We're Not Dressing

This 30's Paramount film starts out on board the "Doris", luxury yacht belonging to heiress Doris Worthington (Carole Lombard). Along for the ride is her uncle Hubert (Leon Errol), Ray Milland and Jay Henry as two princes who stick together like glue and both want to marry Doris, and friend Edith (Ethel Merman) who says she'll take the prince Doris turns down. Bing Crosby plays singing sailor Stephen Jones who Doris has named caretaker of her pet bear. Aboard ship Doris pushes Stephen around - although not without him pushing back - until uncle Hubert's drunkenness causes the yacht to sink. Now the tides of inequality are turned and it's Stephen with his knowledge of survival skills - and common sense skills like cooking - that give him the upper hand over his five aristocratic companions when they all find themselves shipwrecked on a deserted island.

This is when Bing was in the light and breezy musical comedy part of his film career, and the public ate this amusing escapist stuff up. Besides Bing's singing, Carole Lombard is beginning to hit her stride as a great comedienne, Ethel Merman sings a little but is mainly part of the comedy, and a very young Ray Milland manages to get upstaged by a wrestling bear.

So that the "stranded on a desert island" theme doesn't get tired, George Burns and Gracie Allen are on the island too playing two naturalists in search of wild beasts that can be studied with an amusing bit where Gracie shows George the wild animal trap she's invented.

Recommended as great light musical comedy fare from the 30's that, although it is technically precode, could have easily gotten past the censors had it been released even a year later.

This movie does have something resembling a plot, but to summarize it would be to waste your time and insult your intelligence. It would also distract you from the movie's very real merits, which can be summed up as 1. Merman, 2. Burns and Allen, and 3. Crosby. Merman is the real star here; she gets one great musical number after the next and performs them with gusto and comedic flair. Crosby gets even more numbers, and performs them well, but they aren't as interesting. Burns and Allen do several comedy skits in their best style (Gracie and daffy is not something that you want to miss). The plot, or what passes for one, gets us from one musical or comedy number to the next, and for that its weakness can be forgiven.

Two notes. 1. Carol Lombard is wasted in this movie. 2. There is a tame bear in this movie that is constantly abused, which gets rather aggravating.

If you can make a copy of this movie, cut out the dialog and you will have some entertaining numbers.

OK, take away Der Bingle's singing, and what have you got? ... OK, take away Burns & Allen's comedy, and what have you got? ... OK, take away the music-comedy of Merman and Errol, and what have you got? ... OK, take away the dancing (and roller skating) bear, and what have you got? There must be a story in there somewhere...and there is, but as one of many versions of James Barrie's "Admirable Crichton," it's hardly unique.

So how do you make a musical comedy out of a social lesson? You subjugate the story and make it incidental. You find an appealing star like Carole Lombard and place her in the role of the hoity-toity socialite. You cast a crooner like Bing Crosby opposite her. You add some well-known actors like George Burns and Gracie Allen, Leon Errol, and a twenty-something Ethel Merman for some comic relief. Finally, you toss in a prince or two in the form of a Ray Milland and, in his sole role, Jay Henry, and...voilá, by George, you've got it!

In short, turn off your mind and enjoy the ride.

I loved it! Bing and Carole were great together. The whole cast was terrific! George and Gracie kinda stole the show, but that just proves how funny they are. One of my favorite scenes is when Bing Crosby is singing "May I" to Carole Lomabard. She pretends to dislike him, but smiles at him when he's not looking , but stops when he looks at her. The whole time she's trying to keep up with it, but starts to smile when he looks at her and frown when he turns away. It's difficult to describe, but when you see the movie you'll understand. Some of the plot doesn't make much sense, and is just plain silly at times, but that just makes it the screwball that it is. The bear seems to be very well trained, it's not suppose to be cruel, though you can't help but be worried, and when it's a guy in a suit, it's funny and suppose to look unreal. My opinion may be great because I'm such a huge fan of Carole, but even if you have no idea who she is, watch it anyways.

This musical "on crack" is basically a Vaudeville retread. Most of the talent is wasted. The whole "pet bear" routine is quite weird, and adds nothing to the plot, as thin as it is.

Granted, this is an early sound film, but when you consider some of the excellent RKO musicals of the period, with Astaire, this Paramount production leaves much to be desired.

I've never been a Burns & Allen fan, so that whole routine is lost on me. Ethel is certainly her usual electric self, and Bing is Bing. Lombard is definitely wasted. It is interesting to see Ray Milland in an early role.

Certainly, the film is worth a look for its historical significance in studio history, but I cannot recommend it as an entertaining movie. Watch it if you have the time, but if it's between this and some other TCM classic, select the other option.