Dance Hall Racket

Ultra-cheap flick from the Ed Wood school of film-making, this campy little gem will grow on you with repeated viewings. In addition to Lenny's wife Honey (the two of them get into a heated clinch at one point) the film also features Lenny's mother Sally Marr as the streetwise dance-hall veteran Maxine, who breaks out in a spirited Charleston dance at the climactic party scene. From the period when Lenny was working within the confines of traditional show biz, the film is sprinkled with funny ideas and characters (Icepick and Punchy). From the legendary Screen Classics production firm, which also gave the world Glen or Glenda, Test Tube Babies, and The Devil's Sleep. Well worth seeking out.

As a devoted fan of Lenny Bruce, I've wanted to see this film for years and if, like me, you're prepared to experience a level of filmmaking that makes Ed Wood look like Orson Wells, you will not be disappointed.

This jaw dropping bit of cinematic excrement features Lenny's stripper wife, Honey Bruce (whose over-the-top make up suggests that she was preparing to audition for Susan Cabot's role in "The Wasp Woman") as a B-Girl and Lenny as the tough guy enforcer for the gangster bar owner. Watch for the scene where Lenny "kills" a guy who pulls Honey's hair by delivering the lamest looking judo chop in cinema history. Watch Lenny hitch up his collar and snap his fingers like a juvenile delinquent in a Jerry Lewis movie.

Timothy Farrel recreates his role as Umberto Scalli from the infamous "Pin-Down Girls" (aka "Racket Girls") and the scene where he and Bruce (who gets the blame/credit for the screenplay, as well) "rough up" a B-girl who's stealing from them will split your sides.

Among the great psychotronic films of all time. Every bit as bad/good as "Robot Monster".

Watching this movie is a very bizarre experience. This movie was written by the comedian Lenny Bruce and if you listen to the delivery of every actor, it seems as though everyone is using Lenny's style of delivery for their performance. It becomes very surreal, especially if you're a fan of Bruce and his comedy. This notion of everyone using a similar style of delivery makes me wonder if the film is suppose to be drama or a comedy. Allowing for the lack of production values, questionable actors and Phil Tucker's direction this film seems to be more comedy or satire than drama. The situations and dialog are very close to some of Bruce's longer comedy routines where he spun out bizarre tales from Hollywood movies or from stereotypical situations. Could Dance Hall Racket have been intended as a send up of gangster films that instead was taken seriously by its director? (Then again maybe Lenny couldn't write anything that wasn't funny).

For the record this movie is about a smuggling ring run out of a dance hall. Its also a better movie if you take it as a comedy rather than as a drama, though it cheapness of manufacture diminishes the experience.

Dance Hall Racket (1953)

* (out of 4)

Before turning to stand up comedy, legendary Lenny Bruce wrote and starred in this film from director Phil Tucker who is best known for the infamous Robot Monster. Vic (Bruce) tries to rise from a small town racket to a higher up gangster but there's a price to pay. The viewer pays a price as well because this is quite dreadful but thankfully it's bad enough to where you can laugh at it. The acting, including Bruce, is beyond awful. Bruce is so bad killing people that this gets the biggest laughs but the death scenes are also hilarious. Timothy Farrell of Glen or Glenda? fame co-stars.

This endearing sleaze classic is another "film a clef" from the Grade Z mastermind of ROBOT MONSTER, BROADWAY JUNGLE and CAPE CANAVERAL MONSTERS. This pulpy exposé film is best known for the casting of the notorious Lenny Bruce and his wife Honey Harlowe, but actually they're secondary characters in this "dance hall". Lenny plays the henchman of the gangster-owner, slapping around anyone who tries to double-cross this dubious entrepreneur.

All things "Tucker-ian" are in abundance here: non-existent art direction (check out when customers want "to go to Hawaii", which basically means having some crummy palm tree put in front of their table while a dance hall girl smooches with them; that's the best set decoration in the entire film); badly overacted performances which go to the realm of baroquely cartoonish; impossibly dreary single-take medium-long shots in which you can view all the non-decor and the non-actors; and spare, washed-out cinematography only rivalled by Dreyer.

But also, DANCE HALL RACKET is perhaps Phil Tucker's most structurally challenging film. Not bad for a movie taking place entirely in a shabby set with three tables, a cramped generic office and a back alley (these limited locations also compliment the stagnant lives of their inhabitants). This "complex meta-narrative" operates on several planes at once. The time-old tradition of having a wraparound story is in effect here, as one detective explains to another that "shocking story" of all the crime and corruption in this dance hall, where we view scenes the detectives couldn't possibly have known, much less been a part of. Despite the known presences of Bruce, Honey, and everyone's favourite world-weary bad guy Timothy Farrell, there are really no major characters. Even the eccentric customers "wanting to go to Hawaii" take equal precedence. There is really no plot in this impressionistic study, despite the faint whispers of racketeering. I've only ever seen this movie on the video offered by Something Weird, and that print more than a few times has some small scenes repeated. Evidently, the reels were mixed up and someone stopped it, put the right one on and kept going. But leaving these moments in adds another bizarre touch to the screwy narrative. It's as confounding as anything by Alain Resnais.

By the same token, the latter incident is a classic example of how Tucker's filmography is in disrepair. Isn't it sadly ironic that the most well-preserved film in his legacy is ROBOT MONSTER... the film over which he threatened to commit suicide? Otherwise, the only remnants I've ever seen of Tucker's work come from some tattered composite prints. Phil Tucker is perhaps the last undiscovered country of Grade Z filmmaking. I mean, even Andy Milligan had a book written about him! Little exists in print about Mr. Tucker, and perhaps there are a few more films signed by him, that are collecting dust somewhere that need to be found. Because of his poverty row films, and the enigma surrounding their creator, his legacy remains a fascinating one.