"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.
"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.