southern fried chicken
by Douglas Messerli
Sy Gomberg (screenplay, adapted from
stories Damon Runyon by Albert Mannheimer), Harmon Jones (director) Bloodhounds of Broadway / 1952
Meanwhile, down South, since things have seemingly calmed down, Numbers hires a car piloted by the only truly funny figure in his work, Harry “Poorly” Sammis (Wally Vernon), to drive slowly back to the Big City. But Poorly’s poor driving skills sends them into the backwoods of Georgia, where they immediately encounter a gingham-clad Emily Ann Stackerlee (Mitzi) barnstorming over her granddaddy’s grave in a rousing chorus of funereal songs. As quick as you can say, “howdy, miss,” she invites the interlopers home for dinner, dancing up servings of candied yams and grits! Dinner, unfortunately, is interrupted by the gun-toting neighbor boys, Crockett Pace and his brothers, ending with Numbers, Poorly, and Emily Ann, along with her beloved bloodhounds, speeding off into the sunset!
If you think these events might be
lacking some credibility, hold on! For Numbers, having been “calmed down” by
Emily Lee’s singing, suddenly gets the urge to take her along to New York where
he might “mentor” and see to her education, hankering, evidently, to play
“Daddy Long Legs” to this innocent country gal. But wouldn’t you know, the
minute they get the Big Apple, where Emily Lee is given up into the tutelage of
show-girl Tessie Sammis (Mitzi Green), the green country kid suddenly becomes a
20-something woman who, it turns out, can sing and dance as good as any
Broadway star. As they play out a kind of “I can do anything better routine,”
Tessie, Curtaintime, and Emily Lee irresistibly patter “I Have a Feeling You’re
Fooling.”
Screenplay writer Sy Gomberg and adapter Albert Mannheimer don’t give Runyon’s suckers an even chance. The Southern fried chicken, oily as it is, is served up cold. Numbers, upon his release from the slammer, and Emily Lee grow fat as an old married couple, hoofing their lives away. Issinit sweet?
Los Angeles, February 9, 2013
Reprinted in World Cinema Review (February 2013).
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