I recently purchased a used copy of a 1987 video of Hi Diddle Diddle at Pike's Market Place in Seatle, Washington because it mentioned a cartoon sequence from Leon Schlesinger just before he sold his studio (as well as characters Porky Pig, Bugs Bunny, and Daffy Duck) to Warner Bros. Those animations open and close the picture to amusing effect in this slightly surreal romantic comedy starring Dennis O'Keefe, Martha Scott, Adolphe Menjou, Billie Burke, June Havoc, and in her last film before The Moon-Spinners 21 years later (which was her final one!) Pola Negri. One of my favorite running gags involves a beautiful woman (Lorraine Miller) who keeps appearing in various scenes in different roles as noted first by Menjou, then various cast members. Finally, Burke says, "She was put in different places as a favor to the director!" It's interesting to note that both Negri and Menjou (in Pollyanna) made their final feature appearances opposite Hayley Mills in Disney movies. For the occasional nonsense that pops up, Hi Diddle Diddle is worth a look.
18 Reviews
There's no time for sex in this farce of war-time marriage and stock manipulation, with that scalawag Adolphe Menjou
Terrell-43 March 2009
Warning: Spoilers
Sonny Phyffe (Dennis O'Keefe), a sailor with a conquest in every port, is three hours late to his wedding to Janie Prescott (Martha Scott), whose mother is the very wealthy and scatterbrained Liza Prescott (Billie Burke). Liza harbors doubts about Sonny's sincerity. Sonny is anxious about the wedding because he only has two days ashore before he has to report back to his ship. But minutes before the wedding Mrs. Prescott confesses that she has lost her fortune, swindled out of it by a high society clot who is determined to wed Janie himself. But now that sly old scoundrel, Col. Hector Phyffe (Adolphe Menjou), who is Sonny's father, steps forward and says he'll put things right. All he needs is a few hours. The Colonel, however, is married to the opera diva Genya Smetana (Pola Negri). He hasn't a dime of his own. She keeps him on a short lease. He must do what he does best, come up with a series of improbable schemes and stratagems to replace Mrs. Prescott's fortune. All the while the clock is ticking. Will the Colonel somehow find a way to get back Liza Prescott's money? Will Liza with her ditzy behavior make things better or worse? Will Sonny and Janie work their way through this maze of mix-ups and into bed before Sonny has to leave? Will there at last be a consummation devoutly to be wished, especially by Sonny and Janie.
If this sounds like screwball comedy, it tries hard to be and sometimes succeeds. Menjou keeps the wheels spinning. Burke's character may not be as flighty as Billie Burke. Pola Negri, a great silent star, at 49 is stunning. She could easily pass as Hedy Lamar's slightly older sister. June Havoc has a funny featured role and a couple of songs. What Hi Diddle Diddle really has going for it is a clever twist that is well disguised and two accomplished actors who were right at home with light comedy, Adolphe Menjou and Dennis O'Keefe.
Menjou was never better than playing a man of the world who has seen all the tricks and mastered most of them himself. He moved from a major leading man in the silents (A Woman of Paris, 1923) to a master portrayer of amusing rogues, charlatans, fathers and lawyers. He was at his best as the shyster lawyer Billy Flynn in Roxie Hart, 1942. As an old man he still knew what he was doing. His portrayal of Mr. Pendergast, an irascible recluse in Pollyanna, 1960, is touching, amusing and believable.
I doubt if there was ever a Hollywood leading man, other than Cary Grant, who was as good at light comedy as Dennis O'Keefe. He paid his dues in countless unbilled bits in the Thirties, moved up to second billings and then lead roles in the Forties and early Fifties, but was never able to establish himself in big A movies. He was a tall, handsome guy who could play puzzled bumpkins, tough G-men, doomed noir heroes and nice guys. If you have the time, watch him in these: As Jerry Manning in The Leopard Man, 1943; as Monty Brewster in Brewster's Millions, 1945; as Joe Sullivan in Raw Deal, 1948; as Sam Donovan in Cover Up, 1949; and as Danny Leggett in Woman on the Run, 1950.
If this sounds like screwball comedy, it tries hard to be and sometimes succeeds. Menjou keeps the wheels spinning. Burke's character may not be as flighty as Billie Burke. Pola Negri, a great silent star, at 49 is stunning. She could easily pass as Hedy Lamar's slightly older sister. June Havoc has a funny featured role and a couple of songs. What Hi Diddle Diddle really has going for it is a clever twist that is well disguised and two accomplished actors who were right at home with light comedy, Adolphe Menjou and Dennis O'Keefe.
Menjou was never better than playing a man of the world who has seen all the tricks and mastered most of them himself. He moved from a major leading man in the silents (A Woman of Paris, 1923) to a master portrayer of amusing rogues, charlatans, fathers and lawyers. He was at his best as the shyster lawyer Billy Flynn in Roxie Hart, 1942. As an old man he still knew what he was doing. His portrayal of Mr. Pendergast, an irascible recluse in Pollyanna, 1960, is touching, amusing and believable.
I doubt if there was ever a Hollywood leading man, other than Cary Grant, who was as good at light comedy as Dennis O'Keefe. He paid his dues in countless unbilled bits in the Thirties, moved up to second billings and then lead roles in the Forties and early Fifties, but was never able to establish himself in big A movies. He was a tall, handsome guy who could play puzzled bumpkins, tough G-men, doomed noir heroes and nice guys. If you have the time, watch him in these: As Jerry Manning in The Leopard Man, 1943; as Monty Brewster in Brewster's Millions, 1945; as Joe Sullivan in Raw Deal, 1948; as Sam Donovan in Cover Up, 1949; and as Danny Leggett in Woman on the Run, 1950.
More than meets the eye
cstotlar-124 July 2014
This period in American movies saw such delights as "Hellzapoppin". Here the actors bring to attention that they are playing in a film. They make faces at the audience, wallpaper comes alive, there is a woman who keeps popping up in scenes where she isn't even acting. The dialog and the plot move lightning fast and there's no time at all to waste in this pleasant and often hilarious comedy. There's a wedding reception before the wedding, fortunes earned and lost in a space of minutes, a married couple disunited throughout. What's not to like? This film has been in public domain and has been copied, often badly and on stock of poor quality, so viewer beware...
Cleverly Made Screwball Comedy With Music
earlytalkie21 July 2013
This film starts out differently, with an animated sequence before the opening credits. This is the first of several off-beat touches which makes Hi Diddle Diddle an enjoyable film. Pola Negri, former silent star from Valentino's day registers well here as a temperamental opera star. Not only is her voice understandable, but it is downright good here. She is also still quite beautiful in 1943, and it seems a pity that she did not have a bigger career in sound films. The rest of the cast, headed by Adolphe Menjou, Martha Scott, Dennis O'Keefe and Billie Burke are all in top form, and a special mention for a musical sequence featuring June Havoc singing along with herself on a soundie screen. There are some good belly laughs to be had and, all in all, this is a charming piece of forties fluff which will whizz by painlessly enough.
Another Winner from Andrew Stone
richardchatten22 October 2017
The names of Adolphe Menjou and Pola Negri in the cast might lead you to expect the date of this film to be 1923 rather than 1943 (and the two did in fact make a couple of films together that year), but this is actually a relatively late screwball comedy with an on-form once-in-a-lifetime cast (although Denis O'Keefe rather strains credibility as Menjou's son).
Billed third, Negri, who was then 46 and hadn't made a film in Hollywood for over ten years (her next and final film was Disney's 'The Moonspinners' twenty years later) actually has a relatively small role as Menjou's wife, but looks great (along with Martha Scott and Billie Burke she sweeps about in a succession of fabulous creations by Adrian) and one gets a rare chance to hear what she actually sounded like. We first meet her singing the Ride of the Valkyries, and Wagner - whose music one character says "had some beautiful moments but some ugly half hours" - is later the victim of a priceless sight gag. The best performance as usual is by Menjou, but right down to the bit players the cast all seem to be enjoying themselves (including veteran composer & musical director Richard Hageman unexpectedly playing the small part of a company director).
The same year as he made the all-black musical 'Stormy Weather' the always surprising independent producer-director Andrew L. Stone here shows early evidence of the good naturedness and flair for organising complicated story lines that found full flower in his later thrillers; and this may be his only film to receive an Oscar nomination (for Phil Boutelje's score). Frederick Jackson's screenplay crackles with saucy throwaways and there are some sublime breaches of the fourth wall, including a couple of animated inserts by Friz Freleng.
Billed third, Negri, who was then 46 and hadn't made a film in Hollywood for over ten years (her next and final film was Disney's 'The Moonspinners' twenty years later) actually has a relatively small role as Menjou's wife, but looks great (along with Martha Scott and Billie Burke she sweeps about in a succession of fabulous creations by Adrian) and one gets a rare chance to hear what she actually sounded like. We first meet her singing the Ride of the Valkyries, and Wagner - whose music one character says "had some beautiful moments but some ugly half hours" - is later the victim of a priceless sight gag. The best performance as usual is by Menjou, but right down to the bit players the cast all seem to be enjoying themselves (including veteran composer & musical director Richard Hageman unexpectedly playing the small part of a company director).
The same year as he made the all-black musical 'Stormy Weather' the always surprising independent producer-director Andrew L. Stone here shows early evidence of the good naturedness and flair for organising complicated story lines that found full flower in his later thrillers; and this may be his only film to receive an Oscar nomination (for Phil Boutelje's score). Frederick Jackson's screenplay crackles with saucy throwaways and there are some sublime breaches of the fourth wall, including a couple of animated inserts by Friz Freleng.
Some Memorable Moments, but Too Few
LeonardKniffel10 April 2020
With too little music to call it a musical and too silly a plot to explain why it drew audiences at the height of World War II, the movie is best remembered for its early mix of animation and live action, wherein the wall paper comes to life as the cast mutilates "The Pilgrim's Chorus" from Richard Wagner's opera "Tannhauser." Also worth noting: the unmistakable voice of Billie Burke (the good witch in The Wizard of Oz), June Havoc singing "The Man with the Big Sombrero," and a rare talking film appearance by gorgeous Pola Negri, the Polish silent film siren who once called Rudolph Valentino the love of her life.
Crackerjack Saucy Screwball Comedy
16mmRay3 February 2006
HI DIDDLE DIDDLE is one of those pictures that, because it has fallen into public domain, is almost always seen in dreadful dupe prints. Well, don't let that dissuade you from seeing this picture. It is one of the fastest-paced, downright hilarious comedies of the early 40's. The combination of sharp dialogue and impeccable characterizations make this a real winner. Here is Dennis O'Keefe at his farceur best. He's a sailor-on-leave-bridegroom who spends his wedding night doing everything EXCEPT what he's supposed to be doing. Adolph Menjou is his pop, a conniver (not Connover this time!) who pledges to help Dennis' mom-in-law, dizzy Billie Burke, regain her fortune. Menjou is married to Pola Negri, a domineering Wagnerian opera singer. June Havoc is a lady friend of Menjou's and is she hot! They're all a riot. One of my favorite bits is when waiter Joe Devlin, taking Billie's order at a night club, does a double take and walks away. Billie exclaims - "He did a double take - just like in the movies!" Then Billie, Martha Scott (the bride), Walter Kingsford and Barton Hepburn all proceed to practice doing double takes. Devlin gets a gander at this and does - A DOUBLE TAKE! A wonderful musical moment is June Havoc singing alongside herself in a Panaogram Soundie machine. Composer Richard Hageman, who also appears in director Andrew Stone's SENSATIONS OF 1945, does a very wry bit as a brokerage firm president.
If you need a laugh - see HI DIDDLE DIDDLE by any and all means!
If you need a laugh - see HI DIDDLE DIDDLE by any and all means!
Andrew Stone wartime screwball comedy with an Oscar nominated Score
jacobs-greenwood20 December 2016
Warning: Spoilers
Andrew Stone produced, directed and wrote the story (which was adapted by Edmund Hartmann and Frederick Jackson) for this wartime screwball comedy featuring an Academy Award nominated Score by Phil Boutelje. Also notable is the appearance of Pola Negri in the cast; this was her first film in years and her last until her final role in The Moon-Spinners (1964). Adolphe Menjou, Martha Scott, Dennis O'Keefe, Billie Burke, Walter Kingsford, and Barton Hepburn play the other significant parts in the movie.
The plot is pretty standard stuff for a screwball comedy: it relies on misunderstandings among some wealthy characters - like the always reliable ditz Burke - for its comic payoffs. Menjou plays his typical womanizer, even though he's married to Negri's character, an opera singer he'd charmed six months ago for her money. Paul Porcasi plays her impresario. Menjou's son Sonny (O'Keefe) is a chip off the old block, a sailor in the Navy with a girl in every port until he meets Martha Scott, who's playing a wealthy debutante that's Burke's daughter. O'Keefe's character insists that he's never been in love like this before, a line he uses several times with other women in the film's opening credits, which include cartoon character sequences, as does the film's final scene (of operatic composer Richard Wagner and his family at a picnic!).
But as is often the case, Burke's character is really smarter than she looks or acts; she and Hepburn's character have schemed to test O'Keefe's love for her daughter Scott. Burke, a rich widow who socializes with a senator played by Kingsford, pretends to lose all her money to Hepburn, who's ostensibly interested in marrying Scott for himself, in order to see if O'Keefe still wants to marry her. Naturally, their love is stronger than such concerns but, with the prospect of having to support his would-be mother-in-law Burke, O'Keefe engages his "pretending to be wealthy" father Menjou, who's a somewhat impoverished kept man of Negri's, to solve this newly financial problem of his. Menjou's plan involves using a more powerful magnet at the 59 club's (owned by Georges Metaxa's character) crooked roulette table (operated by croupier Eddie Marr) to beat them at their own game. He gets assistance from a longtime associate who's currently the club's singer, June Havoc.
There's another scam involving some phony gold mine stock (wasn't there any other type of enterprise that could be used in those days?) which inadvertently fools a real brokerage firm employee (Byron Foulger) and its owner (Richard Hageman). There's also a running joke whereby Lorraine Miller appears in almost every scene (walking her dog on the street, as a hatcheck girl, etc.), noticed by Menjou and eventually labeled a friend of this film's director by Burke. Several requisite false identity gags, who's married to whom etc., also transpire which, when combined with the aforementioned schemes, nearly prevent the newlyweds time from having any alone time. But thanks to the family's maid (Ellen Lowe), O'Keefe and Scott finally get some time to consummate their marriage before he has to ship off again.
The plot is pretty standard stuff for a screwball comedy: it relies on misunderstandings among some wealthy characters - like the always reliable ditz Burke - for its comic payoffs. Menjou plays his typical womanizer, even though he's married to Negri's character, an opera singer he'd charmed six months ago for her money. Paul Porcasi plays her impresario. Menjou's son Sonny (O'Keefe) is a chip off the old block, a sailor in the Navy with a girl in every port until he meets Martha Scott, who's playing a wealthy debutante that's Burke's daughter. O'Keefe's character insists that he's never been in love like this before, a line he uses several times with other women in the film's opening credits, which include cartoon character sequences, as does the film's final scene (of operatic composer Richard Wagner and his family at a picnic!).
But as is often the case, Burke's character is really smarter than she looks or acts; she and Hepburn's character have schemed to test O'Keefe's love for her daughter Scott. Burke, a rich widow who socializes with a senator played by Kingsford, pretends to lose all her money to Hepburn, who's ostensibly interested in marrying Scott for himself, in order to see if O'Keefe still wants to marry her. Naturally, their love is stronger than such concerns but, with the prospect of having to support his would-be mother-in-law Burke, O'Keefe engages his "pretending to be wealthy" father Menjou, who's a somewhat impoverished kept man of Negri's, to solve this newly financial problem of his. Menjou's plan involves using a more powerful magnet at the 59 club's (owned by Georges Metaxa's character) crooked roulette table (operated by croupier Eddie Marr) to beat them at their own game. He gets assistance from a longtime associate who's currently the club's singer, June Havoc.
There's another scam involving some phony gold mine stock (wasn't there any other type of enterprise that could be used in those days?) which inadvertently fools a real brokerage firm employee (Byron Foulger) and its owner (Richard Hageman). There's also a running joke whereby Lorraine Miller appears in almost every scene (walking her dog on the street, as a hatcheck girl, etc.), noticed by Menjou and eventually labeled a friend of this film's director by Burke. Several requisite false identity gags, who's married to whom etc., also transpire which, when combined with the aforementioned schemes, nearly prevent the newlyweds time from having any alone time. But thanks to the family's maid (Ellen Lowe), O'Keefe and Scott finally get some time to consummate their marriage before he has to ship off again.
Fascinating cast in clever comedy that never takes itself too seriously
csteidler10 August 2016
Sailor Dennis O'Keefe has a two-day shore leave and the wedding is all planned out by bride Martha Scott and her family. Unfortunately, O'Keefe's ship comes in late and that delay is followed by the discovery that Scott's mother has been swindled out of her fortune....Can they manage to get hitched before O'Keefe is called back to his ship?
O'Keefe and Scott are attractive and funny, and Adolph Menjou is outstanding as O'Keefe's father, a con man who means well but never quite hits it big. Menjou vows to help restore the lost fortune and sets about using his connections at the casino.
A wonderful and unique supporting cast includes Billie Burke as Scott's mother, cheerfully goofy as always; June Havoc as a spirited song-and-dance girl who helps Menjou out; and Pola Negri as a temperamental opera singer who loves Wagner ("She half wildcat!" a casino employee exclaims—a clever nod to Negri's wacky 1921 picture The Wildcat.)
The plot itself is just okay but much enhanced by memorable little bits that surprise and delight. One such moment features Burke and friends sitting around a nightclub table practicing doing double takes; another is the musical number in which Havoc duets with a movie of herself. Then there's the slinky babe who keeps popping up in different scenes for no apparent reason—until Burke finally fills us in: "She's a very particular friend of the director who's making this picture. He sticks her in every scene he can."
It doesn't aim too high but it sure is lots of fun.
O'Keefe and Scott are attractive and funny, and Adolph Menjou is outstanding as O'Keefe's father, a con man who means well but never quite hits it big. Menjou vows to help restore the lost fortune and sets about using his connections at the casino.
A wonderful and unique supporting cast includes Billie Burke as Scott's mother, cheerfully goofy as always; June Havoc as a spirited song-and-dance girl who helps Menjou out; and Pola Negri as a temperamental opera singer who loves Wagner ("She half wildcat!" a casino employee exclaims—a clever nod to Negri's wacky 1921 picture The Wildcat.)
The plot itself is just okay but much enhanced by memorable little bits that surprise and delight. One such moment features Burke and friends sitting around a nightclub table practicing doing double takes; another is the musical number in which Havoc duets with a movie of herself. Then there's the slinky babe who keeps popping up in different scenes for no apparent reason—until Burke finally fills us in: "She's a very particular friend of the director who's making this picture. He sticks her in every scene he can."
It doesn't aim too high but it sure is lots of fun.
Mildly entertaining and quite silly
planktonrules12 June 2011
Warning: Spoilers
This film tries very, very hard trying about to be funny--perhaps a bit too hard. However, in spite of this it's still a pretty decent comedy and one that is a little better than just a time-passer.
The film begins with Dennis O'Keefe arriving late at his wedding to Martha Scott. However, just before the ceremony, O'Keefe is told that his new ditsy mother-in-law (Billie Burke) has just lost her entire fortune. So, with the help of his rather larcenous father, O'Keefe spends most of his 48-hour leave racing about town to win back Burke's fortune. It's all very frantic and some of the comedy works well and some falls a bit flat. However, if you don't mind the occasional lulls, the overall film is lively and fun. I particularly was fascinated by the final scene--as it is both bad and wildly creative at the same time! As far as the acting goes, Adolph Menjou was nice as was O'Keefe. I do wish that Burke had tried something other than her usual ditz role, however, as after a lot of similar roles it was wearing a bit thin. Overall, it's worth a look.
The film begins with Dennis O'Keefe arriving late at his wedding to Martha Scott. However, just before the ceremony, O'Keefe is told that his new ditsy mother-in-law (Billie Burke) has just lost her entire fortune. So, with the help of his rather larcenous father, O'Keefe spends most of his 48-hour leave racing about town to win back Burke's fortune. It's all very frantic and some of the comedy works well and some falls a bit flat. However, if you don't mind the occasional lulls, the overall film is lively and fun. I particularly was fascinated by the final scene--as it is both bad and wildly creative at the same time! As far as the acting goes, Adolph Menjou was nice as was O'Keefe. I do wish that Burke had tried something other than her usual ditz role, however, as after a lot of similar roles it was wearing a bit thin. Overall, it's worth a look.
Serious Problems
pmcenea3 February 2004
This movie presents serious problems for me. First, I couldn't stand the fact that an admitted felon, a swindler (Barton Hepburn), was wandering through the movie without anyone thinking to call the police. Not only did he swindle Billy Burke of everything, but then proceeds to disrupt everyone's life and PEOPLE LISTEN TO HIM!!! I also have no patience for Ms. Burke's as a ditz. She is capable of so much more.
An absolute must-see movie!
JohnHowardReid26 October 2017
Warning: Spoilers
Director: ANDREW L. STONE. Screenplay: Frederick Jackson, Edmund L. Hartmann. Story: Andrew L. Stone. Photography: Charles Schoenbaum. Film editor: Harvey Manger. Art director: F. Paul Sylos. Set decorator: Earl Wooden. Music: Phil Boutelje. Songs (both Havoc) by Phil Boutelje (music) and Foster Carling (lyrics): "Loved Too Little Too Late" and "Big Sombrero". Music director: Phil Boutelje. Cartoon sequence produced by Leon Schlesinger, directed by Friz Freleng. Make-up: Ted Larsen. Costumes designed by Adrian. Assistant director: Henry Kesler. Sound recording: William H. Lynch. Assistant to producer: Carley Harriman. Associate producer: Edward Finney. Producer: Andrew L. Stone.
Copyright 20 August 1943 by Andrew L. Stone Productions, Inc. Released through United Artists: 20 August 1943. New York opening at the Palace: 23 September 1943. Australian release: 16 March 1944. 6,586 feet. 73 minutes.
Re-issued by Astor Pictures in 1950 under the title: DIAMONDS AND CRIME.
SYNOPSIS: Sailor has only 48 hours leave to get married and have his honeymoon. Alas, both events are subjected to a series of involved, if unexpected, interruptions.
COMMENT: A delightfully wacky comedy that pokes fun at marriage, movies, audiences, wheeler-dealing and grand opera (amongst other subjects), breezily directed by Andrew L. Stone and most ingratiatingly played by a fine cast of professionals who know how to extract the most fun from the screwball situations.
It's invidious to single out one or two, but I must compliment Adolphe Menjou and June Havoc (who make a great team) and I cannot praise Pola Negri too highly either. Barton Hepburn also contributes well beyond the call of duty to the crazy plot.
The support roster bursts at the seams with a parade of our favorite character players, some of whom, like Bert Roach (trapped in a taxi- cab) and Joe Devlin (word-tangled with Mickey Finn) have never had it so good.
In fact, so much laughter is generated by the movie, most of us tend to forget it's a so-called "fringe" musical which boasts two delightful songs by the sexy Miss Havoc, the first of which she kindly reprises, and the second which she deals out double-swinging by accompanying herself on a large-screen juke-box. And it's all attractively photographed, set and costumed.
Production values, including a delightful surprise cartoon finale, rate as "A" plus.
Copyright 20 August 1943 by Andrew L. Stone Productions, Inc. Released through United Artists: 20 August 1943. New York opening at the Palace: 23 September 1943. Australian release: 16 March 1944. 6,586 feet. 73 minutes.
Re-issued by Astor Pictures in 1950 under the title: DIAMONDS AND CRIME.
SYNOPSIS: Sailor has only 48 hours leave to get married and have his honeymoon. Alas, both events are subjected to a series of involved, if unexpected, interruptions.
COMMENT: A delightfully wacky comedy that pokes fun at marriage, movies, audiences, wheeler-dealing and grand opera (amongst other subjects), breezily directed by Andrew L. Stone and most ingratiatingly played by a fine cast of professionals who know how to extract the most fun from the screwball situations.
It's invidious to single out one or two, but I must compliment Adolphe Menjou and June Havoc (who make a great team) and I cannot praise Pola Negri too highly either. Barton Hepburn also contributes well beyond the call of duty to the crazy plot.
The support roster bursts at the seams with a parade of our favorite character players, some of whom, like Bert Roach (trapped in a taxi- cab) and Joe Devlin (word-tangled with Mickey Finn) have never had it so good.
In fact, so much laughter is generated by the movie, most of us tend to forget it's a so-called "fringe" musical which boasts two delightful songs by the sexy Miss Havoc, the first of which she kindly reprises, and the second which she deals out double-swinging by accompanying herself on a large-screen juke-box. And it's all attractively photographed, set and costumed.
Production values, including a delightful surprise cartoon finale, rate as "A" plus.
Propaganda was never so zany.
mark.waltz20 May 2022
Warning: Spoilers
There's a lot to love about this wacky wartime comedy with the great cast and a very irreverent point of view in telling a nonsensical story. In fact, the story is secondary to the wackiness of the film and its eccentric cast of characters. You've got Pola Negri as an egotistical opera star whose voice alone has the apartment owners sending her dead flowers as a metaphor of her singing, Billie Burke as a wacky matron who goes to a nightclub and orders a Mickey Finn, Adolphe Menjou as the "40 year old father" of a 29 year old sailor Dennis O'Keefe, Martha Scott as O'Keefe's fiance (and Burke's daughter), and "Dainty" June Havoc as a nightclub singer who likes to sing along with the soundiess that she is in and shows in the cabaret where she works. There's also a ton of minor characters who popped in and out for a bit of wackiness including the girlfriend of the producer of the film, something that Burke points out for everybody's benefit.
The general plotline surrounds O'Keefe and Scott's wedding day with Menjou, married to Negri, aiding Burke in dealing with a stock issue and trying to hide the fact from his wife that he has an adult son. The subplot involving the stock market issue is silly and unrealistic, but inconsequential when compared to the wackiness of the unfolding of the silly situation going on around them. The highlight is the concluding segment that has some very ugly wallpaper coming to life while the cast sings Wagner. Everybody is having a great time, and I'm sure when this came out, kids went to see it, caring less about the Romantic plot line and just laughing at how silly the adults were.
Burke gets a lot of good lines as her typical flibbertigibbet society ditzy matron, and Negri seems to be channeling Lupe Velez. The only completely sensible characters in the film are the younger ones played by Havoc, Scott and O'Keefe. Producer and director Andrew Stone seems to have been influenced by "Hellzapoppin" which of course influenced the Zucker and Abrams Brothers in creating the "Airplane!" and "Naked Gun" movies. During this time, he was producing and directing a series of light sex farces, utilizing much of the same casts, and this one (which has fallen into the public domain) is probably his best.
The general plotline surrounds O'Keefe and Scott's wedding day with Menjou, married to Negri, aiding Burke in dealing with a stock issue and trying to hide the fact from his wife that he has an adult son. The subplot involving the stock market issue is silly and unrealistic, but inconsequential when compared to the wackiness of the unfolding of the silly situation going on around them. The highlight is the concluding segment that has some very ugly wallpaper coming to life while the cast sings Wagner. Everybody is having a great time, and I'm sure when this came out, kids went to see it, caring less about the Romantic plot line and just laughing at how silly the adults were.
Burke gets a lot of good lines as her typical flibbertigibbet society ditzy matron, and Negri seems to be channeling Lupe Velez. The only completely sensible characters in the film are the younger ones played by Havoc, Scott and O'Keefe. Producer and director Andrew Stone seems to have been influenced by "Hellzapoppin" which of course influenced the Zucker and Abrams Brothers in creating the "Airplane!" and "Naked Gun" movies. During this time, he was producing and directing a series of light sex farces, utilizing much of the same casts, and this one (which has fallen into the public domain) is probably his best.
Very Very Funny
drednm28 January 2007
A B film but a very funny comedy starring Martha Scott and Dennis O'Keefe as newlyweds who get caught up in the schemes of daddy (Adolphe Menjou) as he tries to win back mama's (Billie Burke) money at a crooked roulette wheel. Not much on plot but very funny with Menjou's opera singer wife (Pola Negri in her first American film in more than a decade)) singing Wagner at any given moment.
The film rushes between standard comedy and weird comments to the camera. There's also a running gag about an actress who is only in the film because she's dating the director. And then there's that animated wallpaper.
Co-Stars include June Havoc, who steals the film as a nightclub singer who at one point sings a duet with herself, Walter Kingsford, Bess Flowers, Barton Hepburn, Georges Metaxa, Paul Porcasi, Harry Tyler, Matt McHugh, and Bert Roach. as the flustered cab rider.
The real interest here is of course Pola Negri in a talkie ... and she's very funny indeed and looks great.
The film rushes between standard comedy and weird comments to the camera. There's also a running gag about an actress who is only in the film because she's dating the director. And then there's that animated wallpaper.
Co-Stars include June Havoc, who steals the film as a nightclub singer who at one point sings a duet with herself, Walter Kingsford, Bess Flowers, Barton Hepburn, Georges Metaxa, Paul Porcasi, Harry Tyler, Matt McHugh, and Bert Roach. as the flustered cab rider.
The real interest here is of course Pola Negri in a talkie ... and she's very funny indeed and looks great.
Ever delightful classic
martinpersson9717 April 2024
Warning: Spoilers
This incredble classic, featuring some stellar actors, is definitely ever worth looking into.
The actors all do an incredbile job, conveying humour, great musical numbers and some delightful lighthearted romance and an overall fun tone. Very stellar script, wonderfully written and paced, for sure, and utilizing the stellar golden actors to their full extent.
The cinematography, cutting and editing is great, very beautifully put together, great costumes works and some truly memorizing score.
Overall, definitely a highly recommended, fun and ever iconic film, that is highly recommended for any lover of film!
The actors all do an incredbile job, conveying humour, great musical numbers and some delightful lighthearted romance and an overall fun tone. Very stellar script, wonderfully written and paced, for sure, and utilizing the stellar golden actors to their full extent.
The cinematography, cutting and editing is great, very beautifully put together, great costumes works and some truly memorizing score.
Overall, definitely a highly recommended, fun and ever iconic film, that is highly recommended for any lover of film!
screwball comedy done right
myriamlenys17 April 2023
Warning: Spoilers
A young sailor on shore leave hopes first to marry his fiancée and then to spend a lovely, romantic wedding night. These inoffensive ambitions get thwarted by the efforts of friends, relatives and in-laws. The wartime conditions too interfere with the couple's love life...
"Hi diddle diddle" is an amusing screwball comedy meant to lift the spirits of a wartime audience. Not all screwball comedies are funny, but this one certainly is. The intrigue doesn't make much sense, which is typical for the genre, but by way of compensation you get all of these jokes, gags, songs and "break the fourth wall" interruptions. There is also a wide choice of daffy characters, like a talkative mother-in-law with the brains of a parakeet or a proud, jealous opera singer who happens to be married to an ageing fraudster. The inclusion of the diva character allows for a fine swipe at Wagnerian opera. It also allows for a most inventive "wallpaper" gag involving Wagner's reaction to the mistreatment of his music.
The engaged couple is charming and one genuinely feels for their predicament. Near the end, of course, love will find a way...
Much care was lavished on the costumes. Lovers of boldly insane headwear can admire - and copy - a variety of hats and fascinators.
"Hi diddle diddle" is an amusing screwball comedy meant to lift the spirits of a wartime audience. Not all screwball comedies are funny, but this one certainly is. The intrigue doesn't make much sense, which is typical for the genre, but by way of compensation you get all of these jokes, gags, songs and "break the fourth wall" interruptions. There is also a wide choice of daffy characters, like a talkative mother-in-law with the brains of a parakeet or a proud, jealous opera singer who happens to be married to an ageing fraudster. The inclusion of the diva character allows for a fine swipe at Wagnerian opera. It also allows for a most inventive "wallpaper" gag involving Wagner's reaction to the mistreatment of his music.
The engaged couple is charming and one genuinely feels for their predicament. Near the end, of course, love will find a way...
Much care was lavished on the costumes. Lovers of boldly insane headwear can admire - and copy - a variety of hats and fascinators.
Pola Negri
hermes-1310 August 2000
This film is notable for the presence of Miss Pola Negri, a favorite actress of mine. She was better known for her early German silent films. I think this film is great fun and highly amusing. Good family entertainment
Entertaining Silliness
dougdoepke3 January 2021
Even though I'm an old movie freak I'd never heard of the movie. I checked Maltin's Classic Movie Guide before catching the flick on the internet. Maltin didn't like it, so I wasn't expecting much. But, boy, was he wrong! It's a delightful chuckle-fest with a load of imagination, double entendre, and ditzy fast-moving plot. Okay, I can understand some folks finding it too silly. Still, for folks willing to move with the ditz it's a genuine novelty. So, can inventive Menjou gyp rascal Hepburn out of big bucks so as to pay back sailor son O'Keefe and new bride Scott before O'Keefe gets shipped out to fight the war. After all, Hepburn gypped Scott's mother Burke so, as the saying goes, what goes around, etc.
The result is a rapid-fire bang-around that couldn't bore a centipede. And catch the animated wallpaper, the playing to the camera, and songstress Haver singing even while she eyeballs her own performance. No realism here. Anyway, it's 1943 and I'll bet all those brave nervous guys in uniform got 70-minutes of sheer escape thanks to the enveloping results. Meanwhile, here's my 2001 salute to the cast,crew, producer and director. All in all, the flick's a low-budget sleeper, while Maltin needs to go stand in a corner.
(In passing- the famous German composer Wagner is somewhat mocked in the film. I expect that was a shot at the Nazis and their favorite composer. After all, it is the height of WWII.)
The result is a rapid-fire bang-around that couldn't bore a centipede. And catch the animated wallpaper, the playing to the camera, and songstress Haver singing even while she eyeballs her own performance. No realism here. Anyway, it's 1943 and I'll bet all those brave nervous guys in uniform got 70-minutes of sheer escape thanks to the enveloping results. Meanwhile, here's my 2001 salute to the cast,crew, producer and director. All in all, the flick's a low-budget sleeper, while Maltin needs to go stand in a corner.
(In passing- the famous German composer Wagner is somewhat mocked in the film. I expect that was a shot at the Nazis and their favorite composer. After all, it is the height of WWII.)
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