Crashing Hollywood (1938)

Just watched Crashing Hollywood after having saved it on my DVR from a TCM airing. I like Lee Tracy but did not have high expectations. He was a big star early in his career but his personal life derailed his career. Crashing Hollywood is a short film at only around 60 minutes which is not always a bad thing. Lee Tracy was more reserved than when I had seen him a couple of his older films. The supporting cast provided more of the screwball humor. The story held some interest from the start and towards the end of the film it escalated into a wild screwball comedy with mistaken identities and chase scenes. This is not an Academy Award movie but a good choice if you want to spend an hour being entertained and having a few laughs.

Sprightly entertainment. The 60-minutes never rises above programmer status but does well with what it has. The plot revolves around a screenwriter (Tracy), his shady collaborator (Guilfoyle), plus an actor and his gangster look-alike (Page). Then there are the girls, a lovely Joan Woodbury and a brassy Lee Patrick. Of course, all of this has to sort out before folks can get on with their lives at the movie studio. Oh yes, shouldn't forget the unruly ducks that are good for a few laughs. And catch the movie's last line, an apparent jibe at the comical Marx Bros.I love it when the chases around the studio lot crash through the movie sets-- poor Jack Carson (the director) never will complete a shot. Plus we've got two of Hollywood's fastest talkers—Lane and Tracy. In fact, Lane steals the show as a don't-mess-with-me studio boss. I wonder if any of RKO's suits got a message. Actually, Tracy's more subdued than his usual fast-talking reporter, but still fits in well. It's also a good chance to catch some of the studio grounds and soundstages that are nicely blended into the proceedings. No, the movie's nothing special. But it does show again how delightfully entertaining these old programmers can be.

Crashing Hollywood (1938) ** 1/2 (out of 4) A former gangster (Paul Guilfoyle) gets out of prison and takes his wife on a train to California where he plans on going straight by starting a duck farm. On the train he meets a screenwriter (Lee Tracy) and the two team up to make realistic crime pictures. All goes well until a real gangster shows up wondering how the writers is getting all the details right. This film isn't nearly as funny as it should have been but it is mildly entertaining on a second film of a double feature type of way. For the most part this is just a one-joke film as our main guys make a blockbuster movie but soon the main gangster is showing up to get revenge. This leads to some rather routine gags including the gangster being mistaken for the actor playing him as well as the actor getting beaten up because people thinks he's the gangster. These scenes here are actually pretty funny but they only come up during the final fifteen-minutes. These final scenes contain the most laughs as the police are running around the studio trying to capture the real bad guys. Tracy is pretty good in his role but you have to like his style of comedy or else you'll probably find him annoying. Guilfoyle is also pretty good but he's a character actor I've always enjoyed. It's Richard Lane who steals the film as the loud mouth, fast talking producer who's always trying to sign someone to a contract. Lane would become famous for playing Inspector Farraday in the Boston Blackie movies and his comic timing here is just as good. Fans of those Boston Blackie movies will certainly get a kick out of seeing Lane here.

A couple (Paul Guilfoyle and Lee Patrick) of ex-crooks stumble into Hollywood and manage to make it big. Although the film starts with them, later it switches emphasis to their partner screen writer (Lee Tracy) and his lady love (Joan Woodbury)--though this relationship seems a bit unreal. After all, they barely know each other, yet it's the clichéd "love at first sight" sort of rot--especially for Tracy.This film is highly reminiscent of Jimmy Cagney's exceptional film, LADY KILLER. Both films are about criminals who move to Hollywood and make it big making gangster films because they know best how to play themselves. There are a few changes, as the criminal couple are collaborators to a screen writer and there are a few other twists and turns, but otherwise it's the same plot--though Cagney clearly did it better and did it first. My advice is see the Cagney version and only CRASHING Hollywood if you are curious. Much of it was because Cagney was so great and part of it was that I usually find Lee Tracy about as welcome as a minor headache--though he's less annoying here than usual.