I finally finished the FGRA project earlier today, and I guess it goes without saying that I was a little burned out listening to OTR, so I shoved the Jack Benny project aside momentarily and treated myself to a movie from the stack of DVDs I recently purchased from Finders Keepers. It was kind of hard to choose, but I gave the 1939 feature film Charlie McCarthy, Detective the tap.
In this short-and-sweet feature, Bergen & McCarthy play
themselves, a successful night club act who find themselves mixed up in a
murder case involving an unscrupulous magazine editor, Arthur Aldrich (Louis
Calhern), who’s had one of his reporters, Bill Banning (John Sutton), jailed
before Banning can reveal the connection between his boss and gangster Tony
Garcia (Harold Huber). Aldrich is murdered during a party at his estate, and
both Banning (who’s escaped from jail) and Garcia are among the suspects.
Robert Cummings is also in the film, playing another reporter who’s attempting
to help Banning, and Constance Moore is Banning’s fiancĂ©e, Sheila Stuart. The
film is actually a fairly straightforward little B-mystery pic, with only occasional
comic relief from Edgar & Charlie; in fact, the film’s title is a bit of a
misnomer—it’s Edgar who ends up solving the case, which I have to admit had an
interesting twist at the film’s end. (Bergen could have gotten into the radio
detective game if ever he and Charlie had a parting of the ways.)
Charlie McCarthy, Detective was a quickly produced B-picture made to cash in on the
success of the duo’s appearance in the classic 1939 W.C. Fields’ comedy You Can’t Cheat an Honest Man
(which may very well be their finest hour on screen). In Detective,
Edgar and Charlie are reunited with actress Moore, who played Fields’ daughter
in Honest Man. (Moore also had an uncredited bit as an autograph seeker
in Bergen & McCarthy’s first feature film appearance, Letter of Introduction
[1938].) It’s also interesting to note that prior to Edgar Bergen’s success on
radio with The Chase & Sanborn
Hour, the ventriloquist had quite the movie career, appearing in a
series of 14 one-reelers for Vitaphone between 1930 and 1937, the year of his
radio debut. (The shorts didn’t make many waves at the time, but proved popular
in re-release once Bergen & McCarthy took radio audiences by storm.)
I was a bit surprised by Charlie McCarthy, Detective in that I
had envisioned it to be similar to one of those Bob Hope vehicles in which the
comedy is played against a backdrop of menace (My Favorite Blonde, My Favorite Brunette,
etc.). Charlie is around strictly for comic relief, and in fact performs a
novelty number entitled “I’m Charlie McCarthy, Detective.” (My favorite part is
when Charlie—clad in deerstalker cap and inverness cape—rips his pants and
turns to Bergen saying, “Quick, Watson—the needle!”) Edgar’s other dummy,
Mortimer Snerd, also appears in the film—but he doesn’t have a lot to do. But
the comedy from Bergen and his dummies is sort of on the weak side; it’s not
nearly as good as some of the dialogue and routines in, say, Look Who’s Laughing
(1941).
In watching this film, I couldn’t help but be distracted by the fact
that Bergen—I know this sounds like blasphemy, but it’s true—wasn’t a
particularly great ventriloquist. So when people often posit the
question “How could they put a ventriloquist on the radio?” I think in Bergen’s
case, it was pretty much a godsend. Bergen would often modestly joke about his
lips moving by having Charlie heckle him about it. (Bergen himself was
characteristically honest about his limited talents; he even commented once
that one of his rivals, Shirley Dinsdale, was “the best natural ventriloquist I
ever saw.”)
Charlie McCarthy, Detective is certainly not the best film I’ve ever watched, but
it’s a breezy and enjoyable little diversion, with a great cast of character
actors including Edgar Kennedy, Samuel S. Hinds, Charles Lane, Anne Gwynne, and
an incredibly young Milburn Stone, the future Doc Adams of TV’s Gunsmoke. Warren Hymer is also in
this film, and he plays—I know this is gonna be a shocker—a dumb
hoodlum. (Did Hymer ever make a movie in which he played a brainy guy?)
The direction is by Frank Tuttle, who specialized in musical comedies like Roman Scandals (1933), College Holiday (1936)
and Waikiki Wedding (1937),
but also demonstrated a flair for crime and murder pics like the original The Glass Key (1935)
and This Gun For Hire
(1942), the film that made Alan Ladd a sensation. Ladd, of course, starred in
the 1942 remake
of Key, one of my favorite “stop-and-watch” movies (if I’m flipping
channels and see it playing, I’ll stop and watch it). Now if I could just stop
confusing Harold Huber with Joseph Calleia, I'll be okay...
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