User Reviews

As you have probably guessed by now, Shirley Temple is the shining light in this rather hum-drum musical comedy. Composer, songwriter, producer Jay Gorney was ecstatic with his prized find, after auditioning close to 150 little girls for this picture. Shirley Temple was exactly what was needed to add some sparkle. As she was rushed into the production, the studio decided to save time, by having Shirley Temple teach James Dunn the dance routines she already knew, rather than teaching her something different. For the next five working days, she and Dunn rehearsed their routine between the few non-musical scenes she had to do. Finally, after lunch one day they were ready to film her song and dance with Dunn. Upon leaving the studio commissary with her mother, an excited Shirley skipped down the stairs, and slipped, falling head first onto the red-brick paving. A small cut on her forehead began oozing blood, a cold compress was immediately applied, but the lump grew larger as the ice melted. Filming was due to start, in desperation Mrs. Temple pulled one of her loose curls across the bump and plastered it down as a spit curl. It did the job, and after that it would always be fifty-six curls and one spit curl. "Stand Up And Cheer" was the big break Mrs.Temple had been waiting for and Shirley Temple was now on her way to becoming the biggest child star of all times.

...I never knew that!! With the popularity of "42nd Street" Fox announced plans to dust off another "Fox Movietone Follies" in mid 1933 which then became "Fox Follies" and finally evolved to "Stand Up and Cheer". The studio had big plans with Will Rogers (who also wrote the story) to play the Minister of Amusement and a cast that looked like one of those all star studio revues with names bandied about like Spencer Tracy, Lilian Harvey, Lew Ayres, Clara Bow, Janet Gaynor etc. When Rogers bowed out the "all star" was scrapped and Warner Baxter (who was so good as Julian Marsh in "42nd Street") cast as over worked and over stressed Lawrence Cromwell who is thrust into the role of Minister for Amusement as the President desperately strives to help the public overcome the depression blues. The always beautiful Madge Evans (in fact there's a scene between them, where he insists she is beautiful but she is just as adamant that she isn't) plays his assistant.

Sylvia Froos is in grand voice and so photogenic but her songs were lack lustre - "Broadway's Gone Hillbilly" featured her atop a city skyline but soon gave over to some special effects photography as show girls were suddenly transported to wide open spaces, at the end to be roped by a cowboy atop a skyscraper. She was also used at the end for a love duet with John Boles - "This is Our Last Night Together" but by then the public had seen Shirley Temple and James Dunn in the dazzling "Baby Take a Bow" and all else was forgotten. Shirley was a knockout in her song and dance with Dunn and the song was catchy. It was easy to see the pair had a real rapport and it showed in Dunn's face as they went through their dance - he couldn't wipe the smile from his face!! She sang the song and did the intricate tap dance, keeping up with Dunn. Their verve and sparkle put all the other numbers in the shade and the film needed all the help it could get. Sammy Lee (who was a dance director for the early MGM musicals) tried but the "We're Out of the Red" number while very catchy, with it's manic marching was just too busy!!

Once the movie was in production Fox knew it had a charismatic newcomer in Shirley Temple and the build up began. Fox spread the word that Temple was the reason to see the film so when it opened she was given the most attention and the timing couldn't have been more perfect for Fox. As the pre-code era was ushered out and the search was now on for more wholesome movie material, Shirley soon had her name over the title and had it for many years to come!!

The 80 minute version is the complete film not the cut 69 minute version. I've seen the extended film on TV more than 30 years ago and loved it. If it's still available ( the 80 min. version ) can it be released on DVD? I'm sure there are other admirers of complete Shirley Temple films. The missing scenes has a Hillbilly talking to the incomparable " Steppin Fechit ", whose job it is to locate and sign-up additional novelty acts for his boss Warner Baxster. The Hillbilly commences to sing " Well shes down thar, and I'm up yar...". We see his wife swinging an ax against a tree and taking out huge chunks at a time. Her description is that shes large with a corn cob pipe in her mouth. She calls to him " you who " and he responds the same way back.

Six year old Shirley Temple is but one of a variety of performers in this musical comedy variety show. But , for many, she stole the show in her one song and dance number, to "Baby , Take a Bow", to an encore of Jimmy Dunn's performance of the same song. Clearly, the two liked each other, and would costar in several legitimate Shirley Temple movies. Here, Shirley's still a bit young and spindly for her prime time as a singer and dancer, but nonetheless cute, and with the potential obvious, as she would add comedy to her talents in the future..........Expect several numbers by a bevy of beautiful chlorine dancers. This includes one in which they are dressed as cowgirls, and form a block of faux larret-spinning beauties. At the end, they are all roped together by a cowboy with a huge spinning larret..........The unique African American character actor Stepin Fetchit appears several times. While today's audiences generally cringe at his extreme stereotype dim-witted, lazy, darkie, at the time, this character was incorporated into a variety of films, apparently without criticism by most movie goers. In one sketch, he interacts with a dressed up talking penguin, who claims he is Jimmy Durante. Eventually, the Penguin slips into the huge fish aquarium and begins swallowing fish. Stepin manages to fall into the aquarium trying to save his pet fish...........Mitchell and Durant form a team as supposed US senators, who slap each and knock each down, among various gymnastic gyrations, so that we might think of them as 'the 2 stooges'. ..........Warner Baxter is appointed secretary of the new cabinet position Secretary of Amusements , created by FDR to try to promote activities to cheer up the people in those times of extreme economic depression. Silvia Froos is his beautiful assistant...........The finale consists of a visually spectacular fantasy, in which marching squadrons of various occupations march across the screen, singing "We're Out of the Red", meaning the Depression is over, they all having jobs. See at YouTube

A pointless attempt at a feel good musical has the silly premise of a secretary of amusement to cheer the struggling people of the depression. It sort of feels like giving a death row inmate ribeye steak just before pulling the switch. The highlights are the production numbers which includes Shirley Temple and James Dunn performing "Baby Take a Bow", the name of their next movie. "Broadway's Gone Hillbillv", which emulates "Oklahoma!" more than "Li'l Abner" in spite of some snazzy choreography. Warner Baxter basically repeats the same role he played in "42nd Street". Those hoping for a Shirley Temple movie will be sorely disappointed. She has the one musical number, a brief scene and a close-up in the special effects filled finale. A truly tacky scene has Stepin Fetchit confused by a talking penguin who sounds like Jimmy Durante. Aunt Jemima also makes a cameo appearance in the opening musical number. If it wasn't for the camp element, this would rank as a pointless, sometimes tacky bore.

"Stand Up and Cheer" exists in two different TV versions. The first runs 70 minutes, the second around 75. Reviews of both versions follow. By the way, this Lew Brown who figures so prominently in the credits of both versions is the Lew Brown of the De Sylva, Brown and Henderson songwriting team — the subject of the 1956 screen biography, "The Best Things In Life Are Free" in which Brown was portrayed by Ernest Borgnine.

"Stand Up and Cheer" has some lively production numbers (the marching climax with all the hordes of extras — and the exceptionally skilled film editing that makes it seem there are even more people than there actually are — and Dick Foran singing "Out of the Red" as he charges across the skyline to a geographical musical medley; the elaborate "Hillbilly on Broadway" number with its troupe of dancing, rope-swirling chorus cuties and its dazzling special effects; Shirley Temple and James Dunn in the "Baby Take a Bow" number) interspersed with some rather corny and not particularly funny old vaudeville routines — Stepin Fetchit and "Skins" Miller are two of the biggest liabilities here as the sketches to which they contribute (particularly the talking penguin sketch which is also in rather bad taste with the penguin swallowing live fish from a display aquarium; Miller's hillbilly number is slightly redeemed by his producing an odd and varied assortment of hats — it's an old gag but I'm a sucker for gags with hats) are among the least entertaining.

Two acrobats Mitchell and Durant also tend to out-stay their welcome. What makes these numbers even duller is the routine way in which they are handled — quite a contrast with the way the rest of the film is directed with its jostling crowds, fast tracking shots and rapid- fire dialogue delivery and its sharply-cut musical production numbers.

There's a good idea back of the script, but despite the enthusiasm of the cast, the dialogue lets the players down as it is not particularly funny, nor satirical, nor sharp, nor witty. The photography by Ernest Palmer and L. W. O'Connell makes the film nearly always attractive to look at (Miss Evans benefits and has some lovely close-ups) and the film comes across well on TV even in what is obviously a dupe from a worn (there are quite a few jump cuts especially in the first half- hour but fortunately few scratches; but alas, most of the cuts are in Miss Temple's "Baby Take a Bow" number) projection print.

This TV print is missing some 10 minutes including "I'm Laughing" with "Aunt Jemima". Miss Temple does not have all that much business, and all John Boles does is to sing rather indifferently a rather indifferent love duet. Ralph Morgan has but a tiny bit as the President's (only the back of the presidential head is seen in shadow) secretary. Dick Foran does not come on until the climax. Besides "Out of the Red", he sings the title tune under the end credits.

SECOND VIEW: The current television print is also a dupe, but of better quality. It is now possible to judge that O'Connell photographed the dialogue scenes in his usual grainy style, while Palmer handled most of the musical numbers with their higher contrast and velvety blacks. It's pleasing there are no scratches or jump cuts, just one or two slight bloops in the sound track — which is otherwise superb, doing full justice to that great Fox sound.

This print includes the elaborate "I'm Laughing" production number, but omits Miller's hillbilly sketch with the hats. Unfortunately, two similar monologues with Fetchit remain, including the tasteless (if cleverly dialogued) Durante penguin episode. Still no "She's 'Way Up Thar".

Madge Evans is a charming heroine and has some delightful moments in her early scenes with Warner Baxter's self-proclaimed Authority on Feminine Beauty. The chorus girls are colorfully costumed and Sammy Lee has choreographed their dancing in a lively, inventive manner, accompanied by an orchestra that swings the arrangements in a delightfully jazzy tempo.

As for Miss Temple, she is of course an absolute knock-out. Her skill and charm, her sparkling tap-dance with James Dunn, brought down the house wherever the picture played. Although it was not, oddly enough, one of the big box- office successes of the year, Stand Up and Cheer well and truly launched a six-year-old from Santa Monica (California) into the Hollywood big-time.