Word: kidded
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Dates: during 1930-1939
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Star of the band is the Ella, or "Tisket A Tasket" Fitzgerald. Ella, besides being a nice kid personally, is a real showman and a marvelous singer. Heard her do an item, "Chew, Chew-something or other, which brought three encore demands from the crowd solely on the basis of the life that she put into the thing. Eila's singing is a lot like a good "dig" tenor sax player: she sings most of her licks ahead of the beat, so that you get a drive effect which packs power in quantity. Result is that she is just about...
...Wenzel makes good use of the excitement of his material, his story derives its value from his ability to observe, and from a sense of country passed through and the things people say and the disturbing fact that it is also completely American to be like Charlie and the Kid...
...recent surge of nationalism has turned Hollywood's attention back to a uniquely American type of hero, the hairy-chested Western badman. But the chest of "The Oklahoma Kid" is sparsely covered with hair. In fact, the whole production has little muscle, little mind, small sense, and less sensibility. Cagney is thrown into a weak part to satisfy the ambitions of the directors to produce an "epic drama". All they achieve is a lot of noise, no subtlety, no poignancy, no emotional strength. "The Oklahoma Kid" is no epic,--just a second feature misplaced...
...that this egg matter has been disposed of. I wish information on another line which perhaps some of your readers can give: When I was a kid a long time since, "Who struck Billy Patterson?" was a moot question then much discussed. I think there was a Congressional investigation, but as I was out of the U. S. A. for a number of years I never heard how it was settled. Now I do not care to know why he was struck or where he was struck. BUT WHO STRUCK HIM. It's important...
Already on view are Let Freedom Ring and Stagecoach. In production are Union Pacific, Dodge City and The Return of The Cisco Kid. Projected by the Marx Brothers is an epic entitled Go West, which will aim to end the cycle by burlesquing it. In The Oklahoma Kid, the current vogue of the Western is dramatically exemplified by the fact that in it James Cagney, whose cinema career has taken him as far toward the great open spaces as gangsters' hideouts, appears equipped with sombrero, cowboy suit, lasso and two remarkably effective hoss pistols...