depends on whether you're a Kay Kyser fan and/or a Ginny Simms admirer. I put myself strictly in the latter class, though I must admit Kyser is quite tolerable here — and even mildly diverting, aside from the climactically generous (but specially staged for the movie) excerpt from his weekly radio program which wears my patience a little thin. Fortunately, Miss Simms does receive a large amount of the camera's attention (beautifully costumed and photographed she is too) and sings most of the songs as well. On the other hand, I'm happy to report that my pet hate, Merwyn Bogue (Ish Kabibble to you) receives comparatively little footage. Adolphe Menjou, typecast once again as a harassed film producer, gives a somewhat mechanical performance, but does contribute some amusing moments, as do Horton and Cavanaugh as a couple of egotistical scriptwriters.

I'm always a pushover for movies with a Hollywood background. The satire here is rather mild, but still reasonably entertaining. Especially the gondola screen test in which Lucy Ball (who has otherwise very little to do in this picture) finally gets some comic moments.

Most of the other Kay Kyser films that were done in the late 30's and early 40's require a significant historical perspective in order to enjoy them. First, in all of them you need to recognize something about Kyser's act itself, in some of them you need to know something about how the film industry figured into building civilian morale during World War II, and in still others you need specific knowledge of how particular stars were viewed by the public at that time so that the parodies that are part of the plot make sense. This one requires the least background knowledge, although you're not going to like this one if you don't enjoy the big bands of the 30's and 40's and the somewhat corny humor - by today's standards - that was part of the act.

This film has Kyser and his band going out to Hollywood to star in a film at the studio's request. Unbelievably, a plot has been picked out ahead of time by the studio without anyone knowing what Kyser looks like. He's been slated as a romantic lead, and the film's producer and the writers are horrified when they see that Kyser is not a classically good-looking guy. Kay has to deal with the fact that his band members seem to be going Hollywood on him, and the producer (Adolphe Menjou) has to find a way to manipulate Kay into wanting out of his movie contract without causing any hard feelings - the studio head is a big Kay Kyser fan. However, Kay turns the tables on Menjou's character quite comically.

Look for a very young Lucille Ball in a small part as Sandra Sand, the actress that has been chosen as the romantic lead for Kyser in his first film. The two are quite hilarious together in Kay's screen test, and Ms. Ball shows us a glimpse of the great comedienne she'll be on TV in the 50's and beyond.

KAY KYSER was the equivalent of "Spike Jones" and his crazy musicians during the '40s era, his swing music and zany shenanigans winning him quite a number of fans who relished seeing him in seven Kyser films. This is the first that he made for RKO--and for added diversion there's LUCILLE BALL, DENNIS O'KEEFE, ADOLPHE MENJOU, EDWARD EVERETT HORTON, GINNY SIMMS and band regulars like ISH KABIBBLE for whatever laughter is available--unfortunately, not enough.

Not half as funny or original as the haunted house comedy YOU'LL FIND OUT which followed, this has a simple screenplay which has Hollywood producers yearning for something "down to earth" to appeal to the average movie-goer rather than anything "great". They pick Kyser as the popular band leader who can be induced to come to Hollywood and do his thing.

The music is all in the swing sound of the '40s--modern pop--and whether you like the film will depend largely on your musical taste. Kyser puts up resistance to becoming a film star. "Stay in your own backyard," is his motto, inspired by his grandmother's advice.

What follows is strictly farce with Kyser illogically paired with lovely LUCILLE BALL as a romantic gondolier by the Hollywood producers. With such a sprightly cast, you'd think David Butler would have whipped up a better script and provided better direction--but the viewer is soon aware that this is a minor item for Kyser's debut and even the musical numbers are less than inspiring.

Apparently grandma MAY ROBSON was right--stick to radio Kyser.

David Butler apparently had a penchant for writing stories about Hollywood studios and turning personalities into movie stars. For better treatment of this theme, check out his IT'S A GREAT FEELING with Doris Day as the wannabee star being pushed for stardom by Jack Carson and Dennis Morgan.

This one is strictly for Kyser's fans.