Spring Tonic

An excellent comical whirlwind of action and chuckles. It is strange that a 1935 film would have three leading Ladies controlling the action and laughs. Claire Trevor is the head strong, rich heiress fleeing a marriage rehearsal and has to drag along her maid in the escaping car. The maid Zasu Pitts is the real highlight of the film. Zasu does her usual fearful screaming/ dithering, plus 4 comical routines. She destroys a chest of drawers. Falls over clinging to a sign post. I laughed out loud at her telephone routine with the operator and then in the hotel basement repeatedly sitting on a musical instrument. Tina Binall plays a dominatrix in her circus tiger trainer uniform. She cracks her whip and snarls at any man who crosses her path including her spineless Latin womanising husband. A great action packed story with many characters fliting in and out adding to the action.

Clyde Bruckman did this one, and W.C. Fields' THE MAN ON THE FLYING TRAPEZE in 1935. Fast moving, at times downright wacky, this zippy farce is almost too zippy and too much of a farce, but who cares? It never stops moving, which is SPRING TONIC's saving grace. The cast is engaging, and filled to the brim with some familiar (and welcome) names -- ZaSu Pitts, Walter Brennan, Lew Kelly, Sig Ruman, Henry Kolker, Arthur Housman, George Chandler, and Herbert Mundin among them. If you've been annoyed by the endless physical schtick of Mitchell & Durant, rest assured they are quite funny and well-utilized here. It is also fun to watch Walter Woolf King lampoon a guitar-serenading Latin "lover" type. Tala Birell is a riot as a subtle, dominatrix-style Lion Tamer, but the bulk of the action is centered around leading lady Claire Trevor, who alternates between a frantic frustration and a manic desire to keep the proceedings racing along. Different from other 1930s leads, Trevor's more like the later Anne Baxter -- a character actress strapping on her screwball heroine hat. Perhaps this is why SPRING TONIC is so entertaining, for no matter what is hurled her way (and everything is), Trevor never misses, and keeping the pace is that stalwart leading schlepp, Jack Haley, a consistently engaging spirit seen to advantage in this highly typical 1930s role, chock full o' his trademark cowardly heroics. Driving back in at about the midway point is leading man Lew Ayers, one of the more inconsistent film stars of that era, for in SPRING TONIC, he ain't so good, but he's not so bad, either. He shows up, he's accused of being stodgy, and he loosens up a bit. I've seen him handle similar assignments with much more verve and commitment (MURDER WITH PICTURES), but then again, I've also seen him far worse (IRON MAN). Ayers in no way hinders SPRING TONIC, but it really doesn't matter who was in it or how well they did, for most of the proceedings, and anything else not nailed firmly down to the rickety sets, was stolen from all by that American treasure, ZaSu Pitts. Suffice to say that there is one brief sequence that only involves Pitts and a small shelving unit - I've never seen anything quite so funny as that.