Customer Reviews

Lil Abner [VHS]

5 star:		(47)
4 star:		(20)
3 star:		(7)
2 star:		(3)
1 star:		(1)

 

 

It may not be a classic, but "Li'l Abner" is a lively movie with a convoluted storyline that does credit to its creator, the late 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 beautiful Daisy Mae (Parrish) that he conspires with Senator Jack S. Phogbound (Ted Thurston) to get 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 race (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 stop any red-blooded male dead 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 plot to gain control of the formula for Yokumberry Tonic (even unto planning Abner's murder); 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 save their town by finding "something valuable"--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 unfortunate 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 end, Daisy is willing to sacrifice herself (as Earthquake's bride) to gain her suitor's help 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 difference between Li'l Abner and his parents. Michael Kidd offers several dance numbers of great verve in "Don't That Take 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 little distraction. Its broadly portrayed "hillbillies" and occasional '50's chauvinism are far from politically correct, but it should appeal to kids (who will probably miss the double entendres and the sharp pokes at government, big biz, and the like, and just enjoy the laughs) and adults alike.

I'm sorry but I really love this movie. Not only a thoroughly enjoyable old-fashioned musical comedy, but also one of the most successful transitions of a Broadway show from stage to screen. Probably because they didn't try to "open it out" too much but kept to its theatrical origins and style by filming entirely on sound stages against cartoon-ish backdrops and sets. The show is, after all, based on a famous comic strip and the film is able to recreate that look much better than any stage production could. The result is a high-energy, fast-paced, knee-slappingly funny, rip-roaring musical amusement.

The ever reliable team of Melvin Frank and Norman Panama not only managed to bring Li'l Abner to the screen virtually intact, they also brought along some of the key members of the original cast, most notably Stubby Kaye (never better) as Marryin' Sam and the amazing Peter Palmer as Li'l Abner. The screen is also filled with attractive and scantily-clad (in the best possible taste) females including winsome Leslie Parrish as Daisy Mae, stunning Julie Newmar as Stupefyin' Jones, and delectable Stella Stevens as the wonderfully named Appassionata Von Climax. All the familiar Dogpatch characters are there, back 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 original choreography was by Michael Kidd - all of whom contributed so effectively to that earlier film.

Li'l Abner is nothing if not fun with a decidedly bawdy and occasional cynical sense of humor that ranges from terrible puns and double entendres to slightly risque observations on male/female relationships to political satire. The satire is not as dated as you might think - just listen to the song "The Country's In The Very Best Of Hands".

The world was a different place back when Li'l Abner was made and, of course, there really isn't a Dogpatch. But it's still a wonderful place to visit for a couple of hours. What I wouldn't give for a restored, widescreen, stereo DVD of this film...

We live in a world where dangerous nuclear testing, corrupt politicians, ruthless big business, and uncomfortable gender role reversals are the norm. Why didn't we listen to Norman Panama and Melvin Frank back in 1957 when the movie of Li'l Abner was made? The jokes may be corny (with double entendres that must have gone straight over the head of the Hayes Office)...but the satire is biting and still relevant today. It was consciously campy before they even invented camp.

The producers pulled off a miraculous feat of casting to get actors and singers who resemble the preposterously proportioned cartoon characters of Al Capp. Watch for an uncredited cameo from Jerry Lewis, a stupefyingly gorgeous Julie Newmar as Stupefyin' Jones, and a beautifully underplayed Stella Stevens as Appassionata von Climax (see what I mean about the double entendres...she gets the best lines in the film!)

Often, when a stage musical is translated to film, the producers place it in a naturalistic setting...like "South Pacific", for example. In many ways, I think that demeans it; the movie setting is less of a fantasy world than it was in stage. No such attempt with Li'l Abner. The crazy cartoon world fits perfectly into a studio set that looks like it was drawn rather than constructed.

Oh, by the way. I want General Bullmoose's limousine. It must be worth a fortune, now...

While it is great for us Ll'L ABNER fans to finally have the delightful musical on DVD, Paramount has done a poor job on this one. I suppose they don't consider the film "important enough" for better treatment. The widescreen print is not genuinely widescreen; comparing it to the VHS full-screen format, there is only slightly more picture on the sides, while the top and bottom of the frame are somewhat cut off. While the colors are a huge improvement over the pale VHS, there is an odd, unnatural hue to skin-tones and over-saturation in the more vivid scenic elements. Yes, the intense colors were part of the comic-strip concept in the art direction, but the reproduction on the DVD is rather uneven. The lack of ANY special features is the worst offense. Many of the original cast members are still alive and could have contributed either audio commentary or interviews; in fact, Peter Palmer - Abner himself - is alive and well in Florida and recently did a newspaper interview about the making of the film. There were two filmed musical numbers which were cut from the movie - about 2/3 of "If Had My Druthers" was excised (a still from the cut section is used as one of the menu backgrounds), and "Unecessary Town" was filmed but cut entirely. It would have been nice to have had the outtakes.The recent releases on WB of "Brigadoon," "Bells Are Ringing," "Easter Parade" and "The Band Wagon" feature a large number of outtakes, cut musical numbers. If only Paramount had shown a fraction of the care which WB has given to their musical releases, this LI'L ABNER would have been a much more satisfying disc.

I loved this musical as a kid and still hum the music from the numbers which I remember better than some of the biggest spectacles on Broadway and film today. As with the above review, our local high school also put on this musical quite successfully. Having never seen it on video, and seen it only twice (once on film, one high school production) as a child, I can still remember the words to the songs--try that today even with some of the videos your kids watch over and over--NOT LIKELY! It's not Rogers and Hammerstein, but the satire was hysterical in the fifties--and it still seems funnier than half of what's on TV today!

Lil Abner was the first musical I ever saw. It's music is memorable and it's story hilarious. At the age of 6 I fell in love with Abner and Daisy. I give it 5 stars!!!! NO QUESTION! You'll love it, I did and I'm as critical as they come.

I think you'd need to be either super cool or hyper-sophisticated not to at least smile when you watch this movie. I'll admit that it might help if you have some familiarity with the phenomenon that Al Capp's Li'l Abner cartoon strip became in the 1930's, 1940's and 1950's. Along with Walt Kelly's Pogo, Li'l Abner poked a lot of pointed fun at pomposity and, not to make too heavy a point of it, was a real vehicle for social criticism.

The movie Li'l Abner is based on the stage musical, with great, funny songs by Johnny Mercer and Gene de Paul. It's not just a filming of the stage play, but features exaggerated sets of Dogpatch that would never fit on a stage and a brilliant candy color visual style that is straight out of the comic strips. It's raucous, a little bawdy, good spirited and digs a sharp elbow at politicians, the South, Washington, big business and the eternal struggle of man and woman (or at least of Daisy Mae's struggle to catch Li'l Abner during Sadie Hawkins Day). In addition to the big shouldered but slightly simple Li'l Abner (Peter Palmer) and the luscious, vibrating Daisy Mae (Leslie Parrish), there's most of the other Dogpatch citizens that made the strip so funny (and a little erotic). It's hard to ignore (and why would you want to?) Moonbeam McSwine (Carmen Alvarez), Stupefyin' Jones (Julie Newmar) and Appassionata Von Climax (Stella Stevens). Special honors go to Stubby Kaye as Marryin' Sam. He carries several of the funniest songs.

The plot has something to do with Dogpatch being selected as the new testing site for atom bombs and missiles in order to save the beautiful city of Las Vegas from radiation. At first the residents are honored at what Washington has done to them, but then they recall the great things about Dogpatch...the Skunkworks, West Pork Chop Railroad, Cornpone Square, the intersection of Hogfat Boulevard and Sheepdip Lane. They decide they don't want to give up Dogpatch and try to find a good reason for the government to reverse itself. All seems hopeless until the qualities of Mammy Yokum's Yokumberry Tonic, made from the only Yokumberry tree there is, are shown to have interesting qualities. From there it's plots and strategems and songs and dances.

In addition to the great look of the movie and it's good-spirited satire, there are at least two other reasons why this movie is fun. The first is Johnny Mercer's lyrics. He and de Paul have come up with some spirited, clever songs, among them "I'm Past My Prime," "The Country's In the Very Best of Hands" and "Jubilation T. Cornpone," a rousing ode to the confederate general who is a revered hero to the Dogpatcher's. As they say...

"When we fought the Yankees and annihilation was near,
Who was there to lead the charge that took us safe to the rear?
Why it was Jubilation T. Cornpone; Old "Toot your own horn - pone."
Jubilation T. Cornpone, a man who knew no fear!

"When we almost had 'em but the issue still was in doubt,
Who suggested the retreat that turned it into a rout?
Why it was Jubilation T. Cornpone; Old "Tattered and torn - pone."
Jubilation T. Cornpone, he kept us hidin' out!

"When it seemed like our brave boys would keep on fighting for months,
Who took pity on them and ca-pit-u-lated at once?
Why it was Jubilation T. Cornpone; Unshaven and shorn - pone.
Jubilation T. Cornpone, he weren't nobody's dunce!"

The other element is the dancing. There is a lot of it, choreographed by Michael Kidd. It's fast, funny dancing. If you've seen Seven Brides for Seven Brothers and the barn raising number, that'll give you an idea of his style.

Li'l Abner the movie is something of an anachronism, but it's a lot of fun. The DVD picture is gorgeous and the sound is great.

You are missing a great 2 hours if you do not have this exceptional film in your collection. Mr. Greenburg review (below) fails to appreciate that this film's goal was to make this viewing as close to the BROADWAY play AS POSSIBLE. The sets were deliberately made to be "BROADWAY"-like; which is the charm of this movie. 10 stars would be given if possible.... makes me forget my woes EVERY time I watch.

If the sets feel cheesy to you, you may have missed what the makers of this gem were trying to achieve. So much more than nonsdescript fakery, this sort of stage setting was at one time considered tres chic high style. --You may use 'Red Garters' as a reference here, or even Noguchi's designs for Martha Graham, if it helps validate the experience for you. This stylized vernacular particularly suits a filmed comic strip comedy/fantasy in which characters prance as if possessed and half the dialogue sounds Seuss-rhymed and sung. (Which is to say, anyone gleaning this film for indicators of "What is Reality and Truth?" has come to the wrong place anyway. --Even if the film's implied answer, which is something about Love, Faith and Hope, may be close to the mark.)

The film's designers showed excellent taste and instinct, in my opinion, in appropriating this style for Lil Abner. It seems not just right, but wholly inevitable. (See Altman's 'Popeye', by the way, to witness "real" locations sabotaging the suspension of disbelief that is absolutely necessary for a film of this kind to work.)

All in all a wonderful film, blessed with typically infectious Johnny Mercer songs, that rises above mundane political equivocation and essentially un-illuminating shoe-gazing.

Five stars!

Just like seeing the Broadway production (although I wish Edie Adams and Charlotte Rae had been cast in the big screen version!) in glorious technicolor!

Toe tapping tunes, brilliant visuals, spirited dancing and a comic-strip story that will be fun for audiences of all ages (the simple cartoon-y aspect appeals to kids, but plenty of double entendre for the grown-ups). Stella Stevens, Julie Newmar, TV's "Vera" from Alice and even Jerry Lewis pop up in minor roles.

A tuneful treat to see a stage show so faithfully and loving translated to the screen.