Yankee Doodle in Berlin

BOSWELL BROWNE was a famous female impersonator of the WWI era appearing in vaudeville acts with his Salome routine and other comic acts as a female impersonator. Mack Sennett uses him here as the American soldier who uses his wiles on the Kaiser (FORD STERLING) and his son (BEN TURPIN) so that he can perform a Mata Hari kind of spying on the German army.

It's a strange comedy (to put it mildly) and if all the laughs weren't so dependent on outrageous slapstick buffoonery from the entire cast, it may have worked. Film quality is sometimes very poor due to age but for the most part it's given a halfway decent print on TCM that is at least watchable.

All of it is very obvious lowbrow humor making fun of the inept German army and it's only worth a look as a curiosity piece. Not at all in the same category as Chaplin's SHOULDER ARMS or his WWII comedy THE GREAT DICTATOR, it's merely fluff of a crude kind capitalizing on sophomoric humor.

Yankee Doodle in Berlin (1919)

** (out of 4)

Producer and writer Mack Sennett said in an interview that this film was the final word on WW1. This movie was released just four months after the war had ended and there's no question that it was meant to be a middle finger to Germans. In the film Othwell Browne plays an American soldier who dresses in drag to make idiots out of three German's including The Kaiser (Ford Sterling). YANKEE DOODLE IN BERLIN isn't the greatest comedy ever made and I didn't really care for too much of it but at the same time it remains a rather interesting curio simply because of how mean-spirited it is. It should go without saying but the German folks are made to look like complete animals here and you can't help but think that back in the day people were laughing their heads off at the material and I'm sure cheering whenever one of the German characters were either knocked out or just beaten. There are countless scenes where the brave American soldier is standing up for his country in his nice uniform but when we see the German guys they're all walking like idiots, wearing bad mustaches or simply acting like they belong in a pre-school class. I'm sure many eyes from today would look at this and find it rather distasteful, which it pretty much is, but at the same time it's important to remember that this was released after the war and I'm sure many people had a good time laughing at the enemy. Today, the film doesn't contain nearly enough laughs to make it work but at the same time the first half is interesting enough to keep it moving. I thought there were some funny moments early on as one soldier pretends to be a German just so he can make fun of those around him. Another funny sequence as a German officer having a large man beat the tar out of a smaller German guy after he insults the "woman." This is a pretty funny scene just due to how violent it was and this is true even though we can see the obvious fake human taking the beating. I thought Browne was pretty good when in drag and Sterling is obviously having fun in his role. Malcolm St. Clair, Ben Turpin, James Finlayson and Edgar Kennedy also appear.

This war comedy came out in March, 1919...four months after WWI had ended. Because of this, I am pretty sure the film was not nearly as successful as it might have been had it come out before the November, 1918 Armistice. By 1919, many folks were sick of the war and I am sure they just wanted to forget it and get on with their lives. Plus, the very broad humor and very obvious propaganda seemed ill-timed coming out long after the benefits of such a movie could have been felt.

Now if this isn't enough, I must say that "Yankee Doodle in Berlin" is not a particularly funny film. The humor is rather broad and at nearly an hour in length, the picture seems to drag. Normally, a Keystone comedy lasted 20 minutes or less (often much less) and so seeing many of the familiar studio stars lost its appeal after a while. About the only strength is to history buffs...especially as a few actually looked like the actual Germans (such as General Von Hindenburg and Admiral Tirpitz). Still, this only makes this a curiosity and not a particularly fun or enjoyable film. My overall score of 3 might just be a bit generous...and I love silent comedies.

It was eighty-five years ago today that the signing of the Armistice brought the Great War to an end. The most brutal conflict in human history up to that time wiped out an entire generation for reasons which, even today, are difficult to explain and impossible to justify. Although that tragedy has since been overshadowed by the Second World War, which was even worse, it's curious that World War I doesn't loom so large in popular culture anymore. Is it too long ago, too remote? Perhaps part of the reason is that we write our popular history with moving images now, and most WWI movies, certainly those made during the war, are museum pieces viewed nowadays primarily by film buffs. Several great silent features, such as King Vidor's The Big Parade, were produced a few years after the war, when filmmaking technique had advanced, yet while the memories were still raw. The talkies brought another spate of worthwhile WWI films, but in later years, especially after the atrocities of WWII made those of the earlier conflict look almost quaint, not so much. Stanley Kubrick's Paths of Glory is one of the few latter-day films to bring fresh insight into the madness of war as it unfolded in the European conflict of 1914-1918.

So where does comedy producer Mack Sennett fit into all this? Towards the end of the Great War, he and his band of grotesques crafted a genuinely strange artifact, one that survives as a unique expression of the attitudes of its time. In 1918 Sennett put all his company's top comedians into a feature film entitled Yankee Doodle in Berlin. It was held back for release until early 1919, after the Armistice, perhaps in hopes that once the dust had settled a war-weary public might be willing to laugh at low comedy with a military theme. Charlie Chaplin had daringly released his own Army comedy Shoulder Arms during the war's final weeks, and it was enthusiastically embraced by the public. Sennett's production was modestly successful but not a smash hit, and when we compare the two it's easy to see why. Chaplin's film gives us the day-to-day experiences of a common foot soldier, the Charlie everyone loved, as he dreams his dream of heroism; Sennett's more fragmented effort has no comparable lead player, and focuses largely on the buffoonish behavior of the grossly caricatured German High Command. Chaplin's memorable routines, such as Charlie's masquerade as a tree, are imaginative and exquisitely timed, while Sennett's troupe relies on obvious and sloppily performed crudities: for instance, the Kaiser is shot in the butt by his own troops, his fat wife guzzles beer, an Irish soldier blows his nose in a German flag, etc. Low comedy alternates with blunt appeals to knee-jerk nationalism. Audiences probably roared their approval of these gags when the film was new, but today these appeals to the lowest common denominator feel heavy-handed, coarse, and, considering the human toll involved, more sad than funny.

Objectively speaking Yankee Doodle in Berlin is not a film for the ages, and even silent comedy buffs might be dismayed by its ugly political content, but there is a key plot element so unexpected and downright bizarre it commands attention nonetheless: the hero of the story, American Captain Bob White, is played by a then-famous female impersonator named Bothwell Browne, who spends most of his time on screen in drag. Browne, remembered by theater historians as the only serious rival to Julian Eltinge, had a more lithe figure and a sexier act than his rival, and was in fact best known for a Salome Dance. In this, apparently his only film appearance, Browne appears only briefly in a regular uniform at the beginning. (Ironically he looks quite fey in a mustache, rather like Lucille Ball disguised as a cowboy.) Soon afterward, he volunteers for a dangerous mission which forces him to don ladies' clothing. That, at any rate, is what we're told repeatedly by the title cards.

Our hero Bob is determined to secure war plans from the Kaiser himself (played by Ford Sterling in his usual strenuous fashion), and it seems the only way to accomplish this is for Bob to get behind enemy lines and then pass himself off as an attractive woman of mystery. The title card reads: "Recollections of College Plays," so we're to assume that Bob has had some stage experience playing Mata Hara types. Once he's in Germany, Bob must wrangle himself an invitation to the Palace, do his Salome Dance for the assembled drooling officers, and then grab the plans during an assignation, from the Kaiser's very boudoir if necessary. But just in case we're wondering if our hero is enjoying this a little too much, so to speak, we're reminded that "Bob knew this was the only way to promote the success of his errand." Well hey, a man's gotta do what a man's gotta do!

How very odd this is. I've seen some strange movies in my time, but this one is in a special category of its own. Just consider: at the height of the worldwide cataclysm, while Chaplin was making a beloved screen hero out of an ordinary foot-soldier, his former employer Mack Sennett offered audiences a cross-dressing officer who shakes a mean shimmy. Once you've seen it, you may find it difficult to forget the indelible image of Captain Bob White, bereft of his wig but still wearing his evening gown and pearls, heroically pulling the German flag down from the roof of the Palace. If you want class-A cinema go with Chaplin or Vidor or Kubrick, but if you've got a yen for vintage Polymorphic Perversity, it's Sennett and Yankee Doodle in Berlin all the way.

Comedic actors in the 1910's cinema loved to cross-dress as females, expanding their movies' campy possibilities. Former Keystone Studio president Mack Sennett realized the farcical humor in composing a story where he placed a male spy disguised as an alluring female behind German lines during World War One to steal documents from the Kaiser and other high Army officials. He secured popular vaudeville stage female impersonator Bothwell Browne for the role, dishing out the knockabout fare Sennett was known for. June 1919's "Yankee Doodle In Berlin" was Browne's only film appearance, playing Captain Bob White, the aviator who took the assignment of being that spy. He convincingly plays a seductive woman who flirts his way up to having an affair with the Kaiser, played by long-time Sennett associate Fred Sterling.

"Yankee Doodle In Berlin" consists of a who's who in the Sennett repertoire. Silent film comedians Ben Turpin, Chester Conklin and Bert Roach all play German soldiers, while former Sennett 'Bathing Beauty' Marie Provost, in a role of Belgium prisoner in a German labor camp, cross-dresses herself as a German soldier when rescued by Browne.

Bothwell was one of the most popular female impersonators in the early 1900's, eclipse only by Julian Eltinge, possibly because Browne acted more seductively and erotically on the stage, which was a turnoff to the more proper urbane audiences. He had appeared in his own production on Broadway in 1911 in 'Miss Jack.' After "Yankee Doodle In Berlin," Sennett lent Browne's vaudeville act his 'Bathing Beauties," creating one of the most sought-after tickets during the holiday season of 1919. The show proved to be the pinnacle highlight of his career as the popularity of vaudeville cross-dressers waned in the 1920's. Browne ended up teaching dancing classes in San Francisco once his performance days were over.