tobytylersf

Never mind the movie, Monsieur Pickens' performance in this film is a significant event in the history of cinema. If he'd never done any other films, except perhaps Dr. Strangelove and Blazing Saddles, he'd live forever in my memory simply for the scene in Rancho Deluxe where he describes his dream of being in Egypt in the days of the Pharaoh, and expresses consternation at having that dream disturbed. And the speech he gives at the end was another of those earth-shattering moments that stick with you like flies to mayonnaise. Ah, what an actor. Every time he's IN the movie, he's the one you're watching to see what he does, because you know it'll be something you'll remember.

I've learned over the years that it's the supporting players who make the movie. And in some respects, in many of his other movies, Slim Pickens always seemed a kind of updated Andy Devine, western comic relief but not much else. In this (and in the other two films I mentioned) we get to see another side of M. Pickens. More than a clown, he's a one-man show, as much of a scene stealer as, say, a vaudevillian in a movie full of Shakespearan actors. To tell the truth, the rest of the movie is occasionally disappointing, although Sam Waterston was fascinating to watch, showing a promise which sadly never fulfilled itself. Clifton James and particularly Elizabeth Ashley are great fun. Curt and Burt, played respectively by Harry Dean Stanton and Richard Bright, are more or less adequate. Jeff Bridges acts just like Jeff Bridges.

However, hands down, this is Slim Pickens' movie. The man was brilliant, what can I say.

One of my favorite things about this one is seeing W.C. juggle. He started out his show business career as a juggler, and in this movie you get to see some of his act. Even after a couple of decades of drink, he still does a creditable job, to say the least. The cigar box routine is a sight to remember.

It also contains one of the oddest-named characters in any movie, Cleopatra Pepperday, played wonderfully by Jan Duggan. The scene where she sings Gathering Up The Shells By The Seashore is wonderful. Or when she's rehearsing her "line" in the play, "Here comes the prince!" There is also a fascinating little cultural artifact within the movie -- a production of The Drunkard, a 19th century hit, no doubt popular when William Claude was a mere lad.

As per usual, W.C. Fields is incredible. The fascinating thing about him, to me, is the subtlety of his performance. It doesn't LOOK subtle, I'll grant you, but what strikes me is that there are many layers to his performing in movies. On the one hand, there are the huge gestures and loud, familiar voice, but on the other hand there are the muttered asides, the precise facial reactions, the absurd failure to accomplish the simplest tasks, like put his hat on his head without getting it caught on a cane. That's what I mean by subtle, you almost miss it and then you can't explain to yourself what it is that is so incredibly funny about what he's doing.

There's a bit of controversy about the scene where he kicks Baby LeRoy in the bottom, knocking him across the hall. There are many stories of W.C.'s working with Baby LeRoy. Apparently, on one occasion, Fields poured gin into Baby LeRoy's bottle, and when the child began throwing up and falling over, W.C. snorted, "I told you he was no trouper!"

I think it's awful that so many of W.C. Fields' films are not yet released on DVD. This is an oversight that should be rectified soon, we hope!

Sometimes I think that Rogers and Hammerstein really shot their bolt with this one. That all the ones that came after (King and I, Carousel, South Pacific) pale in comparison. The ones that came after all seem to follow some kind of pattern, to me, in comparison with Oklahoma. Of course, it's difficult to be formulaic if it's your first time out; the formula hasn't been written yet. But even so, this is the best of their musicals, for my money.

It's easily the funniest; James Whitmore is hilarious throughout, as is Charlotte Greenwood, and Eddie Albert, who is devilishly funny. No one in this movie is miscast; it's difficult to think of who else could have played, say, Ado Annie, and done her justice. Of course, Gloria Grahame is someone I've had a crush on since elementary school, but even so... Rod Steiger as Judd, the Hired Hand, is excellent -- menacing throughout and as convincing a character as you'll see in a musical. Gene Nelson is terrific as both a funny man, singer and dancer.

The songs are fantastic throughout, in my own opinion the best Rogers & Hammerstein songs ever done. Oh What a Beautiful Morning; Oklahoma; I'm Just a Girl Who Cain't Say No; People Will Say We're In Love, every one perfectly crafted and unforgettable; indeed, each one a standard.

I can't say enough about this one. Even if musicals aren't your thing, this one's worth watching.