The Meanest Gal in Town

Chris Peterson (El Brendel) is an unsuccessful barber in a small town. His fiancée of ten years is Tillie Prescott (Zasu Pitts), a hardworking woman who just can't wait to get married. Chris wants to prove he is successful by obtaining a second chair in his barber shop before tying the knot, but Tillie is impatient. She is constantly taken advantage of by Chris and she feels she is the real brain behind the couple. This proves to be false when she falls prey to a business scam. Meanwhile Chris's business starts booming when an actress (Pert Kelton) takes up shop as a manicurist to make some extra money. Her wiggling hips make the shop a hot spot for the local men.

A fun movie with a cast of unknowns, The Meanest Gal in Town is not likely to show up outside of film conventions and collector's homes, but it is an enjoyable film. Brendel makes use of his simpleton Swedish character and provides much of the comedy. Some people hate him; I love him. He is sweet and rather funny, illustrated by scenes like the opener where he strums a ukulele and sings with the accompaniment of a howling dog. Pitts is more likable here than in some of her other movies. In spite of Brendel's sweetness, it is difficult not to root for Pitts too, especially when Chris treats Tillie badly.

A small town barber hires a flirtatious out of work actress as his new manicurist - much to the chagrin of his longtime girlfriend.

Undeservedly obscure, THE MEANEST GAL IN TOWN boasts plenty of pre-Production Code sauciness and several funny performances. It is a good example of a very competent little comedy which fell through the cracks into movie limbo.

At the heart of the film, ZaSu Pitts & El Brendel make unlikely, but completely compatible, comedic companions. Fluttery fingered & vague, Miss Pitts brings her considerable experience into playing a businesswoman who is very tired of waiting ten years for her beau to propose marriage. Gentle, good-natured dialect comedian Brendel - the Swedish accent was fake - enlivened a handful of early 1930's films with his genial humor. He was always enjoyable to watch and his performance here is no exception, as he portrays a fellow whose greatest ambition is to have enough clients to enable him to add a second barber chair to his shop.

James Gleason scores as the local ladies' man, always ready with the sly innuendo. Pert Kelton practically steals the show as the flirty tart who knows how to get exactly what she wants from most men. Skeets Gallagher is perfect as the brash salesman who almost trumps her ace.

Movie mavens will recognize John Carradine as a stranded actor, Robert McKenzie as a hotel manager, Harry Holmes as the mayor & Vera Lewis as a lady at the Chamber of Commerce luncheon - all uncredited.

Producers run out on star performer Lulu White (Pert Kelton) and the whole crew. Penniless Lulu is confident to wiggle herself out of the predicament. She gets a manicurist job with struggling barber Chris Peterson (El Brendel). The place is soon swarming with Lulu's male admirers. Long-suffering girlfriend Tillie Prescott (Zasu Pitts) gets jealous.

Lulu White is a fun character and Pert Kelton is a solid comedic actress. I've never heard of her and it's interesting to read up on her career or lack thereof. El Brendel's accented performance is a little problematic with the early sound. I don't even know what he's trying to be. This is pre-Code which allows some more fun. Mostly, I'm taken with Pert and Lulu.

This movie is hilarious!! Especially Pert Kelton and James Gleason--those two are a hoot to watch in this movie!!

Considering this is back in the 1930's--the risque talk is that more astonishing!!

A very good little comedy.

Although perky Pert Kelton is billed second to ZaSu Pitts, she's the one the title refers to. She plays an actress, stranded when the manager of her troupe absconded with the funds. Asked by a fellow actress what she is going to do, she responds "Don't worry, I'll wiggle my way out of this one," as she wiggles her derriere walking out of the door. This was the first of many sexual innuendos within the film, released early in 1934, before the Hays Office started really cracking down on violations of the Production Code that July. Even so, I was surprised to hear the expression "cop a feel," used by "Skeets" Gallagher, when he asks a woman to place her hand on his breast to feel his heart beating. Kelton is not mean as much as she is wily, building up El Brendel's barbershop business as a manicurist, by enticing men to come in, and causing much jealousy from ZaSu Pitts, who has been courted by Brendel for ten years. Because of Kelton, this film was an enjoyable romp; without her, it would have been a flat, unfunny comedy.