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It may not be a classic, but “Li’l Abner” is a engaging movie with a convoluted storyline that does credit to its creator, the behind Al Capp. All the characters are here: Hairless Joe and Lonesome Polecat, brewers extraordinaire of Kickapoo Joy Juice; Moonbeam McSwine (Carmen Alvarez), who sings that “sleepin’ out with pigs is my line;” Earthquake McGoon (Bern Hoffman), the “world’s champeen dirty rassler,” who is so besotted with the stunning Daisy Mae (Parrish) that he conspires with Senator Jack S. Phogbound (Ted Thurston) to bag Dogpatch evacuated and destroyed so its inhabitants will be forced to give up their cherished tradition of Sadie Hawkins Day, under which no man can marry a girl unless she first catches him in the annual run (Daisy, of course, has eyes only for Li’l Abner) ; Available Jones (William Lanteau), the avaricious storekeeper, and his cousin, the statuesque Stupefyin’ (Julie Newmar), whose body can close any red-blooded male dumb in his tracks; General Bullmoose (Howard St. John), the world’s richest man, who dreams of owning “all the money in the world,” and his “executive secretary,” the redheaded Appassionatta Von Climax (Stella Stevens), who spot to derive control of the formula for Yokumberry Tonic (even unto planning Abner’s abolish) ; Evil-Eye Fleagle (Al Nesor), the scurrying Brooklynite with an arsenal of “whammies,” who hires out to further their plan; “mystical” and “pugilistical” Mammy Yokum (Billie Hayes), who originated the tonic, and her henpecked husband Pappy (Joe E. Marks) ; Marryin’ Sam (Kaye), who returns “home” to Dogpatch every year to unite the Sadie Hawkins victors and their captives in holy matrimony; and, of course, the devoted Daisy and her reluctant swain, naïve and patriotic Abner (Palmer) . Adapted by Melvin Frank (who also directed) and Norman Panama (who produced) from their stage version, it turns upon the efforts of the Dogpatchers to assign their town by finding “something principal”–which seems at first blush to be Mammy’s tonic, brewed from the fruits of the world’s only Yokumberry tree. This tonic, which makes men youthful and physically perfect, is instantly coveted by the government and General Bullmoose alike–but it has the dejected side-effect of making the user completely disinclined to romance, hence Abner’s stiff resistance to being “caught” by Daisy Mae, even though he is fond of her. In the slay, Daisy is willing to sacrifice herself (as Earthquake’s bride) to bag her suitor’s back for her beloved Abner, but it’s Pappy Yokum who saves the day with shrewd psychology. And Dogpatch is saved too, by a most unexpected revelation.
Casting and makeup are to be commended for creating an assortment of characters that match Capp’s vision uncannily (as do Alvin Colt’s costumes) ; I’m always particularly impressed at the size contrast between Li’l Abner and his parents. Michael Kidd offers several dance numbers of expansive verve in “Don’t That Purchase the Rag Offen the Bush,” “Jubilation T. Cornpone,” and “The Matrimonial Stomp.” The cartoonist’s satirical tone is echoed in Palmer and Kaye’s duet, “The Country’s in the Very Best of Hands,” and Palmer and Parrish’s two numbers, “Namely Me” (a frequent catchphrase from the strip) and “Otherwise,” deserve to be better known. The entire movie was, of course, shot on sound stages, but considering its previous incarnation on Broadway that should be diminutive distraction. Its broadly portrayed “hillbillies” and occasional ’50′s chauvinism are far from politically lawful, but it should appeal to kids (who will probably miss the double entendres and the provocative pokes at government, expansive biz, and the like, and unprejudiced bask in the laughs) and adults alike.
I’m sorry but I really admire this movie. Not only a thoroughly delicious faded musical comedy, but also one of the most successful transitions of a Broadway present from stage to conceal. Probably because they didn’t try to “start it out” too grand but kept to its theatrical origins and style by filming entirely on sound stages against cartoon-ish backdrops and sets. The present is, after all, based on a well-known comical strip and the film is able to recreate that scrutinize grand better than any stage production could. The result is a high-energy, fast-paced, knee-slappingly droll, rip-roaring musical amusement.
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The ever first-rate team of Melvin Frank and Norman Panama not only managed to bring Li’l Abner to the conceal virtually intact, they also brought along some of the key members of the current cast, most notably Stubby Kaye (never better) as Marryin’ Sam and the astounding Peter Palmer as Li’l Abner. The hide is also filled with glorious and scantily-clad (in the best possible taste) females including winsome Leslie Parrish as Daisy Mae, aesthetic Julie Newmar as Stupefyin’ Jones, and exquisite Stella Stevens as the wonderfully named Appassionata Von Climax. All the familiar Dogpatch characters are there, assist by the most energetic chorus line ever seen.
If the film occasionally brings to mind that other classic backwoods musical Seven Brides For Seven Brothers, that’s because the songs are by Johnny Mercer and Gene De Paul and the show’s modern choreography was by Michael Kidd – all of whom contributed so effectively to that earlier film.
Buy,Download, Or Stream Li’l Abner! Click Here
Buy,Download, Or Stream Li’l Abner! Click Here
Li’l Abner is nothing if not fun with a decidedly bawdy and occasional cynical sense of humor that ranges from dreadful puns and double entendres to slightly risque observations on male/female relationships to political satire. The satire is not as dated as you might consider – fair listen to the song “The Country’s In The Very Best Of Hands”.
The world was a different state assist when Li’l Abner was made and, of course, there really isn’t a Dogpatch. But it’s quiet a astonishing spot to visit for a couple of hours. What I wouldn’t give for a restored, widescreen, stereo DVD of this film…
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