Purcell, Dick

W.C. Fields Comedy Collection (The Bank Dick / My Little Chickadee / You Can't Cheat an Honest Man / It's a Gift / International House)

For anyone who loves classic comedy, the W.C. Fields Comedy Collection is absolutely essential. Film for film, this may be the best DVD showcase ever devoted to a single comedian, including all five of Fields's acknowledged classics in a sturdy, beautifully designed library-quality slipcase. One could easily lament the relative lack of bonus features (it would have been nice to have some vintage Fields radio shows and newsreel footage), but the inclusion of A&E's 1994 Biography documentary W.C. Fields: Behind the Laughter is sufficiently informative about Fields's life, career, irascible personality, and tragic alcoholism. That's all that's really needed when the films themselves are so timelessly entertaining, and they're all remarkably pristine in sound and image quality. The best way to appreciate Fields's evolving screen persona is to view these films in chronological order: In International House (1933), Fields was merely one of many Paramount stars of screen and radio (including Rudy Vallee, Burns & Allen, Bela Lugosi, Sterling Holloway, and manic bandleader Cab Calloway), but he handily steals the show, invading a Shanghai hotel in his airplane/helicopter and delivering the classic line (to Franklin Pangborn), "Don't let the posy fool ya!" It's one of Paramount's best all-star revues.

It's a Gift (1934) is a remake of Fields's 1926 silent It's the Old Army Game, and was the first sound feature devoted to Fields's inimitable talent. As beleaguered husband and would-be orange farmer, Fields revives vintage routines from Vaudeville and Broadway, and his first encounter with Baby LeRoy is comedy gold. You Can't Cheat an Honest Man (1939) features Edgar Bergen and Charlie McCarthy and Fields's classic, still-hilarious ping-pong routine, while 1940's My Little Chickadee matches Fields (as "Guthbert J. Twillie") with Mae West, whose unforgettable on-screen banter with Fields shows no sign of their notorious off-screen animosity. In his raucous masterpiece The Bank Dick (also 1940), Fields is "Egbert Souse," lowly bank guard, unlikely hero, and manic driver in perhaps the greatest slapstick car-chase scene ever filmed. Despite the regrettable absence of Fields's final starring feature Never Give a Sucker an Even Break, this classy five-disc set is a veritable cornucopia of comedy, offering ample proof of Fields's comic genius through classic one-liners, physical routines, memorable costars, and perfect bits of business that never grow old. --Jeff Shannon

W.C. Fields is an American original, the curmudgeonly master of wit and good, mean fun. In this collection of madcap classics, the famously top-hatted Fields unleashes his unique comic zing, proving himself the king of the one-liner. This special DVD collection includes The Bank Dick, My Little Chickadee, You Can't Cheat an Honest Man, It's a Gift and International House. The W.C. Fields Comedy Collection is Fields at his finest, and a must-have for anyone who loves to laugh!

In Old California

Picture, if you will, a regulation old-time Western saloon, teeming with colorful frontier types and about to be knocked into kindling by a galoot with a fearsome toothache. At this moment, through the swinging doors appears a pilgrim from the East--Boston, to be precise--outfitted with top hat, frock coat, a courtly manner, and a medical bag filled with the miracles of modern (i.e., 1849) pharmacology. He will cure the ruffian's toothache. He is a druggist. He is also John Wayne.

In Old California qualifies as one of Duke's quirkier assignments during his indentured servitude at Republic Pictures, and he makes a game stab at the sort of arch light-comedy heroism more typically left to his Reap the Wild Wind costar Ray Milland. Unfortunately, he has to do so without discernible assistance from director William McGann. Moreover, the script, which is incoherent even by Republic standards, absentmindedly omits any prospect for menace till half the running time has elapsed. Saloon songstress Binnie Barnes may or may not be kept by her employer, the loutish empire builder Albert Dekker, who resents her attraction to Wayne almost as much as he wants to hog California for himself. Fortunately, the gold rush comes along to provide opportunity for civic hysteria, an outbreak of fever, several varieties of unlikely heroism, and a climactic shootout of surpassing silliness. Edgar Kennedy and Patsy Kelly handle the comic relief... but where does it begin? --Richard T. Jameson

The Bank Dick

High on the list of W.C. Fields's achievements is this 74-minute feature from 1940, rich in his brilliantly rambling inspiration. Fields plays Egbert Sousé (pronounced Soo 'zay, of course), who manages to foil a bank robbery, tilt a glass in the Black Pussy Cafe, and marry his daughter to Og Oggilby (Grady Sutton) before the closing credits. Maintaining his usual and deliberate half-step behind the rest of the world, Fields's characteristic persona gets a truly worthy movie here that always seems, wonderfully, to be on the verge of racing ahead of him. --Tom Keogh

W.C. Fields stars as an unemployed, henpecked drunk who spends most of his time at the Black Pussy Cat café. Things take a turn for the absurd when he unwittingly captures a bank robber and lands a job as a security guard. Written by Fields under the pseudonym Mahatma Kane Jeeves and featuring one of his most hilarious performances, The Bank Dick is an undisputed classic of American comedy. Criterion is proud to present Fields' last major film in a new digital transfer, with English subtitles for the deaf and hearing impaired.

Aerial Gunner

A bomber plane limps home from a dangerous mission and the wounded pilot recounts, in dramatic flashback, the story of one soldier's bravery. Sworn rivals in civilian life, Sgt. Davis and Foxy Pattis (Chester Morris) are shot down behind enemy lines. Surr

Bullets or Ballots

Get two gangster-movie icons for the price of one as tough police detective Edward G. Robinson faces off for the first time against Humphrey Bogart, the ambitious enforcer for a big-time racketeer. Bogart's effectively the co-star--virtually a one-man crime wave--though he rates only fourth billing behind Eddie G., Joan Blondell, and Barton MacLane. Still, no question it's Robinson's movie; the former "Little Caesar" walks the line beautifully as an honest cop who, unjustly jettisoned from the force, agrees to go to work for the mobster (MacLane) he's long pursued. A fascinating air of fatalism attaches to Robinson's character, whether shrugging off his betrayal by the new police commissioner (and his oldest friend), trading polite threats with his new criminal colleagues, or dismissing the possibility of happiness with the nightclub operator (Blondell) who clearly cares for him.

The title is a bit of a misnomer: Despite a rhetorical reference to "ballots" as the public's means of expressing outrage over the costs of crime, it's bullets that get the job done. Bullets and fists: the movie makes clear that Robinson has beaten confessions out of people on many occasions, and in best hardnosed Warner Bros. tradition, it has no illusions about the empty symbolism of crime commissions and grand juries. There's a nice subplot involving Blondell creating the numbers racket as off-hours distraction from her main occupation; her territory is Harlem, and Louise Beavers, usually relegated to maid roles, has spirited fun with the chance to strut as Blondell's partner. William Keighley directed. --Richard T. Jameson

"They rule by the fear of their guns. They must be stopped by the power of your ballots." They refers to Bugs Fenner and other mobsters whose illicit rackets will be smashed to smithereens by undercover cop Johnny Blake. When Warner Bros.' Depression-era gangster movies began to draw protests, the studio reinvigorated the genre with stories emphasizing law enforcers instead of lawbreakers. The swift, sturdy Bullets or Ballots reflects that, with Edward G. Robinson (as Blake) siding with the good guys for the first time in a gangland saga. Humphrey Bogart plays the short-fused Fenner. And Joan Blondell and Louise Beavers, in an unusual story element for the times, are thriving numbers operators whose grift is usurped by the mob. Director: William Keighley Starring: Edward G. Robinson, Joan Blondell, Barton MacLane, Humphrey Bogart, Frank McHugh

King of the Zombies

Idaho

Heroes In Blue

A policeman is at odds with his brother's association with gangsters.

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