Moe, Larry and Shemp receive a telegram from their roommate/landlord Bill that he just got married and they will need to move out. Rather than be upset by this abrupt eviction, the trio decide to surprise Bill and his new bride by cleaning the residence and installing a television that Bill ordered as a wedding gift. Needless to say, the best of intentions generates the worst possible results.
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A half-dozen genres are merrily mixed together in “The Bat,” the wild and often zany 1926 silent feature based on a Broadway play written by Mary Roberts Rinehard and Avery Hopwood, which in turn was based on Rinehart’s novel “The Circular Staircase” (1908).
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In 1973, Bing Crosby Productions was focusing on churning out low-budget flicks that were heavily marketed with exploitative flair. (Despite the company’s name, Crosby himself was not directly involved in the creation of these efforts.) With films including “Willard” (1971), “Ben” (1972), “You’ll Like My Mother” (1972) and “Walking Tall” (1973), the company offered a happy blend of violence, horror and thrills in contemporary settings. These titles proved very popular, and the company decided to dust off the concept of a wax museum setting for a horror film and brought back Jack the Ripper as key figure in its murder plot.
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The Three Stooges (Moe, Larry and Shemp) run the Super Slueth Detective Agency (yes, the typo is part of the company’s name) and their specialty is “Divorce Evidence Manufactured to Your Order.” They are hired to find a missing young woman and their strategy is to canvas the area where she disappeared by disguising themselves as door-to-door pie salesmen handing out free samples. When they hear her scream from a seemingly abandoned house, they gain entrance and find they are in the lair of the crazed scientist Dr. Jekyll, who with his fearsome henchman Mr. Hyde are planning to transplant the young woman’s brain into a gorilla that they are keeping in a cage.
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The Three Stooges (Moe, Larry and Shemp) answer an advertisement placed by Scotland Yard for “yardmen” and they inform the inspector in charge that they are perfect for the job – they are newly minted graduates of the A-1 Correspondence School of Detecting. However, the “yardmen” jobs are for groundskeeper positions, which they grudgingly accept under the belief that they will eventually be promoted to crime solving. Thanks to a note blown from the inspector’s desk into their rubbish clean-up, the trio believe they’ve been assigned to protect the valuables in Scotland’s gloomy Glenheather Castle – which a title card tells us is “on the Bonny Banks of Scotland… but ’tis late, and the bonny banks are closed.”
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While the majority of film scholars will hail “Duck Soup” and “A Night at the Opera” as the best of the Marx Brothers movies, my go-to Marx mayhem is their 1931 “Monkey Business.” Part of my devotion is emotional – this was the first Marx film I saw, back when I was around 10 years old and WNEW-TV Channel 5 in New York City would broadcast the film. And part of my devotion is intellectual – I genuinely believe it is the crazy siblings’ best film.
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During the 1960s, there was a flurry of all-star comedy films that tried too hard to be zany. “What’s New, Pussycat?” stands out in this genre for its freewheeling approach to sex – and while it often fails to maintain its frenetic pace, it has more than a few redeeming features to keep the viewer entertained.
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