More Niagara Falls Movies

In keeping with our review of “Niagara” (1953) on Monday, let’s continue our visit at Niagara Falls with some other old movies.

That magnificent water works we share with our pals up the road in Canada has long been a tourist attraction, and most film depictions of Niagara Falls show characters on vacation, as in “Niagara”, or on honeymoons. By the way, Americans visiting the falls should most definitely go over to experience the view, and hospitality, on the Canadian side. You need your passport these days, but any inconvenience is worth the effort.

Any film about Niagara Falls is likely going to be filmed on location, since it is a bit unwieldy to fake on the back lot or slap in the background with rear screen projection. However, that’s not to say doubles can’t be used with a second unit film crew.

This shot from “Callaway Went Thataway” (1951 - see this previous post), shows Howard Keel and Dorothy McGuire on a cross-country publicity tour. This actor and actress were probably stand-ins.  It could be rear-screen, but in that case I don't think they'd be shooting them from the back.


Harry Houdini, however, had no problem showing up in person, and naturally, performing his own stunts, in “The Man From Beyond” (1922). Mr. Houdini co-wrote the scenario and also produced this silent film, about a man revived from a one-hundred year sleep. Supposedly, the dangerous action you see in this clip below was done without camera tricks.

(Don't forget to scroll to the bottom of the page to pause the music so you can hear the following video clips.)

Here in “The Crowd” (1928 - see this previous post), the honeymooners James Murray and Eleanor Boardman are actually shot at the Falls, climbing a pretty steep hill to the side of it.

Rainbow Bridge is behind them in this view.

Here below is another movie, this time a 43-minute B-movie (sorry about the commercials) made in 1941 by Hal Roach, “Niagara Falls”. A couple of couples endure comic hijinks at the “Falls View Hotel”, a much swankier spot than the efficiency cabins pictured in “Niagara.” It stars Marjorie Woodworth, Tom Brown, Zasu Pitts, and Slim Summerville, who is featured at the beginning and the end as intending to end his life by jumping into the falls in his jammies. We shouldn’t be too worried about him, he hasn’t been successful at any other endeavor in this movie. A minor role of another honeymooner is played by Rand Brooks, who you may remember as Charles Hamilton in “Gone with the Wind” (1939). What two years can do to your career.



Then of course we have popular references to the Falls, most notably in “42nd Street” (1933), where we have the musical skit “Shuffle Off to Buffalo”. As we are told, “To Niagara in a sleeper, there’s no honeymoon that’s cheaper.”
Then there is the ever-popular, “Niagara Falls routine”, better known to some as “Slowly I Turn.” Here are two variations on this old vaudeville bit. First, with The Three Stooges from “Gents Without Cents” (1944).



Next up to bat, we have the Abbott & Costello version from their 1950s TV show:



You may remember Lucille Ball having a crack on this theme, too, in an episode of “I Love Lucy”, though the trigger word here is not “Niagara Falls”, but Martha. Niagara Falls is the blast of seltzer she gets in the pus. You can watch in on YouTube here.

For more on Niagara Falls, have a look at this blog.

THIS JUST IN!!!!!.......
Doaf!  Our roving reporter Moira Finnie (catch her here at Skeins of Thought), just reminded me about "Remember the Night" (1940) with Fred MacMurray and Barbara Stanwyck.  Am kicking myself as we speak.  Moria supplies us with these two great shots from the film:

Thanks for the help, Moira.

Callaway Went Thataway - 1951

“Callaway Went Thataway” (1951), continues our look at old movies as filler for programming on early TV, and on the “Hopalong” Cassidy phenomenon in particular. Not that Hoppy is actually mentioned, in fact the film ends with a careful disclaimer to that effect.

Fred MacMurray and Dorothy McGuire play ad executives who are making money hand over fist with their latest property, the redistribution of old “Smokey Callaway” B-movies to the hungry TV market. Even more, the merchandizing of Smokey Callaway toys, etc. But, the network execs decide this is such a good thing, they want to hire the cowpoke to make some brand new films. The problem is, Callaway is nowhere to be found. Enter a young look-alike, played by Howard Keel.

We are first introduced to the Hoppy, er, that is, Callaway phenomenon, through the montage of small children glued to the TV, watching their hero’s every move. This includes a couple of poker-faced young African-American kids, who, as discussed in this previous post on Herb Jeffries, were given little by either Hollywood or TV in the way of a black hero to emulate. Clearly, we are shown that Callaway appeals to everybody in this democratic republic. It’s a cute shot, that can’t help but ring hollow. Grownups love him, too, including a fawning Natalie Schafer, who plays the wife of the big TV boss. You may remember her as Lovey in “Gilligan’s Island.”

The team of MacMurray and McGuire are now up a creek, because the real Callaway disappeared to a life of dissipation years ago, and the look-alike cowboy they hire to play him wants nothing to do with TV. He is sincere, honest, naïve, and gentle. Howard Keel, with his choir boy haircut and soft speech, is adorable, and it’s kind of amazing to see him later on in the film playing the real Callaway, an obnoxious, womanizing boozer, with the same face, the same clothes, and yet actually appearing different. His voice booms and his face actually looks puffier, his hard, dim eyes glaring with suspicion and resentment.

But, until they find the real Callaway, they must utilize his erstwhile double, and on a coast to coast train trip, McGuire tries to impress upon Mr. Keel how important Smokey Callaway is as a role model to children. Along the way, he falls in love with her, but she is reluctant to submit to his aw-shucks charm.

She and MacMurray have that 1930s screwball comedy rapport with each other, but it’s somewhat forced and we are given to understand there is no romantic involvement between them. She undergoes a conversion when she falls in love with Howard Keel and decides the ad racket has gotten too deceitful for her. Mr. MacMurray never undergoes such a conversion, remaining a likeable, but undependable trickster to the end. MacMurray was so good playing guys on the knife edge of good and bad.

On their coast-to-coast trip we get some rear screen project of Niagara Falls, a lot of train interior shots, which is always lovely, but their stop in San Francisco appears to be really filmed there. There is also a bit at the end filmed at the Los Angeles Coliseum, so we might wonder what kind of build-up this movie had and what expense went into making it.

There are even a few star cameos. Esther Williams and her sons accost Keel in a hotel lobby, and later he meets Elizabeth Taylor and Clark Gable at the Mocambo, both of whom he greets effusively and neither of whom he recognizes.

Mr. Keel, who fairly hero-worships the (he thinks) saintly character he is playing, decides to set up a charitable foundation for children with his salary. But then, the real Smokey shows up like an evil twin, and wants all the moolah and all the swag that the team of MacMurray and McGuire have been generating. There is the inevitable fight scene between the good and evil Smokeys, and because they are wearing the same clothes, we don’t know who is who.

Finally, the real one learns of the charitable foundation set up by his look-alike, and bails out of the whole Smokey Callaway franchise. He doesn’t want any part of it if he can’t keep the money himself. The look-alike gets to keep the job.

Fred MacMurray tosses off a funny line with all seriousness, “What’s the Smokey Callaway Foundation? Have we got a girdle tie-in?”

We end with a rousing appearance at the Coliseum, and Miss McGuire’s 11th-hour commitment to being the sweetheart of a TV cowboy.

Both these films, “Dreamboat” and “Callaway Went Thataway” harken back to the screwball comedies of a previous generation, but they land squarely in the present, using it as surely as any socially conscious dramatic film of that era did to bring reality to the movies. “Callaway” ends with the interesting disclaimer, as much a signpost to the era as the fake signpost it was printed on. (The opening screen titles on a similar signpost remind me of “My Darling Clementine.”)

“This picture was made in the spirit of fun, and was meant in no way to detract from the wholesome influence, civic mindedness and the many charitable contributions of Western idols of our American youth, or to be a portrayal of any of them.”

A case of methinks they doth protest too much?


Actually, Hopalong Cassidy, is the real hero on whom this movie is based. You might remember his showing up Boris Karloff in the 1950 Macy’s Thanksgiving Parade, as discussed in this previous post. From the book “Total Television” by Alex M. Neal (Penguin Books, NY, 1996, 4th edition), we have a few stats on our hero. Hoppy made 66 B-movies from 1935 to 1948. William Boyd, who played Hoppy, cannily acquired the TV rights to his films, and re-edited them to fit 30 and 60-minute timeslots. According to author Mr. Neal, “thus, he was in a position to offer a readily available source of action programming to the rapidly expanding postwar television station market.”

Hopalong Cassidy merchandise on display at the Autry Musuem of the American West, Los Angeles (author photo)

His show ran from 1949 to 1951 on NBC, and then continued in syndication from 1952 to 1954. Hoppy was perfect for the new medium and the black and white sets: he dressed in black, and rode a white horse. Anybody remember Hoppy’s horse’s name?