the audience applauded

Simply Perfect

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

"Stand Up and Cheer" exists in two different TV versions. The first runs 70 minutes, the second around 75. Reviews of both versions follow. By the way, this Lew Brown who figures so prominently in the credits of both versions is the Lew Brown of the De Sylva, Brown and Henderson songwriting team — the subject of the 1956 screen biography, "The Best Things In Life Are Free" in which Brown was portrayed by Ernest Borgnine."Stand Up and Cheer" has some lively production numbers (the marching climax with all the hordes of extras — and the exceptionally skilled film editing that makes it seem there are even more people than there actually are — and Dick Foran singing "Out of the Red" as he charges across the skyline to a geographical musical medley; the elaborate "Hillbilly on Broadway" number with its troupe of dancing, rope-swirling chorus cuties and its dazzling special effects; Shirley Temple and James Dunn in the "Baby Take a Bow" number) interspersed with some rather corny and not particularly funny old vaudeville routines — Stepin Fetchit and "Skins" Miller are two of the biggest liabilities here as the sketches to which they contribute (particularly the talking penguin sketch which is also in rather bad taste with the penguin swallowing live fish from a display aquarium; Miller's hillbilly number is slightly redeemed by his producing an odd and varied assortment of hats — it's an old gag but I'm a sucker for gags with hats) are among the least entertaining. Two acrobats Mitchell and Durant also tend to out-stay their welcome. What makes these numbers even duller is the routine way in which they are handled — quite a contrast with the way the rest of the film is directed with its jostling crowds, fast tracking shots and rapid- fire dialogue delivery and its sharply-cut musical production numbers. There's a good idea back of the script, but despite the enthusiasm of the cast, the dialogue lets the players down as it is not particularly funny, nor satirical, nor sharp, nor witty. The photography by Ernest Palmer and L. W. O'Connell makes the film nearly always attractive to look at (Miss Evans benefits and has some lovely close-ups) and the film comes across well on TV even in what is obviously a dupe from a worn (there are quite a few jump cuts especially in the first half- hour but fortunately few scratches; but alas, most of the cuts are in Miss Temple's "Baby Take a Bow" number) projection print. This TV print is missing some 10 minutes including "I'm Laughing" with "Aunt Jemima". Miss Temple does not have all that much business, and all John Boles does is to sing rather indifferently a rather indifferent love duet. Ralph Morgan has but a tiny bit as the President's (only the back of the presidential head is seen in shadow) secretary. Dick Foran does not come on until the climax. Besides "Out of the Red", he sings the title tune under the end credits.SECOND VIEW: The current television print is also a dupe, but of better quality. It is now possible to judge that O'Connell photographed the dialogue scenes in his usual grainy style, while Palmer handled most of the musical numbers with their higher contrast and velvety blacks. It's pleasing there are no scratches or jump cuts, just one or two slight bloops in the sound track — which is otherwise superb, doing full justice to that great Fox sound.This print includes the elaborate "I'm Laughing" production number, but omits Miller's hillbilly sketch with the hats. Unfortunately, two similar monologues with Fetchit remain, including the tasteless (if cleverly dialogued) Durante penguin episode. Still no "She's 'Way Up Thar".Madge Evans is a charming heroine and has some delightful moments in her early scenes with Warner Baxter's self-proclaimed Authority on Feminine Beauty. The chorus girls are colorfully costumed and Sammy Lee has choreographed their dancing in a lively, inventive manner, accompanied by an orchestra that swings the arrangements in a delightfully jazzy tempo. As for Miss Temple, she is of course an absolute knock-out. Her skill and charm, her sparkling tap-dance with James Dunn, brought down the house wherever the picture played. Although it was not, oddly enough, one of the big box- office successes of the year, Stand Up and Cheer well and truly launched a six-year-old from Santa Monica (California) into the Hollywood big-time.

As you have probably guessed by now, Shirley Temple is the shining light in this rather hum-drum musical comedy. Composer, songwriter, producer Jay Gorney was ecstatic with his prized find, after auditioning close to 150 little girls for this picture. Shirley Temple was exactly what was needed to add some sparkle. As she was rushed into the production, the studio decided to save time, by having Shirley Temple teach James Dunn the dance routines she already knew, rather than teaching her something different. For the next five working days, she and Dunn rehearsed their routine between the few non-musical scenes she had to do. Finally, after lunch one day they were ready to film her song and dance with Dunn. Upon leaving the studio commissary with her mother, an excited Shirley skipped down the stairs, and slipped, falling head first onto the red-brick paving. A small cut on her forehead began oozing blood, a cold compress was immediately applied, but the lump grew larger as the ice melted. Filming was due to start, in desperation Mrs. Temple pulled one of her loose curls across the bump and plastered it down as a spit curl. It did the job, and after that it would always be fifty-six curls and one spit curl. "Stand Up And Cheer" was the big break Mrs.Temple had been waiting for and Shirley Temple was now on her way to becoming the biggest child star of all times.

A pointless attempt at a feel good musical has the silly premise of a secretary of amusement to cheer the struggling people of the depression. It sort of feels like giving a death row inmate ribeye steak just before pulling the switch. The highlights are the production numbers which includes Shirley Temple and James Dunn performing "Baby Take a Bow", the name of their next movie. "Broadway's Gone Hillbillv", which emulates "Oklahoma!" more than "Li'l Abner" in spite of some snazzy choreography. Warner Baxter basically repeats the same role he played in "42nd Street". Those hoping for a Shirley Temple movie will be sorely disappointed. She has the one musical number, a brief scene and a close-up in the special effects filled finale. A truly tacky scene has Stepin Fetchit confused by a talking penguin who sounds like Jimmy Durante. Aunt Jemima also makes a cameo appearance in the opening musical number. If it wasn't for the camp element, this would rank as a pointless, sometimes tacky bore.

There's a famous story about President Herbert C. Hoover meeting Rudy Vallee during the midst of his term which as we know coincided with the Great Depression. Hoover supposedly said to Vallee it would be great if he could sing some hit song that would make people forget their troubles, economic and otherwise. Well maybe that story got back to the ears of Will Rogers because he was the one who came up with the idea of a Cabinet position for Secretary of Amusement. Maybe Rogers had himself in mind for the job, he was sure doing it unofficially.Fox was Rogers's home studio, but he makes no appearance here. Instead the president of the United States hires Warner Baxter for that job.Baxter essentially reprises his role of Julian Marsh the driven director from 42nd Street. I guess the money from that hit show didn't last long for Baxter so he's got this job.But can you imagine; instead of trying to get financial backers for a show, Baxter goes before a Congressional committee for an appropriation? I'm not sure which is a worse ordeal.So the movie is Baxter trying to find a talent enough for a big extravaganza that will do what Herbert Hoover wanted from only one song. Stand Up and Cheer survives today because of the appearance of Shirley Temple, on her way to becoming the movies' biggest box office attraction of the decade. She only does one number here, with hoofer James Dunn as her father. But it's one of her biggest, Baby Take a Bow. If it weren't for Shirley, the film would have been a curious forgotten relic of some very tough times. Still it's worth watching for more than just Shirley Temple.