It's in the Bag! (United Artists) (1945)

Page 's Women Mr. Allen and Mr. Benchley, better known as Fred and Bob, have hot words in this scene from “It’s In The Bag,” United Artist release now playing at the.Theatre. Fred is the star of this hilarious comedy which includes such fun-makers as Jack Benny, William Ben- dix, Don Ameche, Rudy Vallee, Victor Moore, Jerry Colonna, Binnie Barnes and, of course, the witty Mr. Benchley. J3B—2 Col Scene (.30) Comedian Proves Humor Really Can Be Original Making two laughs grow where one laugh grew before is the objective of every ambitious comedian. Fred Allen, probably more consistently ambitious than most of his com¬ petitors, will tell you that there are as many ways of doing this as there are comedians. Every successful clown, Allen points out, must develop his own characteristic mechanism and the extent of his popu¬ larity will depend largely upon his originality. Some psychologists, however, maintain that every bit of humor, every comical gesture, every laugh- producing formula had its coun¬ terpart in previous generations, back to the beginning of time. They would have you believe there is no such thing as an original joke. Allen would like to explode that theory. His admirers, both radio listeners and moviegoers, think he has already exploded it. They in¬ sist he has been exploding it from the day he decided to become a pub¬ lic entertainer. Allen, they argue, never repeats. No two Allen per¬ formances are exactly ever alike and more of them have never been done before. Most recent demoiistration of the Allen technique is presented visu¬ ally as well as verbally in his new comedy, “It’s In The Bag,” Jack H. Skirball’s production for Unit¬ ed Artists. Skeptical Hollywood prevliew svudiences are said to have admitted the laughs were as frequent and as unpredictable as the spontaneous comedy in Allen’s radio programs. Disproving the contention that every funny screen situation is a repetition of something that had been done before, Allen elaborates on a series of incidents which are as fresh and startling as latest edition newspaper headlines. Says Benny To Allen 'Tecicf Is For Laughs {Editor’s Note: Jack Benny, who resumes his! feud with Fred Allen in “It’s In The Bag,’’ continued same in the following letter to Allen.) By Jack Benny I think your producer had a great idea when he titled your picture “It’s In The Bag,” because he knew that everywhere you went, you’d be advertising your opera under both eyes. The above is not my line, Fred. It’s a little gag my writers thought up for one of my radio programs. In fact, it was for one that you appeared on. You don’t, for one minute, think I’d personally make any nasty cracks about you, since we both know that our feud is for whatever respective laughs it can give our respective audiences. We both know we love each other dear¬ ly, and that we wouldn’t say any¬ thing nasty if either of us thought it would be taken seriously. Ha, ha! that was a laugh, Fred. A prop laugh. Ha! And another Ha! Seriously, Freddie boy, do you think the public is getting tired of our feuding? Do you think they’re sick of your making cracks at me, and of my saying thinks like: “Al¬ len has so many wrinkles that he looks like a convertible with the top half-down”? That was a good poker game we had the other night. Too bad that I took you to the cleaners. It caused quite a flurry when you pulled out your pocketbook to pay off. The moths that flew out of your pocket and jumped into my toupee frightened me at first, but the pay-off was when you finally opened your purse, unfolded that $5 bill down at the bottom, and we discovered that the picture of Lincoln on that bill was blinking its bloodshot eyes, trying to get Allen Makes New Friends Characters in the plot, although presented with the most profound logic, provide their own surprises. For example, John Carradine as the crafty barrister, is revealed as an equally crafty musician. A gigantic pipe organ is part of his office equipment. Jerry Colonna, who appears as the psychiatrist, has his own “phychosis,” an illu¬ sion of being tormented by flies. Allen’s son in the picture, played by young Dickie Tyler, is a super “Quiz Kid,” the boy with the pho¬ tographic mind. Jack Benny, Don Ameche, Wil¬ liam Bendix, Victor Moore and Rudy Vallee appear as themselves in the film, that is, they appear as Allen might picture them on his radio show. Binnie Barnes and Robert Benchley have important assignments and, like the others, do the unexpected. Allen, himself, dons no disguise. He is another Fred Allen by the name of Fred Floogle, a flea circus proprietor who supposedly inherits a $12,000,000 fortune. He defies anyone to prove that such a thing ever happened before. Among his devices is the one which utilizes an electric safety razor to show the passing of time. Did anyone ever see that done before? The "Three-in-One" Pompadour These three photos of Binnie Barnes, who plays opposite Fred Allen in his hilarious new comedy Here Miss Barnes achieves a softer effect by placing a shadow wave along the right side of the brushed- iip pompadour, then turning the “It’s In The Bag” at the. hair on the left side forward in a Theatre, show interesting variations of the ichic pompadour coiffure. In the one above. Miss Barnes has brushed her hair down from the crown in a sleek swirl, turning the ends under just below the hairline. loose roll that ends in two large ringlets. This version of her fa¬ vorite hair-do is very effective with the type of suit the actress is wear¬ ing—the dressmaker suit, falling between the extremely tailored and the fussy type. 4C—3 Col. Scene (.45) Now Binnie goes completely femi¬ nine and her pompadour is a charming combination of ringlets and bangs. The hair is brushed up from the temples, with just the slightest suggestion of a wave, and a large ringlet adorns the top of each ear. This is the type of coif¬ fure that is so right with the vel¬ vet hostess gown or the dazzling cocktail dress. used to the light which it hadn’t seen for so many years. Was that the first $5 you ever earned, Fred? I don’t know why with me they call it cheap and with you they just call it “thrifty.” Seriously, I hope your picture is a big success. How can it miss with such a screamingly funny Alien-Benny sequence? You know how to protect a business venture, Freddy boy, that’s easy to see. Love and Kisses, JACK BENNY P.S.—Let me know when you’re sending me passes to the preview. And, can you spare a few extra for Mary, Phil, Rochester, Don, and Larry Stevens? No Rest For Comic Allen If his most conscientious friends id all, is one of the funny crew Jack dy riot, “It’s In The Bag,” starring ring at the . Theatre ides Jack Benny, Don Ameche, Wil- loore, Robert Benchley, and Binnie supporting cast. ever advised Fred Allen to take a Scene (.30) vacation and dared to repeat the deadly bromide, “all work and no play . . .” Allen might well be ex-^ pected to say, “makes Jack Benny f a dull boy” and go right on toil¬ ing. Completing his latest broad-t cast series, he went right on work-i ing. He made a movie. He helped write the story, helped the pro- Adds To ty With O and rose point lace. Delicately neckline with softly from the waistline and the below the wrists. The halo veil, lovely bouquet of white roses and bridal outfit, worn by Gloria “It’s In The Bag,” the United the . Theatre. When a movie star plays an en¬ tire scene with his back to the camera, studio bystanders are apt to wonder what’s wrong. All the big movie stars are, of course, ex¬ pected to keep themselves in full view, all the time, while the cam¬ eras spin. That seems to be a Hollywood tradition. Perhaps Fred Allen never heard of it. Perhaps he knew about it but wasn’t im¬ pressed. The special back-turning inci¬ dent in which he was involved took place during the making of Jack H. Skirball’s United Artists release, “It’s In The Bag.” Allen didn’t have to turn his back to the camera. He could have turned his face sideways. He qould have faced the camera squarely without seriously changing the effect of the scene. But by so doing he might have taken audience attention away from another player.. The other player was a screen newcomer, a Miss Minerva Pious, known to radio listeners as “Mrs. Nuss- baum.” Miss Pious appears as the same “Mrs. Nussbaum” in “It’s In The Bag.” In her rather lengthy scene with Allen, she gives a character¬ istic performance. Allen knocks at her door. She comes out and the hectic conversation follows. But all the audience will see is “Mrs. Nussbaum.” Allen fades himself out. It is one of those flattering “breaks” few movie newcomers, or even oldtimers ever get. The studio bystanders may grudgingly call it chivalry. They may whis¬ per around that this Allen is a great guy that way. But they still shake their heads because movie stars aren’t supposed to let sub¬ ordinate players steal scenes. To those who know Allen best, Jack Benny, Don Ameche, William Bendix, Victor Moore, Rudy Val¬ lee, Bob Benchley and his other close friends in the picture, Fred simply works like that. It doesn’t matter where, on the screen, on the radio, on the stage, Allen al¬ ways shares the spotlight. It’s an old Allen tradition. Maine, where he and Mrs. Allen spend a few weeks each year. In those few weeks Allen usually com¬ pletes detailed plans for the next radio season. For an entire year prior to the start of his new pic¬ ture, the tireless comedian is known to have devoted much of his time to the preparation of the movie story. The film, “It’s In The Bag,” was largely an Allen creation from the very beginning. It might be said that the begin¬ ning actually dates back to Allen’s first job. Orphaned at the age of five, he started working during his highschool days in Boston. His first job was in the Boston Public Library and he has been doing it steadily ever since. Allen was probably the hardest working juggler who ever appeared on the vaudeville circuits of Amer¬ ica, Canada and Australia. He finally juggled his way through a series of musical comedy hits on Broadway and into radio. Then he really started to work. He found himself confronted with the problem of creating an entirely new show every seven days. Avoid¬ ing the short-cuts and refusing to employ a staff of writers and gag men, he contrived the programs alone. He still does a bulk of all preparatory work which accounts for the unique personal element in the Fred Allen shows. Allen And Fred Floogle Reveal Comic Ambitions If it is true that all writing constitutes a confession, then Fred Allen’s most recent literary offerings, his own stanzas in the movie script of “It’s In The Bag,” United Artists re¬ lease at the . Theatre, become highly re¬ vealing documents. Allen is also the star of the comedy. He wrote himself into the story as Fred Floogle, proprietor of a 42nd Street flea circus. The role does not reflect Allen’s early ambitions as much as it mirrors his sympathetic understand¬ ing of humble show folk. Radio^ Films Call Truce Speaking for Hollywood’s more progressive element, Hedda Hop¬ per, outspoken movie columnist, said recently, “It’s about time this industry and radio got together in¬ stead of sniping at each other. But now since television isn’t too far off, it’s a ‘must’.” Indication of a truce, or at least an armistice, was Fred Allen’s lat¬ est sojourn in Hollywood. The renowned radio comedian, who had been quoted as voting the straight radio ticket, compromised and made another picture. It was this picture and the stuff that went into it, which may go far in end¬ ing those abstract hostilities, as ■..roll QC -t-ViQ “oninino-” mpntifinpfl The Fred Floogle in the picture likes to play the races. He is a fabulously resourceful chap who appropriates the art of showman¬ ship to win out in the face of dis¬ aster, He sees the ludicrous side of most tragedies and fits himself instantly into any environment, Allen knows all about this fellow Floogle. Most of Allen’s career has been colored by association with most of the Floogles, big and little, in show business. Allen is something of a Floogle himself and he would vote the entire Floo¬ gle ticket in any election regardless of platform. Floogle runs true to form in “It’s In The Bag.” Allen scores extra laughs with Floogle’s pretended cynicism and extra laughs with Floogle’s conception of grandeur. Floogle’s frustration is a classic item of character portrayal, skill¬ fully exaggerated but never gro¬ tesque. The impersonation becomes unique because Allen knows and likes Floogle so well. In real life Allen began his pro¬ fessional career as Floogle the juggler. He juggled his way through years of privation on back- woods vaudeville circuits, Canad¬ ian vaudeville circuits and the va¬ riety theatres of Australia, where Floogles helped Floogles over the tough spots. Allen is still helping Floogles and he still considers him¬ self one of them. VIell-Dressed Star Feminine theatregoers are showing a marked interest in the practical and becoming wardrobe displayed by youth¬ ful Miss Gloria Pope, featured in Fred Allen’s latest comedy film, “It’s In The Bag,” now playing at the . Theatre through United Art¬ ists release. Miss Pope, a new¬ comer on the screen, is a strik¬ ing blonde type. Among the five distinct cos¬ tumes displayed by Miss Pope during the action of the pic¬ ture are a purple crepe pleated dress, a green jersey sport out¬ fit with green leather belt, a gray flannel worn with black military belt, black Juliette hat and long black gloves, and fourth, a Navy blue dress with Bolero jacket. Old Friends Meet Again by Miss Hopper. Allen not only stars in the film but contributed to the script out of his enormous bag of radio tricks. Representing Hollywood and United Artists in the “nego¬ tiated peace” was Producer Jack H. Skirball. Terms agreed upon included a cast dominated by radio headliners. Jack Benny, Don Ameche and Rudy Vallee were written into the story arid play typical radio roles. Providing a movie balance were William Ben¬ dix, Victor Moore, Binnie Barnes, Robert Benchley and Jerry Co¬ lonna, For radio devotees, this novel comedy, “It’s In The Bag,” will offer the opportunity to see a char¬ acteristic Fred Allen “melodrama” in realistic action. “Mrs Nuss¬ baum” is in it too. Moviegoers, it is pointed out, will no doubt be¬ come staunch radio listeners after a taste of this glorified broadcast on the screen. Skirball engaged a confirmed radio fan, Richard Wallace, to di¬ rect. Such Hollywood scribes as Lewis R. Foster, Jay Dratler, Alma Reville and Morrie Ryskind col¬ laborated with Allen on the story preparation. This romantic due is William Terry and Gloria Pope, young lov¬ ers in ihe Fred Allen mystery-com¬ edy hit ‘It’s In The Bag,” now playing at the . Theatre through United Artists release. 25A—1 Col. Scene (.15) Hollywood reunions, seemingly ' so inevitable during production of most pictures, were highlighted recently by a get-together which revealed an odd success story con¬ cerning its principles. Meeting for the first time in several years were radio favorites Miss Minerva Pious, and screen comedian Jerry Colonna. The hand-shaking took place on the set of “It’s In The Bag,” Jack H. Skirball’s United Artists comedy, starring Fred Al¬ len, now playing at the . ^ Theatre. Studio bystanders were startled to learn that Miss Pious, known to broadcast audiences as “Mrs. Nussbaum” who proposed the inci¬ dent which brought him to Fred Allen’s attention. The incident, Colonna recalled, happened in 1935 in the N.B.C. studios in New York, while Allen rehearsed a weekly radio program.. Colonna was a musician in the Peter Van Steeden orchestra. “Mrs. ^ Nussbaum,” featured in the show, had an inspiration. She asked Al¬ len to listen to a famous Russian tenor, a friend of hers, who pos¬ sessed a remarkable singing voice. Allen consented, and Colonna stepped over to the microphone. The uproar which followed gave Allen the idea of having Colonna impersonate the explosive Russian as a regular program specialty. Abandoning his trombone, Co¬ lonna continued as a comedian, first on the radio, and later the screen. His success in Holh^ wood has been almost phenome¬ nal. Page Twenty-two