tashman

My brother and I loved both this show and HANK, but hardly anyone else watched them. We didn't understand this, because CAMP RUNAMUCK was wacky and hilarious! It was always the girls against the guys, but I don't recall one single child actor, if there were any it's news to me now. This show was about the adults! Arch Johnson was the head counselor and his staff always seemed to be unprepared and hung over, while each morning the over-achieving girls' camp across the lake would wake up the boys' camp singing "Good morning, to you, good morning, to you!!!" Alice Nunn was a formidable adversary for the men, and every time she'd get that look of revenge in her eye, Nina Wayne would breathily say "Ohhh, Mahala May!" Ketchum and Madden were a riot, and yes, every time Madden saw Nina Wayne (or any dishy woman), he'd shake, rattle and discombobulate, and Kethcum (or some one) would actually smack him and Madden would say "Thanks, I needed that!" Man, it sure sounds silly, but it was fast-paced and I think we kids thought all the lousy adult behavior was the funniest thing on earth, well every Friday night, that is, until they canceled it, which was pretty quickly. Would love to see this again!

What a treat to see such an unexpectedly saucy picture. SWEETHEARTS AND WIVES is a true romp of a sex farce, delightfully frank and featuring performances filled with genuine joy and colorful flourishes. Of particular interest are the provocative and engaging character turns by Clive Brook and especially by that canny ingenue, Leila Hyams. Hyams plays a married woman about to cheat on her husband, and at all times she manages to balance moral outrage with intriguing randy-ness. Both her contempt for her own situation and her game ability to play along with the farce are quite contemporary, and thoroughly charming, making one wonder why Hyams rarely got more challenging material to work with. Of the four main characters, leading man Sidney Blackmer is the least distinctive, although he seems much more committed to his playing than I've seen in many other films he's done, and he is certainly having a good time. Star-above-the-title Billie Dove, still gorgeous and with a fine, melodic speaking voice, begins her performance in cultured Hollywood French, and it is a relief when, fairly early on in the plot, she is given great reason to drop the French Maid act, and this is when SWEETHEARTS AND WIVES takes off as a sophisticated hoot. One of the most distinctive of those "colorful flourishes" is brought by the often stone cold stoic Clive Brook. In this picture, he plays a Divorce Detective, and he races with his role, having an enormously ripping good time brandishing a long cigarette holder and making smoking resemble the occupation hinted at by Lady Bracknell in THE IMPORTANCE OF BEING ERNEST.