Strike Me Pink

If you have not seen "Whoopee!" or "Palmy Days" or "Kid Millions" or "Roman Scandals" or "The Kid from Spain", you may think that "Strike Me Pink" is a pretty funny comedy. However, compared to the films mentioned above, it just doesn't make it. Instead of writing for his usual "frightened and nervous little man" persona, Cantor is given a script which would be better suited to Harold Lloyd. The musical numbers, though serviceable, are not even close to the great songs introduced in the previous pictures. Casting Ethel Merman, so perfect in "Kid Millions", as the romantic lead was a total mistake. Parkyakarkus and Bill Frawley are descent comic foils for Cantor, but somehow it all seems a little contrived. If you have seen the other films Cantor made for Goldwyn, this one may be a little disappointing. Don't get me wrong! There are some funny bits in the film. It's certainly not a total disaster, but compared to the films which came before it, it leaves much to be desired.

The fifth and final movie of Broadway star Eddie Cantor's films for producer Sam Goldwyn's independent production company, it was considered the weakest by critics and fans at the time. Even Leonard Maltin gives this a low rating compared to the three stars (out of four) he gives to the other Cantor films. While certainly not as much of a classic, it is certainly entertaining enough to warrant study in this era of Adam Sandler/Jim Carrey comedys.

Always typecast as the scaredy cat milquetoast, Eddie Cantor continues in that mold here as a laundrymat employee who ends up becoming manager of an amusement park owned by a feisty little old lady (Helen Lowell). It seems that the previous managers have all met with fatal accidents thanks to a racket that wants to install pinball machines in the park against the old ladies wishes. When Cantor manages to show a little more verve in front of the old lady and her daughter (Sally Eilers, a sadly forgotten actress), he is offered position of manager of the park, and celebrates with his pal by visiting his favorite singer, Georgia (Ethel Merman) who flirts with him in order to get him to install the pinball machines for her gangster friends.

There are several memorable production numbers which use the Busby Berkley style flare for overhead shots previously used in the Cantor musicals which Berkley choreographed: "Whoopee"; "Palmy Days"; and "The Kid From Spain". Other choreographers took over the reigns for his last three Goldwyn pictures, and here, Roy Del Ruth gets the job. Cantor's "The Lady Dances" production number at the amusement park is very elaborate, although it is Merman's "Shake It Off With Rhythm" that stands out here especially with the dancer whos shadow in the well-polished nightclub floor does her own steps. And when the bevy of chorus girls (thanks to the obvious presence of other chorus girls beneath them) start a dance while sitting on the floor, the number goes into the Hollywood musical books as one of the wackiest production numbers in film history. Merman and Cantor also sing a duet while on a ferris wheel which shows them with old-age make-up. Audiences familiar with Merman's later Broadway, film, and TV appearances will find it amusing to see young Merman (then 27) in old lady disguise.

Merman also sings a torchy number (with chorus) at the beginning that is well photographed but not at all in the same league with her big number. The two big production numbers are topped by a riotous finale (later used in "Abbott and Costello in Hollywood") where Cantor tries to flee from the rackateers (one of whom is William Frawley, aka Fred Mertz) by escaping on a rollercoaster. Of course, all sorts of visual comedy takes place, turning it into a fast-moving and laugh-filled ending. There really isn't a lot of Merman here; She is more a red-herring in the plot than anything else. Helen Lowell, as the old lady, is a live action version of tweety bird's owner; All she is missing is the bird and cage. Parkyakarkus, a popular radio comedian at the time (who also had a brief movie career), is stupidly annoying, a stereotypical foreigner (apparently Greek) who lacks in too many brain cells to be a body guard. Fortunately, he pops in and out of the action so fast he doesn't have time to really become distracting from the wonderful Cantor.

While the film is certainly not a classic, it is enjoyable enough to give a few laughs and smiles thanks to the fine musical numbers. While comedy today is focusing on more sexually explicit gags for more shock value (chickens being used to humiliate the law and Hitler in hell in a tu-tu with a pineapple for a special decoration come instantly to mind in today's comedys), films like "Strike It Pink" focus on a gentler and less crude style to get their laughs. Hopefully, it will turn up on cable or on the late show where they still show old movies rather than infomercials, so today's film students or fans of classic comedy can get an opportunity to enjoy it.

EDDIE CANTOR was one of the most talented comedian/singers in Hollywood who never really got his due in films--except for a wonderful turn as lookalikes in THANK YOUR LUCKY STARS ('43). And ETHEL MERMAN is a great brassy singer from Broadway who never got her big chance in films either, except for CALL ME MADAM.

They don't really get their big chance here, either. It's an antiquated musical even though there is some great talent behind the scenes, as can be noted in the screen credits.

Cantor is the typical nerd, a tailor being bullied by college guys and rescued occasionally by his pal "Butch" (GORDON JONES). Cantor is being ribbed all the time for his crush on night-club singer ETHEL MERMAN, whose photos are posted all over his shop. He plays the sort of character that would inevitably fall to the Harold Lloyds and Danny Kayes of the show biz world--or, for that matter, Bob Hope who specialized in being a cowardly foil for the villainous thugs.

A young BRIAN DONLEVY has an early role as one of the thugs who wants to put one over on Cantor by placing slot machines in "Dreamland" park, with Cantor as current owner who has to get his courage from a book and phonograph record on "Man or Mouse?" A funny scene has him working his spell on tough guy ED BROPHY to the strains of "Dance of the Hours".

SALLY EILERS is the pretty secretary trying to give Cantor some backbone. It's the sort of role Virginia Mayo would later play in Danny Kaye films.

Some of the humor is rather forced and it's all kind of corny, but fun to watch as Cantor gets himself into one situation after another as he confronts the bad guys. Ethel Merman shows up for a couple of so-so song numbers but most of the time she's absent from the scene--and her few songs are not exactly memorable.

On the credit side, the musical sequences include some well choreographed song and dance numbers featuring The Goldwyn Girls, particularly one called "The Lady Dances". But the highlight of the film is the spectacular "Dreamland" chase that has all of the slapstick quality of the great silent chases, inspired by the Buster Keaton-Charlie Chaplin crowd of comics.

Summing up: Will appeal mostly to the admirers of Eddie Cantor's style as the comic foil for villains--and for anyone curious at an early glimpse of Merman.

The last of 6 films starring or including the inimical Eddie Cantor, produced by Sam Goldwyn Studios from 1930-36, which includes pre and post code films. It's also the only one that does not include a segment of Cantor in black face, if that's important to you. I suspect the inclusion of blackface is one reason why Cantor films have not been frequently shown on public TV. In 1937, he starred in a 20th Century-Fox film: "Äli Baba Goes to Town", which is also worth a look if you like his films in general.

We have several threads pursued. Eddy(Pink) plays his usual overly timid nerd character, who initially runs a shop where he offers various services, including a machine that breaks in new shoes. He gives up his shop to become the manager of the amusement park Dreamland. There, he gets mixed up with a gang who want to fill Dreamland with crooked slot machines, threatening to dispose of him like they did the last half dozen managers who refused to cooperate. Eddie is much helped and encouraged by his secretary Claribel(Sally Eilers).

Eddie has a fixation on nightclub singer Joyce Lennox (Ethel Merman). The slot machine gang figure out a way to use this obsession to blackmail Eddie into allowing the slot machines in Dreamland, Ethel being a friend of the gang.

To effectively deal with the gang and his other duties, Eddie mail orders a book and record to teach him self-confidence. In addition to assuming a confident stance in the face of adversity, he learns about "the magnetic eye"(one eye shut), the "magnetic stance" (leaning far forward) and the "magnetic finger"(arm and forefingers thrust forward)(This could be interpreted as a stab at self-help advisers, in general). Anyway, this approach seems to mesmerize his adversaries.

The last part involves a classic silent film-like chase of Eddie by the slot machine gang, including a race on a roller coaster, followed by a nail-biting balloon ride, then inadvertent participation in a trapeze act. All this time, Eddie is trying to protect a 78rpm recording of a full confession by the gang of murdering the prior managers, and the phoniness of the murder charge against Ethel. This whole sequence much reminds me of something silent film luminary Harold Lloyd might do.

The music and dancing is nothing special. Ethel sings "First You Have me High" on a pitch black stage, except for her face: too long and not interesting to me. Eddie sings "The Lady Dances" on stage, abetted by chorus girls and specialty dancer and singer Dona Drake(also known as Rita Rio), who wiggles and gyrates her body, along with dancing and singing. Then, Eddie and Ethel sing "Calabash Pipe" while atop a Ferris wheel, followed by their singing it while imagined senior citizens in a buggy. Later, Ethel sings "Shake it off with Rhythm", abetted by a dancing chorus, in a big production.

Dona Drake was a very light-skinned African American, who passed herself off as an exotic-looking Caucasian. She was very energetic, as shown in this film. Sometimes, as in this film, she was a specialist singer and/or dancer. In other films, such as the Crosby-Hope "The Road to Morocco", she had a significant role in the screenplay. Seems like she should have had a much more visible Hollywood career.

Of the 5 members of the shot machine gang, I was already familiar with Brian Donlevy, William Frawley, and Jack La Rue..... Harry Parke served as Eddie's supposed body guard, who popped up every now and then. When Eddie and Ethel took a boat ride through the pitch black Tunnel of Love, we hear kissing sounds, but Eddie protested that he didn't kiss her. Turns out it was Parke, hiding in the back seat. Parke also accompanied Eddie in that perilous balloon ride.

If you like Eddie's comedies in general, you should like this one, despite the disparaging remarks of some reviewers. Currently, it's part of a 4 film collection of Eddie's comedies, I can recommend.

Several numbers in the film are worth a look just because of the clear influence of Busby Berkeley. The numbers show sophistication and modernist sensibility very different from the tone and style of the rest of the material, and very Berkelesque. In the "High and Low" number,for example, filmed mostly in closeups, Merman's white skin is strongly silhouetted against her very black costume, which itself blends into the black background. Its a chiaroscuro effect highly reminiscent of Winnie Shaw's "Lullaby of Broadway" number in Gold Diggers of 1933.

Later, in "Shake Me Off With Rhythm", the shiny dance floor reflects the dancers so completely that a reflection begins to dance on its own, itself a reminder of Bojangles by Fred Astaire in Swingtime, which was released in the same year. At another point, dancers intertwine so that their one's arm become the other's legs and it becomes difficult to distinguish them, their intertwined bodies still reflected by the shiny floor in a very modernist composition. It all feels like Busby, off center, inventive, playful. Worth a look.