The lack of a story, outlandishly unfunny jokes and an obnoxious structure make this single Columbia entry of Kay Kyser's brief foray into film makes this World War II musical farce instantly forgettable. If jokes like this were supposed to have killed vaudeville, it also cremated it as well. At RKO Radio, at least Kyser had some amusing plots, while thin, at least proved some memorable entertainment with the silliness not cringe-worthy. The musical numbers in those films were way above average when compared to what ends up on screen here. For example, if you're going to give Ann Miller a tap number, don't start the number by the audience hearing the taps while the camera focuses on Kay; go straight to "Miss Thunder Thighs" rather than tease us with what we're missing.
What there is of a plot line surrounds Kyser's attempts to put on a show to sell war bonds to build a new naval destroyer. As "well meaning" as the plot is, the result is a tremendously unfunny attempt at war time patriotism that is propaganda at its worst. When the funniest idea is to have Victor Moore play practically everybody in his family (including several women) and even that doesn't get laughs, there's definitely something rotten in the world of entertainment. His performance, in fact, seems strained, making this a sad moment in the career of one of the most lovable comics in Broadway and film history.
Moore's major character is the black sheep of a wealthy family who pretends to be wealthy so his daughter (Miller) can work in Kay's traveling show. When the rest of his clan shows up, the visuals are pretty frightening. Even scarier visually is the sight of Ish Kabibble's family, all wearing that same scary hairstyle (including the dog!). An extremely dumb subplot has Ish being stalked by the star-struck Jeff Donnell.
Musically, this is the weakest of Kay's movie musicals, with only one big number (the well staged "Mr. Beebe" which features Harold Nicholas and the amble June Richmond) standing out. The opening theme, I might add, was later utilized as the jazzy music in the background of the Joan Crawford slasher epic "Straight Jacket", utilized here as the music for a love song with extremely unromantic lyrics. This is a total mess on so many different levels, but I know I will re-visit it at some point, if only for the dancing in "Mr. Beebe" which includes the clever reference to the "Harlem Easter Parade".
What there is of a plot line surrounds Kyser's attempts to put on a show to sell war bonds to build a new naval destroyer. As "well meaning" as the plot is, the result is a tremendously unfunny attempt at war time patriotism that is propaganda at its worst. When the funniest idea is to have Victor Moore play practically everybody in his family (including several women) and even that doesn't get laughs, there's definitely something rotten in the world of entertainment. His performance, in fact, seems strained, making this a sad moment in the career of one of the most lovable comics in Broadway and film history.
Moore's major character is the black sheep of a wealthy family who pretends to be wealthy so his daughter (Miller) can work in Kay's traveling show. When the rest of his clan shows up, the visuals are pretty frightening. Even scarier visually is the sight of Ish Kabibble's family, all wearing that same scary hairstyle (including the dog!). An extremely dumb subplot has Ish being stalked by the star-struck Jeff Donnell.
Musically, this is the weakest of Kay's movie musicals, with only one big number (the well staged "Mr. Beebe" which features Harold Nicholas and the amble June Richmond) standing out. The opening theme, I might add, was later utilized as the jazzy music in the background of the Joan Crawford slasher epic "Straight Jacket", utilized here as the music for a love song with extremely unromantic lyrics. This is a total mess on so many different levels, but I know I will re-visit it at some point, if only for the dancing in "Mr. Beebe" which includes the clever reference to the "Harlem Easter Parade".