Self-important, over-dramatic, uninspired.

Good , But It Is Overrated By Some

Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

It really made me laugh, but for some moments I was tearing up because I could relate so much.

Today, Frank Fay is known mostly for seeing invisible rabbits and for being the first Mr. Barbara Stanwyck, actually the man who helped jump-start her career in Hollywood before taking a Norman Maine nosedive himself. But way before all that, he was one of the most popular actors in the theater. Unfortunately, like John Barrymore and the fictional Mr. Norman Maine, his career was downsized by an overindulgence with alcohol and an egotistical self image that made Al Jolson apparently seem tame by comparison. By 1943, his ex-wife was one of the top moneymakers in movies, and he was resigned to starring in this Monogram musical melodrama where the ego is still obviously present, even if he is a bit grizzled and rough around the edges.This is actually a pretty good programmer, featuring Fay and Billy Gilbert as a vaudeville team working together quite by accident. The opening scene is very funny of Fay basically ripping Gilbert off for $10 which he owes him, but ends up getting a check from Gilbert himself. The light-hearted manner in which the scam happens endears Gilbert to Fay and they have a good laugh over it. The good sport that he is, Gilbert ends up being stooge to Fay's leading comic, and this leads them into headlining a popular nightclub act. Through this, he gets to meet real life singer Bonnie Baker who warbles "Oh Johnny How You Could Love!" and incurring the wrath of the bombastic Iris Adrian. Ironically, the very same year, Adrian co-starred with Stanwyck in "Lady of Burlesque".A nasty encounter between Baker and Adrian (with Fay present) leads to Adrian confronting Fay in his apartment, a move that leads to disaster. This destroys Fay's career, and he can only get horrible gigs in really bad vaudeville acts in the worst possible locations. Will Gilbert, who has retired from show business, step up to help his old buddy? The answer to this is pretty obvious, but back to where they were before, will World War II audiences take to their shtick the way they had before burlesque joined the unicorn in extinction heaven? The Radio Rogues provide some genuinely funny impressions of W.C. Fields, Jimmy Durante, Lou Costello and others, while "The Restless Age" stands out as a great nightclub production number. Baker's voice is hard to take at times, and while I can understand the blowzy Adrian not winning Fay's affections, I can't imagine him making a play for the somewhat annoying Baker. Adrian actually wins the acting honors, and Gilbert gets the bulk of the laughs. A skit with Gilbert and some kids discussing Gilbert's pie cart may seem dated to some but I found it very funny. This is more a dated curio with some great moments than a really memorable film, but classic movie fans should find it mildly entertaining.

In my lifelong festival viewing all films Monogram, I have been twice 'lucky' to see SPOTLIGHT SCANDALS. Once when I was ten years old. Now, 43 years later I now know why I couldn't remember it. Another comment here offers excellent insight into Monogram production methods and the stars of this haphazard but very entertaining film. But also very forgettable because it is just like a dozen other Monogram films which looks and sounds like this one. However, there is some outstanding elements: Basically the film has a very funny script. Actual 'laugh out loud' quips and reactions... and the casting is effective with Fay and Gilbert making a great opposites/pairing. The ghastly rough delivery from Iris Adrian lends her usual buzz saw brashness which is fun in a sort of hick Eve Arden way and sad clown from the 20s Harry Langdon makes a final appearance - or next to it - as someone's manager. The orchestra scenes are set with the usual plain curtains and a few tables and chairs, but the songs are good and the lively music (of mostly unheard of tunes) interesting only because you might never have ever heard of them before or since. I liked this film but found it also so familiar in its Monogram cheapness.... which, even for a real fan like me is actually wearing thin... like the fabrics here seen again and again, crumpled and draped on anyone and anything.... I think the most outrageous offense is in the genuinely threadbare musical ZIS BOOM BAH which offers a crumpled clumsy finale even out maneuvering Monogram into a cheapness that defies belief. SPOTLIGHT SCANDALS is a near barrel bottom scraper. But a good script and fun characters and good music. The only real scandal evident was the production itself.

From Sam Katzman's "Banner Productions" (of Bela Lugosi and East Side Kids fame--in one scene the movie poster from Katzman's Lugosi film "Bowery At Midnight" is seen in a theatre lobby) comes this vaudeville "review" which mixes up on-stage comedy and music with backstage antics (featuring, among others, the dynamic comedienne Iris Adrian, and in one of his final roles the great Harry Langdon as a stage director) and a plot about the rise and success of an ill-matched vaudeville duo, Frank Fay and Billy Gilbert. The film begins with Fay sneaking out of a hotel without paying, but getting caught. He goes to get a haircut from barber Billy Gilbert, and after trying to cheat Gilbert out of money, Fay and Gilbert become friends when Fay visits his home and hears him sing. They create an act together, and the film charts the gradual success of their act. As they play various venues, we see various little-remembered music and comedy acts (The Three Radio Rogues, who do impressions, Wee Bonnie Baker ("the tiny little girl with the tiny little voice"), Henry King's swing band, etc.) doing their acts. While Gilbert and Fay (who play versions of themselves) are very talented people, their "act" is not that good and it's hard to believe they'd get the offers that they do (one comes from Wheeler Oakman, not listed in the cast list). Still, the film is a nice window into an age long-gone, and it's interesting to see Frank Fay playing himself in the latter stages of his career. He had been a successful Broadway and vaudeville star in earlier days, but was on the way down at this time (why else would he be in a Monogram film!) and his legendary unpleasant personality (depicted here in the film by his conceited view of himself, his attempts to cheat others, and his two-faced character)probably didn't help him get work. As he is considered an influence on Jack Benny and other important comedians of that era, getting to see him while he was still somewhat in his prime is a treat. We also get to see his legendary routine of mercilessly picking apart the lyrics of songs sung by the vocalists who had the misfortune of appearing on the same bill with him. The few references I've seen to this film are because of Harry Langdon's presence, but unfortunately Langdon is not in the film that much (although his scenes are spread throughout the film)and he is not given an opportunity to engage in any extended comedy or to develop his character much. The pairing of Langdon and Iris Adrian could have been amazing, but they mostly play second banana to OTHER characters and don't get much interplay between themselves...unfortunately. Adrian gets more screen time than Langdon, as there is a subplot involving her and Fay (including an incredible scene on an apartment balcony that completely changes the course of the film, sending it into melodrama!!), and she's at her shrewish best. Had this been an MGM film, it would probably be slick and unwatchable, but the Monogram cheapness and slapdash production quality actually make the film far more watchable today. One scene worthy of praise is where Billy Gilbert suggests to Fay that they break up the act, for reasons that Fay does not know at the time. This is beautifully played by both of these old pros and actually brought a tear to my eye. Also, the film ends somewhat abruptly, but it's an ending that is moving and emotionally satisfying (I won't give it away)and works far better than any "traditional" ending I could imagine. Not a film that you need to track down (unless you are a Harry Langdon or Iris Adrian completist, or you are a student of Broadway who wants to see Frank Fay "playing himself"), but if you have a chance to see it, there are worse ways of killing 80 minutes (for instance, 15 of the 16 films playing at your local multi-plex!).