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5.7/10
Senior Film Conservator
A definitive 5.7/10 rating for a film that redefined the boundaries of cult cinema. Strictly Dynamite remains a cornerstone of transgressive art.
So, Strictly Dynamite? If you're into that very specific brand of 1930s slapstick, especially with Jimmy Durante doing his whole thing, then yeah, give it a whirl. It's a quick, noisy watch. If you prefer your comedies subtle, or even just *quiet*, you might want to steer clear. This one's loud from the jump. Prepare for a lot of shouting and a general sense of joyous mayhem.
The premise is pretty simple: a high-minded playwright, Stephen Hood (Norman Foster), can’t catch a break. He gets roped into writing for the wildly popular, utterly chaotic radio star, Nick “Dynamite” Mason (Durante). Of course, Mason’s brand of humor is everything Hood despises. You can feel the movie just wanting to get back to Durante doing a bit, even when it tries to make us care about Hood's artistic struggles.
Durante is, well, Durante. You know what you're getting. His nose, his wild energy, that gravelly voice. It’s all here, front and center. He practically vibrates off the screen with every line. One scene, he's talking a mile a minute, rattling off these gags, and then there’s this beat of silence where everyone just stares at him. It goes on maybe *just* a little too long, but it works. It really highlights his unique, almost overwhelming, presence.
Lupe Velez pops in and out, a real firecracker. She plays the comedian’s wife, Vera. Her scenes with Durante have this wild chemistry, like two forces of nature colliding. She's just got this incredible presence, you can’t look away. Her exasperated expressions, especially when Durante is in full flight, are priceless. She understands the assignment: be just as big and boisterous as he is.
The actual plot about Hood trying to write a serious play while also churning out Durante's material? It feels kinda thin, honestly. It’s more of a framework. You can almost feel the movie trying to convince you this moment matters, then quickly pivoting back to another loud gag. It’s not really about the writer’s journey as much as it is about setting up the next Durante outburst.
There's this one moment where Durante is trying to dictate a script over the phone, and he keeps getting tangled in the cord, knocking things over. It's a classic physical comedy bit, sure, but he sells it. You almost believe he's genuinely that clumsy, not just performing. It’s a nice touch amidst all the shouting.
And then there are The Mills Brothers. They just *do*. Suddenly, there’s a full-on musical number in the middle of all the chaos. It feels almost tacked on, like someone just remembered, “Oh, we have The Mills Brothers on set today!” But hey, it's The Mills Brothers. Can't complain too much when you get to hear them. It’s a delightful, if slightly jarring, interlude.
Eugene Pallette, bless his gruff heart, shows up as the producer. He's always good for a booming line or two. His exasperated reactions to Durante’s antics are a steady counterpoint to the madness. He’s the solid, grounded figure in a room full of spinning tops.
Franklin Pangborn has a small role as a flustered hotel manager, naturally. He’s only on screen for a few minutes, but he steals every one of them. That quick, nervous glance he gives when Durante barges past him? Perfect. He barely has any lines, just these wonderful, panicked expressions. It’s those little moments that make you remember certain actors.
The film moves at a pretty frantic pace. Sometimes it feels like it’s just rushing from one gag to the next without much breathing room. The dialogue comes fast and furious, especially from Durante. You might miss a few jokes if you blink. It's not a movie for quiet contemplation, that’s for sure.
One scene, Hood is trying to read his serious play to a potential backer, and Durante keeps interrupting, trying to turn it into a radio bit. The backer's face, a slow shift from polite interest to utter bewilderment, is a quiet highlight. It captures the struggle between different kinds of entertainment quite well, even if the film mostly leans into the loud kind.
The ending feels a bit rushed, like they just needed to tie up the loose ends fast to get to the final song. But then, it’s a 1930s comedy, so what are you expecting? It’s not about a tidy resolution, it’s about the ride. And what a loud ride it is. If you're looking for something that just wants to entertain you with sheer, unadulterated energy, this one has it in spades. Just make sure your volume is ready. 🔊
IMDb —
1921
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