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6.3/10
Senior Film Conservator
A definitive 6.3/10 rating for a film that redefined the boundaries of cult cinema. A Connecticut Yankee remains a cornerstone of transgressive art.
Alright, so you're thinking about diving into something from 1931? A Connecticut Yankee, with Will Rogers, is definitely a different beast. If you're into classic Hollywood, especially pre-Code stuff and early talkies, you'll probably find this a charming, often funny trip. But if you need fast pacing, big action, or modern sensibilities, you might find yourself checking your watch. It’s a bit of a slow burn, for sure, but there’s a quiet cleverness to it.
The basic idea is pure Mark Twain: a radio salesman from the 20th century gets bonked on the head and wakes up in King Arthur's court. Will Rogers plays Hank Martin, our time-traveler. He’s not a dashing hero, just a regular guy with a wry smile and a habit of looking like he’s just seen something mildly confusing. That's his whole vibe.
Rogers just *leans* into the whole 'fish out of water' thing. He pulls out a cigarette lighter in front of these medieval folks, and their faces? Pure gold. You can almost hear the gears turning in their heads, trying to figure out if it’s magic or just… smoke. He tries to explain radio to them. Bless his heart. The scene where he accidentally orders a hot dog is quite silly. 🌭
The whole setup with Merlin (Brandon Hurst, doing a wonderfully sneering old wizard act) trying to prove *his* magic is real against Hank’s modern tricks? That's where a lot of the laughs come from. Merlin, bless him, is just out of his depth. He keeps trying to curse Hank, and Hank just shrugs it off. It's less a battle of wits and more a slow, inevitable dismantling of ancient superstition by basic science. Hank becomes this sort of accidental god figure because he knows about a solar eclipse. Smart move, Hank.
Maureen O'Sullivan is in this too, as Alisande. She’s lovely, of course, but her character doesn't get a *ton* to do besides being the pretty, wide-eyed medieval lady who eventually falls for Hank's charm. She kinda floats through it all, looking a bit bewildered. It’s a snapshot of how women were often used in films back then, even in a story like this.
The pacing feels a bit... *odd* at times. Like, scenes sometimes just hold for a beat too long, or the cuts feel a touch abrupt. It’s that early talkie feel, where they’re still figuring out how to make sound work fluidly with the visuals. You can tell they're excited about dialogue, sometimes letting it linger.
There are moments where you see the sheer resourcefulness of early filmmaking. How do you show someone from the future interacting with the past? Well, you have Hank just *talk* about cars and telephones, and everyone else just stares. No fancy special effects needed, just good ol' fashioned acting and a script that gets it. The knights themselves, with their clunky armor, are a hoot. They look so stiff.
One thing that struck me was the almost casual way Hank tries to 'modernize' everything. He wants to set up a factory, introduce elections. It's this very American, almost *naïve* idea that our way is just inherently better, and everyone should just adopt it. It's interesting to watch through a modern lens, how confidently he pushes his ideas.
The movie is pretty much a vehicle for Rogers' particular brand of humor. He's got this folksy, understated delivery. He doesn't go for big laughs, more like knowing chuckles. If you don't 'get' Will Rogers, this movie might just feel like a lot of talking. His charm really carries it, even when the plot itself feels a bit thin in spots.
The ending feels a little rushed, like they suddenly remembered they had to wrap things up. It’s not a *bad* ending, but it doesn't quite hit the emotional peak you might expect. More of a gentle fade out.
IMDb —
1930
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