The following is
Thrilling Days of Yesteryear’s contribution
to The Funny Lady Blogathon, hosted
by Movies Silently from June
29-30. For further information on the
subjects chosen for this event and participating blogs, please click here.
It’s still one of
The event has been the subject of several books and
articles—one of them, Andy Edmunds’ Hot
Toddy, was adapted into a TV-movie in 1991 entitled White
Hot: The Mysterious Murder of Thelma Todd…with blonde sexpot Loni
Anderson in the title role. This,
however, is going to be the extent of my discussion on this particular
topic…because I’d rather talk about instead how I best remember Thelma Todd: as
one of the finest film comediennes in the history of motion pictures.
The curious thing is: Todd herself had aspirations of being
a serious actress. And she did make a number of “serious”
films—one of her best known is the first version of The Maltese Falcon (1931—often shown under the title Dangerous Female), in which she plays
the widow of Sam Spade’s murdered partner, Miles Archer. Her business partner (and lover) Roland West
tried to promote her as a serious actress in his 1931 film Corsair—even to the point of changing her name to Alison Loyd. (The “metamorphosis” lasted but one film—she
soon went back to her familiar matinee moniker.)
But despite appearances in films such as This is the Night (1932), Call Her Savage (1932) and Counsellor at Law (1933), classic film
audiences remember Todd best as a spunky and sexy presence in many a classic
comedy film. Much of this is due to the
fact that Thelma signed a contract (after being dismissed by First National) in
1928 with Hal Roach Studios—the mirthmaking company that had overtaken Mack
Sennett’s Keystone in the 1920s to become the new “factory of fun.” Here she worked alongside comedians such as
Max Davidson (Hurdy Gurdy), Harry
Langdon (Hotter Than Hot, The Head Guy) and the Boy Friends (Love Fever), making two-reel comedies
that often had motion picture audiences rolling in the aisles.
Some of Thelma’s most successful film work was in support of
Hal Roach’s star comedian Charley Chase.
She appears in one of Charley’s best loved two-reelers, Whispering Whoopee (1930), in which the
comedian throws a party for three business clients by hiring some “party girls”
(Thelma is one of the girls, as you’ve no doubt surmised) and then when he
learns that the clients are strait-laced party poopers tries to talk the girls
into acting refined. (This does not turn
out as he hoped, thanks to some spirits and a bottle of seltzer.) My personal favorite of the Todd-Chase
teamings is The Pip from Pittsburg(h)
(1931)—Thelma is a blind date that Charley goes out of his way to physically
repulse until he sees how attractive she is and frantically attempts to clean
himself up. Other first-rate Chase
comedies that featured Thelma include All
Teed Up (1930), Looser Than Loose
(1930) and The Nickel Nurser (1932).
Thelma also worked with Roach’s biggest stars on the
payroll—the comedy team of Stan Laurel and Oliver Hardy. She’s in one of my favorites of The Boys’
comedies, Chickens Come Home (1931),
playing the role of Ollie’s wife; in this hilarious short, Mr. Hardy is running
for mayor (with little help from his friend Mr. Laurel) and his election
chances appear doomed when an old flame (the ever popular Mae Busch!) comes
back into his life demanding blackmail to keep their sordid past a secret. Thelma also appears in Unaccustomed As We Are (1929—as Edgar Kennedy’s wife) and Another Fine Mess (1930), and had a
plum role in one of Stan and Ollie’s feature films, The Devil’s Brother (1933).
Thelma’s final movie project was a meaty part in the Laurel & Hardy
operetta The Bohemian Girl (1936);
her work had been completed but Hal Roach had all of Thelma’s scenes either
deleted or re-shot—what remains is a musical number (Heart of a Gypsy).
I wrote an essay on the Todd-Pitts comedies back in September of 2010—and I still think my favorite of their shorts is Asleep in the Feet (1933)…with second place going to The Bargain of the Century (1933—directed
by Charley Chase) and third Maids a la
Mode (1933). Sadly, Pitts left the
Roach studios in mid-1933 after failing to come to terms with a new
contract…but the Todd two-reel shorts continued; this time pairing Thelma with
comedienne Patsy Kelly. I’m on record as
saying that while the Todd-Kelly shorts lack the charm of the previous
Todd-Pitts entries there is still much comedy gold to be mined from them; I’ve
also written about some of their comedies here but my particular favorites include
Babes in the Goods (1934), Hot Money (1935) and Top Flat (1935).
With her stock at the Hal Roach Studio at a precipitous
high, Thelma was loaned out by her boss in support of a number of well-known
movie comedians. In fact, her best known
work among movie fans (in fact, I’m reasonably certain it was my exposure to
Todd’s work) might be the two feature films she made with Groucho, Chico ,
Harpo and Zeppo—collectively known as The Marx Brothers. She’s the sexy moll of racketeer Harry Briggs
in the shipboard Marxian nonsense Monkey
Business (1931), and more delightfully, “college widow” Connie Bailey in
the Brothers’ wacky collegiate romp Horse
Feathers (1932). Thelma also
appeared in a pair of Bert Wheeler & Robert Woolsey vehicles—their all-time
best effort, Cockeyed Cavaliers
(1934—Thelma plays a role similar to the one in the Laurel & Hardy feature The Devil’s Brother) and the
entertaining Hips, Hips, Hooray! (1934). Todd further added to her comic film resume
by supporting Joe E. Brown (in Broad
Minded and Son of a Sailor) and
Buster Keaton (Speak Easily) as
well.
It's odd to think that Thelma, with her outstanding comedic ability, wanted to be a dramatic star. It's true that we never see ourselves as others see us.
ReplyDeleteI have only seen the beauty queen's performances in the comedy shorts with Stan Laurel and Oliver Hardy. I have always wanted to see her performance in the 1931 version of The Maltese Falcon.
ReplyDeleteI wish that TCM would put together a DVD box set collection of her better known films.
Gosh, I love this woman. She had the art of playing comedy figured out from the start. I could watch her endlessly. Thanks for including her in this stellar round-up of funny ladies.
ReplyDeleteI am - regretfully - vastly unfamiliar with Todd's work outside the Marx Brothers films you mention. I must add her to my list as I make an effort to watch more silents and pre-code era films. You also reminded me I have CHICKENS COME HOME on my DVR and have yet to see it.
ReplyDeleteGreat post as usual - I'm keeping it as my Thelma Todd movie watching guide.
Aurora
Hi! As a longtime fan, thank you so much for the detailed overview of Thelma Todd's career! I saw Whispering Whoopee for the first time recently and was in stitches the entire time! Miss Todd's tragic death sometimes overshadows her sparkling career. Thanks for giving her the attention that she deserves.
ReplyDeleteFritzi, MoviesSilently.com
I must admit I've only seen Thelma Todd in HORSE TEATHERS and some of her shorts with Zazu Pitts and and Patsy Kelley, but you've got me eager to look up more of their work! Great post!
ReplyDeleteAlmost all I know about Thelma I learned through an in-depth series of posts Page from My love of old Hollywood did.
ReplyDeleteSure Lauerl and Hardy had a great group of comediennes under their wings!
Oh, and I have Monkey Business to watch soon, so I'll pay attention to Thelma!
Don't forget to read my contribution to the blogathon! :)
Greetings!
Must admit I haven't seen all that much of Thelma Todd's work, though I do remember her in 'Counsellor at Law' which is one of my favourites... but will watch out for more of her movies. Very interesting to learn more about her career.
ReplyDeleteI think it's so sad when tragic ends come to overshadow such talented performances. This post is such a lovely tribute to Thelma Todd, thank you for sharing!
ReplyDelete