The leading information resource for the entertainment industry

Reviews & Ratings for
Hellzapoppin' More at IMDbPro »

39 out of 39 people found the following review useful:

You'll either love it or hate it.

This movie pops up regularly on TV or at revue cinemas and I'm always surprised at how many youngsters are familiar with it.

Olsen and Johnson never had the following of Laurel and Hardy or Abbott and Costello but they were capable vaudeville comics who made a few movies, Hellzapoppin and Crazy House are the best remembered. Hellzapoppin is the a much sanitized film version of Nat Perrin's famous stage revue.

The jokes come fast and furious, some of them are very dated now and some were never very funny to begin with, but you don't have time to analyze, you're into the next before you know it. There are some familiar faces Misha Auer, who had a long career playing the same character (a Russian aristocrat with dubious credentials), the loud and brassy Martha Raye and the very funny Hugh Herbert with his "yoo-hoo's" and mumbled asides the audience. The special effects were innovative for their time.

As brief respites from the madness there are a number of variety acts, synchronized swimming, crazy diving, a few pleasant songs with the corny lyrics typical of the period and the fantastic dancing of the Harlem Congeroo Dancers which even today is greeted by gasps of amazement and applause.

Well you can't say the maker's of this movie weren't trying to entertain.

36 out of 37 people found the following review useful:

this is my all time favorite movie!

I grew up on this movie, I have the movie completely memorized and I still laugh at the jokes. Granted I must say that its not for everyone, people who like a more sophisticated kind of humor may not like this movie. But if you want good old fashioned slap stick, one-liner, running gag, and completely random kind of comedies this is for you. I must say that the jokes do go by pretty fast and you could miss a good one liner really easily if you don't give the movie your full attention. Also, a good copy of the film may be a little difficult to come by, but its worth watching. If anyone in the movie business is reading this that has the power to do so, please get this out on DVD!

34 out of 34 people found the following review useful:

It's a HUMDINGER!

I've wanted to see this movie for a long time, after reading about it in a book on "movie comedy teams."

I finally got the chance after purchasing it on eBay in vhs format. All I can say is. It was worth the wait!

Jokes, mayhem and madness run rampant throughout this movie! It's like an old version of AIRPLANE! It almost seems like an abridged version of a Marx Brothers movie. Even when the "love story" slows things down. jokes "pop up" when you least expect them.

I'm really surprised that nobody has mentioned the scene where Olsen, Johnson and the Director of the film are sitting down (with the backs of their heads to us) watching a film on a small screen and commenting on it. This scene screamed, "MYSTERY SCIENCE THEATER 3000!"

If you get the chance to see this, do! And then watch it again to catch all of the jokes you missed the first time.

23 out of 23 people found the following review useful:

You think the Marx Brothers were anarchic?

For those who feel the Marxes were the last word in over the top hollywood product, I heartily recommend this adaptation of the Broadway show that made Ole and Johnson such a huge sensation, albiet briefly. This one has non-stop gags (not all of which work), and is unlike anything I have ever seen the studio system produce. H.C. Potter is credited with the direction, but its hard to imagine him doing more than assembling the cast each morning and saying "Okay folks - go nuts!"

A habitue of the 60s might describe this as a Crosby and Hope road picture on acid, but that's missing the point. Audiences embraced this thing in part because it represented an exhausting escape from what was becoming a pretty stressful world.

See it whenever you can!

20 out of 21 people found the following review useful:

Olsen Johnson is RIGHT

*** This review may contain spoilers ***

Hellzapoppin' is, as one reviewer has already correctly stated, a 1940's time capsule. It's very dated and even tame by today's standards but it's entertainment value remains second to none.

Olsen & Johnson's zany Broadway stage show gets a Hollywood reworking, (i.e completely different from the stage show). They play two bumbling stage hands hired to do the props for Robert Paige's outdoor theatre show. but decide to sabotage the proceedings when they wrongly assume that the girl Paige has fallen in love with (Jane Frazee) is not of righteous virtue (bit of a maneater). Their reasoning being if the show's a flop, then he won't be able to marry the gal, thus saving him from scandal and misery.

The Jokes come thick and fast with virtually every other line to the point where you fail to think of another comedy film where the gags are so 'rapid fire'. Even if you sneeze you'll probably miss ten gags such is the movie's joke density.

Great support comes from Martha Raye who's given a few great songs to belt out such as "What Kind of Love is This" and "Watch The Birdy" and she works well with the wonderful Mischa Auer as the object of her unreturned affections.

Clarence Kolb does what he does best, playing the short tempered old fuddy duddy. Hugh Herbert too gives us a few great scenes, though his character is the only one in the movie that has no real purpose so much so that movie would not have suffered had he not been there.

Robert Paige and Jane Frazee play the love interests and share a few well performed songs, Universal, (not generally remembered for their musicals), probably thought that they had found their John Payne and Alice Faye.

Hellzapoppin' is probably also one of the first films to 'break the 4th wall' with dialogue constantly being directed to the movie audience. Even to the projectionist who is fleshed out in the form of 'The forgotten Stooge' Shemp Howard.

The show itself is 15 odd minutes of pure gut-wrenchingly funny stuff. The ruination of Auer's & Raye's Ballet, The Robert E Lee number and the 'sneezing guy'. (I never thought sneezing could be that funny until I saw this movie).

Throw in Richard Lane as the frustrated Film Director and Elisha Cook Jnr as the meek scriptwriter then you have a great family laugh-fest of a movie.

This type of zany musical Comedy had been around for many years on the stage and in Vaudeville and on the club circuit but had hardly been seen on the movie screen until Olsen & Johnson opened everybody's eyes. It certainly paved the way for other zany comics of the same type of humour to get into movies like Danny Kaye and Dean Martin & Jerry Lewis. Having said all that Hellzapoppin' is not only a hysterical movie in it's own right but in a way a milestone too.

I loved Hellzapoppin' and I'm not ashamed to admit it either.

15 out of 16 people found the following review useful:

"Anything can happen and it probably will"

A Hollywood chorus carols in saccharine style: 'I once had a vision of Heaven, and you were there', only to fall straight through the floor. into the infernal regions where, the opening title tells us, any resemblance to a motion picture is purely coincidental.' Well, there is quite a lot of resemblance, but the wildness of the ensuing number, full of devils gleefully "canning" their victims, announces that this is not going to be one more musical.

Ole Olsen's and Chic Johnson's only film triumph has the virtues of its limitations. It came to the screen as a freak Broadway hit, a melange of old sch-ticks, novelty acts and occasionally inspired improvisations which caught the theatre public's fancy in the late 1930s. How to squeeze all this into a film, given that straight recordings of revues had gone by with the talkies' earliest days and cinema-goers usually failed to warm to staginess, unless it was transformed into Busby Berkeley spectacle that would not chime with a crazy comedy? Probably more by another fluke than by calculation, Universal stumbled on the answer: make the impossibility of fixing theatrical spontaneity on celluloid the main running gag in the picture. The result is unique: structurally, if not frame by frame all through, this is the most playful travesty of movie conventions ever to become a big hit for a big studio.

Much of the vaudeville material has dated, though pleasantly enough- the Congeroo jitterbugging is a wow- and some of the gimmicks become familiar by imitation; but boredom is avoided, and several laughs- such as the taxi joke at the beginning. the "Rosebud" line and Cook's bullet-proof vest at the end- are imperishable. How did it happen? Most of the principals, including director Potter, and the stars, were theatre and vaudeville rather than Hollywood types. The script sports its scorn of movie narrative rules, not just in John B Fulton's special effects (freeze, reverse motion, a reprise of his Invisible Man trickery) but in its mockery of plot conventions.

A millionaire pretending to be poor so a rich girl will love him for himself? "That's crazy!" "That's movies!" Mischa Auer as a genuine Russian prince in exile pretending to be phony? It's so the socialites will be amused at knowing his non-secret and will pick up the tab for him, whereas a real nobleman is banal and has to be a waiter. A lavish musical show, with water ballet, mounted in a country house? No problem if Chic and Ole can wreck it, in a good cause.

No doubt other drawbacks governed the screwball treatment. Olsen and Johnson were not built for slapstick, hence other forms of visual excitement. More seriously, and despite faint echoes of Abbott and Costello, they were a fairly bland and over-ingratiating duo. Like Rowan and Martin, they anchored and mediated the eccentricities of Auer, Martha Raye, Hugh Herbert etc and explained, or protested about, the film's oddities. Breaking the frame, giving the game away to the spectators, arguing with a behind-the-scenes collaborator in front of the paying public: heretical in Hollywood, not so unheard-of on the New York boards where comedians played to their claques.

Temporarily O&J gave the off-the-wall comedy an extended life, just as the Marx Brothers were flagging. Like the brothers at MGM, Ole and Chic played matchmaker to more sexually appealing support, took a break for musical or romantic interludes and had road-tested their own contributions: not by sneak-previewing them but by dint of having done the show 1,400 times already.

The world war would speed up the tempo of such entertainment, as would the influence of radio, with its avoidance of 'dead air'. Jokes about the draft and shortages have crept into the Hell scene, and throughout the pace is snappy. However their later films, after the first reel of "Crazy House", showed that O&J could not extend their partnership as fruitfully as Laurel and Hardy, the Marxes or the Ritz Brothers. Or Hope and Crosby, whose "Road" series, with their talking animals and to-camera asides were mining the same seam.

Never mind. The director may have shot the screenwriter in disgust at the finish, but nearly 70 years on, many will find "Hellzapoppin" a lot more fun than "Being John Malkovich", and as cinematically quirky.

16 out of 18 people found the following review useful:

Total chaos on screen makes for total laughs in the audience

Based on Olsen and Johnson's long running Broadway show this film is probably only a shadow of its source, which changed from night to night as material was ad-libbed and current events were made fun of. On stage the show had an anything can happen feel that is nicely mirrored in the opening scenes as Olsen and Johnson throw everything you can think of at the audience in a rapid fire sequence of gags about the making of the Hellzapoppin movie. Not all of them are apparent with many being purely visual and in the background. After about 15 minutes of uncontrolled madness the film settles down as Olsen and Johnson go off to an estate to put on a show. Here the rapid fire nature slows a bit as the film is forced to conform to a "plot", however its still just as funny as characters wander in and out creating an ever changing sense of madness.

I admit thats a poor description of the film, but how to you describe chaos? You can't, you have to experience it, and anyone who loves great movies and great comedy really should see this movie. Its pure mindless fun that will keep you laughing from start to finish. This is the best Olsen and Johnson film that I've seen. While it could be argued that some of the gags in Crazy House are funnier, Hellzapoppin holds all of the insanity, and the occasional musical numbers together better (In Crazy House the madness stops for each song, here the insanity keeps right on going). If you see one Olsen and Johnson film in your life this should be it.

A film to be searched out and watched repeatedly, Hellazapoppin is one of the greatest comedies ever made. (now if someone would be smart enough to put this out on DVD in the US more people could enjoy it)

10 out of 10 people found the following review useful:

THE slapstick movie - and that's for sure.

Hellzapoppin' is brilliant - fast, funny, visual, one-liners, dance numbers, romance - just pure and simple escapist entertainment - It is a feast of corny, surprising, surreal, slapstick, pratfall humor that will work until the end of time.

Moreover it uses tricks and ideas, like talking to the audience, that were way ahead of its time.

The show about a show plot works wonderfully, but it is the little surprises, the oddities, and the fun that make this one of the best laugh-out comedies of all time and should be seen by every comedy writer and actor - pure joy from beginning to end - and above all pure entertainment.

Huge fun and very much recommended.

13 out of 16 people found the following review useful:

Legal Dispute

This movie was one of my childhood favorites. I had not seen this movie during the last 20 years. I attempted to contact the production studio and even the motion picture academy. The academy infomed me that there was a long-standing legal dispute about the writing credits. Because of the legal dispute the film has not been shown in the US (TV & Video) for over 20 years.

Good news, I was able to purchase a VHS tape from a video distributor in Ireland. The tape was in PAL format and not viewable in VCRs made in the US. I had the tape transferred to US format. Now I can enjoy this wonderful movie anytime I want.

8 out of 8 people found the following review useful:

A really crazy, fun ride through a Broadway show, there are moving sets, one liners and all around comic mayhem. The irrepressible Martha Raye is all over this film, being a bit obnoxious, overbearing and, eventually, kind of humiliated. But she is just one person in a seemingly endless array of actors who walk in and out of scenes. I loved the film'special effects, they were actually fairly impressive for a film from the early 1940's. There is lots of music, lots of dancing, slapstick, drama and..well, you get the idea. The film whizzes along quickly, and its this pace that makes it never boring. As a matter of fact, blink your eyes and you'll miss something. Enjoy this, it really was a lot of fun.