Le Kid d'Espagne

If you loved Cantor's earlier precodes - "Whoopee" and "Palmy Days" - you'll like this one too. In my opinion it's not quite as good as his two prior film efforts, but there are still enough laughs and good musical numbers to make it worth your while. Cantor costars with a very young Robert Young as two college seniors who are expelled on the eve of their graduation. Young goes to Mexico to find the girl he loves, Eddie goes there as a result of being forced to drive a getaway car for a gang of bank robbers and thus being wanted. The two reunite across the border and the fun begins. There are two major complications in the plot - Eddie starts hitting people anytime he hears a whistle, and while in Mexico Eddie has taken on the identity of a great bullfighter in order to avoid arrest for the bank robbery of which he was an unwilling participant.

There are two big Berkeley numbers in the film, the first one being at the very beginning and bearing a great deal of similarity to "By a Waterfall" in Berkeley's film "Footlight Parade" of the following year.

I like The Kid From Spain very much, it's certainly one of Eddie Cantor's best films. But I'm still trying to figure out why in the world Sam Goldwyn borrowed Robert Young from MGM and cast him as a Mexican. Why didn't he use someone like Gilbert Roland?

Still it's Cantor's show and it begins with Eddie the schnook getting expelled from college after his pal Young puts him in the girl's dormitory where he's discovered by the Dean of Women. To his credit Young owns up to the prank and gets expelled along with Cantor. The two of them decide to go south of the border, but on the way Eddie is forced to drive a gang of bank-robbers across the border.

When American cop Robert Emmett O'Connor goes south after the robbers, the fast thinking Young introduces Cantor as a great bullfighter fresh over from Spain. Now Cantor's got to go through with it or else.

It's pretty thin stuff, but it's enjoyable and the climax with Cantor in the Corrida fighting a bull is something else. See how he overcomes the bovine challenge. Some of that business was used by Lou Costello in Mexican Hayride.

Cantor and Young pair off with Lyda Roberti and Ruth Hall and Ms. Roberti joins Eddie in singing Look What You've Done. The other song Cantor does is unfortunately in black-face and it's What A Perfect Combination. Both songs were recorded by him and sold reasonably well to Depression audiences. The score was written Bert Kalmar and Harry Ruby songwriters best known for their Marx Brothers material.

I do say though Robert Young was not a convincing Latino. He was painful to watch and I'm sure he felt more ridiculous than anyone else in the film. It's The Kid From Spain's great weakness.

Other than that, The Kid From Spain is an enjoyable film and those who want to know about the comedic art of Eddie Cantor can't do better than this film to learn.

In the 1930s Eddie Cantor made a series of pleasant, sometimes sexy, consistently entertaining, fast paced comedies. This is, in my opinion, one of the better ones. The songs are wonderful, the gags are funny, the 1930's atmosphere is thick, and Eddie himself is so energetic throughout he seems to float.

It's a wonderful picture. Very recommended for 1930's film buffs and musical comedy enthusiasts.

Set in a girls' dormitory that looks more like a palace, it is astonishingly sexy, even by pre-code standards (you won't believe some of the innuendo they got away with); it is also one of the only two big production numbers that Busby Berkeley staged for this movie. Choreographically they're standard stuff compared to what he would do later in his career, but you can still spot glimpses of his genius. As for the rest of the movie, a very slight plot provides the framework for some funny moments (Mexican border standoff, "can you shoot me if I stand over here?", and what may be the first use of slow motion for comic purposes on the screen). **1/2 out of 4.

Eddie Cantor musical where a jittery simpleton is forced to cross the border to Mexico and pretend he is a matador. It's nothing special all told. Some of the jokes are funny, yes, but the whole is thin and I'm sure recycled from previous film and radio work.

What is of some interest, is that Busby Berkeley is here with his crafty engineering. Oh, both of his numbers feel tacky and have nothing to do with anything, which is more proof of zero vision behind this. Yet both numbers impress. Both are in that voluptuous mode he would cultivate in coming years: sexual tease, sparkle and shadowplay, the female body as the fulcrum of a continuously shifting erotic landscape. Eddie in blackface among Busby's radiant troupe feels crude and out of place.

He would be on to 42nd Street and history the next year.