Going Highbrow

This film is a wonderful example of a rotten plot yet wonderful characters. It appeared as if the film were actually written by two people--one for the plot and one who strictly designed the characters and wrote the dialog. As for the plot itself, it's easy to sum up with one word--"stupid". Instead of trying to describe it, just let it go with that! But as for the characters, I have always been a sucker for colorful character actors and this one has Edward Everett Horton, Guy Kibbee and Zasu Pitts (in a rather restrained performance, thank goodness). And the writers infused these characters with wonderful personalities that were very much in line with their normal screen personas. Kibbee was a not overly bright but decent "normal guy", Zasu played a bumpkin of sorts who wanted "class" and Horton played a rich but decent schemer. Together, they helped to infuse the film with enough warmth and humanity that I was able to overlook the films MANY deficiencies and just enjoy it. While this is certainly NOT a film you should rush to see, it's a very amiable time-passer and a good example of a quality B-movie.

Not as bad as some here say. A tremendous showcase for Edward Everett Horton. His talking/singing duets with Ross Alexander are marvels of comic timing. Horton was in many better films than this, but few that showcased his talent as vividly. Ross Alexander has several scenes where he carries himself with great poise and comic sophistication. There is evidence here he could have been a stylish leading man had he not killed himself. Little known June Martel is surprisingly fetching as diner waitress, though she fades a little when masquerading as a debutant. The story construction is awful in this film but there is some snappy dialogue. In the end a must-see for Horton's and Alexander's musical numbers.

ZaSu Pitts and Guy Kibee are Kansans with money. We meet them as they've gotten off a ship in New York. Pitts wants publicity for their wealth. She wants a place in New York society, too.

Enter Edward Everett Horton. He has a plan to get them recognized. He will have a female acquaintance sponsor them -- for a price.

This is a comedy with few surprises, but I won't give any of them away.

Suffice it to say you haven't heard anything till you've heard Horton sing a love duet from "rigoletto" with Ross Alexander! Alexander plays the rich woman's freewheeling son.

The script is filled with gay double-entendres. These are both spoken (or sung!) and visual: At one point, Alexander is lifted in the air and appears in a very position position -- legs in the air. (Watch it and see for yourself.) The great Judy Canova is in it too. And can you believe it? She doesn't sing a note!

From Warner Brothers B picture unit Going Highbrow finds the newly rich Guy Kibbee and Zasu Pitts trying to break into that beautiful high society Louis Armstrong sang about. In fact they've just bought a Tintoretto and then a castle for it to hang in.

For reasons historians of the 30s can't really explain people went to the movies to see rich people portrayed on the screen. In this case Kibbee is a down to earth sort and Pitts is nice, but with a few airs. I do love the way Kibbee describes how he made his money. He accidentally sold short before the Crash of 1929 something many in the movie theater audience wish they had.

Edward Everett Horton is manager of society denizen Nella Walker's fortune and he hasn't been doing so good lately for her or her son Ross Alexander. But he resolves to make the acquaintance of Kibbee and Pitts because if they like paintings she has plenty.

She also has a bachelor son and if Guy and Zasu only could get a daughter on short notice. That could be solved with the appearance of June Martel a waitress from the cafe across the street.

I think you can tell where this will end up. All the players fill out roles in which they are nicely typecast. You could also add Judy Canova playing Martel's fellow hashslinger.

Two tragedies emerged from this film. Gordon Westcott who is Martel's 'husband' and former vaudeville partner died in a polo match accident. And Ross Alexander's career was cut short by suicide.

Going Highbrow is pleasant viewing for an hour plus especially if you are a fan of one or more of these players.

"All in all, "Going Highbrow" (1935) is a pretty good post production code comedy although its rather fragmented structure works against efforts to make it a unified story.

Cora (Zasu Pitts) and Matt (Guy Kilbee) Upshaw are hicks from Wellington, Kansas who accidentally made big money at the start of the stock market crash. Matt's broker misunderstood Matt's instructions and invested all his money in put (sell) options for a single stock, the total opposite of Matt's intentions. After the price declined no one exercised their options to buy and Matt got to keep all the proceeds.

Matt is still simple and unpretentious but Cora is determined to crash New York's "Society 400" list. The "nouveau riche" Upshaws enlist the old money (but none left) Marsh family to introduce Cora to the proper people. Part of the scheme involves hiring struggling actress Sandy Long (June Martel) to play Cora's daughter. This sets up an extremely lame romance between Martel and Ross Alexander, who plays the Marsh son. Edward Everett Horton plays Augie Winterspoon, the Marsh's financial adviser. He tries valiantly to link the story elements together.

The soon to be famous singer, yodeler, cowgirl Judy Canova does a nice job in a small supporting part as Sandy's coworker.

"Going Highbrow" is a must see for fans of Zasu Pitts as she dominates the first half of the film with a somewhat different variation on her airhead character. Instead of her usual scatterbrain adventures she plays a self-absorbed social climber, but still manages to infuse the role with her usual comic touches. Pitts was one of the few comedians whose gift for dialogue and expression was effectively complemented by a talent for physical comedy. Because her technique has never gone out of style, her films (including this one) do not seem nearly as dated as other productions from the same time period. Credit Una Merkel, Gloria Grahame, Goldie Hawn, and Brittany Murphy with keeping the Pitts' style alive down though the years.

Horton is almost young looking in this film but has already developed most of the comedic touches he would apply to countless character roles during his long career. He really has too much screen time and during the second half you keep wishing for more of Pitts who effectively disappears from the second half of the film.

Then again, what do I know? I'm only a child.