Old Dude, Old Movies - "That's Right, You're Wrong"

http://www.imdb.com/title/tt0032015/?ref_=fn_al_tt_1

For its' era (1939 release), I'm sure it was quite entertaining. I enjoyed it overall, but there are some familiar themes. An energetic fictional manager runs amok. A ruthless movie producer manipulates circumstances for his own benefit. The idea of Hollywood being the "Holy Grail" for entertainers is laid on thick. But before all that, we have Kay Kyser.

For those who aren't fans of classic radio, Kay Kyser was one of the best-known bandleaders around. His radio show, which featured the "College of Musical Knowledge" was a nationwide hit in the '30s. Part Groucho Marx, part "Name that Tune", Kyser and his band of first-rate musicians and singers would play the hits of the day in front of a studio audience. From time to time, Kyser would invite a contestant to the mic. Some contestants were innocents, while others were pre-arranged for comic effect. Kyser would have the band play a note or three, the contestant would attempt a guess (normally as a set-up for a gag), then Kyser would ad-lib wisecracks. When he wasn't cracking jokes and bad puns, Kyser would break out a little jig or other freestyle shuffle dance routine for even more comic relief.

Obviously, a lot of the visual stuff would only be seen by the on-site radio audience, so somebody thought "this stuff's so funny, we have to get it on film". So, the initial result was this film.

Kyser's team of musicians were equally at home in front of the camera. One standout was the trumpeter"Ish Kabibble", played by Merwyn Bogue. A tall, angular man with a out-of-fashion bowl cut (a la Moe Howard), Kabibble was the deadpan comic relief, a great conterpoint to Kyser's frenetic antics. Bogue's puns, goofy poetry and mannerisms generated a lot of laughs for this ensemble.

The plot was standard: the band was constantly on the road, spreading its' unique brand of entertainment. The fictional manager thought it made sense to get this show to Hollywood, to gain even more exposure. A smarmy producer (who hadn't actually seen Kyser in person) manipulates his way into the equation, though he's ill-suited to the task. Misunderstandings and hi-jinks ensue.

Like a lot of "behind the scenes"-type movies that involved Hollywood at that time, the movie capital was portrayed as an oasis of creativity. Even the underhanded stuff was shown as harmless "white lies".

Other players in the cast are Adolphe Menjou (the producer), Lucille Ball (!) as a starlet on the rise and Edward Everett Horton as a skeptical screenwriter. One doesn't get this type of supporting star power unless the studio thought the production was worth it.

Kyser's movies were pretty much standard (see "Carolina Blues" as another example). His North Carolina drawl and folksy character made him welcome in so many homes. On screen, he seemed very much at ease, as if he was in on the gag.

If/when you watch one of Kyser's movies, you won't get any profound truths about the meaning of life, but you'll laugh. You'll enjoy the music. You'll enjoy the light-hearted mood. Kyser and his band were good at their craft, and it shows on-screen.