Ambassador Bill         Too Busy to Work

Mr Skitch          David Harum

Fox’s “Will Rogers: Volume 1,” which was released several months ago, is a collection that consists of Rogers’s final films leading up to his untimely death. Although these films--“In Old Kentucky” (1935), “Steamboat around the Bend” (1935), “Life after 40” (1935), and “Doubting Thomas” (1935)--contain instances of sexism, racism, and Rogers’s omni-present political jokes, there is a distinctively breezy atmosphere of light-heartedness and simple plotting. Unfortunately, in the recently released “Will Rogers Collection: Volume 2,” the political sensibilities are hardly taken idly when amidst serious socio-political discussions (“Ambassador Bill” [1931]). Consequently, Rogers’ comments could just as easily be mistaken for ignorance as they could be for humor. Since it was common for Rogers to improvise a portion of his lines, it’s very difficult to say whether the fault lies with the writers and directors or the star. At the time, Rogers was a reliable box office celebrity, which, in retrospect, may make said comments seem somewhat petty given his popularity with audiences. If anything, the inappropriate jokes are, at least, partially responsible for how poorly these films have aged.

The aforementioned issue is raised in the liner notes of the “Volume 2” collection where an anonymous writer addresses Rogers’s tendency to dismiss key problems of his depression-ridden era. Rogers’s seemingly naive perspective almost encourages one to criticize the inappropriateness of his jokes in such dire times. The author of the liner notes diffuses the arguments of critics such as Dwight Macdonald, who accused Rogers of insensitivity, by making note of Rogers’ sizeable charitable contributions. This author further maintains that the famous actor’s charity supports the idiom, “His actions speak louder than words.” It’s too bad that Rogers’s words appear brash and uninformed to modern audiences, and while I would never dismiss Rogers’s talent as an actor or a comedian, the occasional outspoken quip is more than enough to evoke discomfort and regret.

Perhaps the single most disappointing facet of the typical Will Rogers film is the blandness and uninspired nature of the direction. With the exception of John Ford and Henry King, Rogers rarely collaborated with any particularly gifted directors. Each was entirely capable of creating a reasonably entertaining film, but none were especially deft at challenging Rogers with layered or complex material. Even a director as talented as Ford, who was still honing his craft when he began his working relationship with Rogers, was never able to fully realize Rogers’s skill with a decent script, regardless of the respective cast. As unfortunate as it may sound, I would argue that Rogers never had the opportunity to star in a great film; he did, however, leave a memorable impression on those he with whom he worked and those familiar with his acting.

Of the actors who worked with Rogers, several of them eventually became noteworthy stars. Ray Milland, who played a conniving ex-tennis pro in Alfred Hitchcock’s “Dial M for Murder” (1954) and won a Best Actor Oscar as a chronic alcoholic in Billy Wilder’s “The Lost Weekend” (1945), has a role as King Lothar in “Ambassador Bill.” Dick Powell, famous for his work in the classic noir, “Murder, My Sweet” (1944) and Preston Sturges’ underappreciated comedy “Christmas in July” (1940), landed one of his very first roles as Dan Hardy in “Too Busy To Work” (1932). Neither actor is given an ample opportunity to showcase their talent in the aforementioned films, but I was amused by their supporting characters. As noted in the special feature “Jane Withers Remembers,” included as an extra on the disc of “David Harum,” Will Rogers was often one to offer advice and even encourage the director to enhance the roles of actors he appreciated. This claim would be consistent with the numerous other testimonials I’ve read in the past that support Rogers’s goodwill and kindness. With that said, it’s very possible that Milland and Powell may have learned several important lessons from their accomplished veteran co-star.

Two of Will Rogers’s finest films, “State Fair” (Henry King, 1933) and “Judge Priest” (John Ford, 1934), remain unreleased on DVD, but with any luck, they’ll be included in a possible “Volume 3” collection. It would be a shame if Fox’s admirable efforts were cut short before audiences had an opportunity to see the best of what Roger was capable of achieving.