Palmy Days

Palmy Days is a delightful musical comedy film released in 1931 that brought Eddie Cantor and Charlotte Greenwood to the limelight. The film was directed by the esteemed A. Edward Sutherland and co-produced by a much-participating Cantor and Hollywood royalty, Samuel Goldwyn.

Eddie Cantor plays Eddie Simpson, an inescapable charming, quick-witted insurance clerk. Cantor manages to draw giggles even in the most ordinary situations with his subtle comedy and musical spark. Cantor's Eddie Simpson is a daydreaming pacifist thrown into a world of corporate intrigue and dirty champions when his idyllic bakery and the scamming gymnasium cross paths.

Opposite Cantor, radiant Charlotte Greenwood, plays Helen Martin, an assertive gymnast known for her signature high kicks and ardent spirit. She lights up the scene with her strong presence and unabashed expressions. Greenwood lends her character Helen a feisty balance to Cantor's comic persona and stands apart with her grace.

The beautiful Barbara Weeks, in the role of Joan Clark, adds another interesting layer of conflict and romance. Her dramatic nuances mesh well with both Cantor's goofiness and Greenwood's fierceness, painting a colorful canvas of emotions during the storytelling.

The storyline skates between the convergence of a sprawling 'health' bakery and an adjacent gymnasium, revealing the deception and underlying tensions beneath their surface. The whole dynamic is a whirlwind of humor, romance, music, and chaos that revolves around the gym and bakery. Cantor's character gets entangled in the plot as he gets detailed by the beautiful Miss Clark, played by Weeks, leading to an intricately woven comedy of errors.

The film captures glimmers of The Great Depression through pangs of unemployment and breadlines, counterbalanced by the charm of Cantor and the irresistible cast. It envelopes a sense of optimism unchanged by the trials of the 1930s, offering an undeniable spirit of joyfulness and independent eccentricity.

One of the movie's highlights that deserve special mention is Cantor's signature "one-man show" musical numbers, which are spaced throughout the film. His performance in scenes like 'Bend down, Sister', and 'There's nothing too good for my baby' leaves an unforgettable impression, both visually, and musically. It's an out and out Eddie Cantor space, wherein he croons and gambols to the delight of the audience.

Apart from this, Cantor's bountiful energy is matched by Charlotte Greenwood's inimitable acrobatics. Her 'split stance' while interacting with others and during song sequences is a sight that remains unique to Greenwood's performance.

The memorable grand finale in the gym gives a fitting end to the hilarious yet captivating storyline, introducing an unexpected twist and terming a healthy future.

The screenplay is brought to life by the nuanced direction of A. Edward Sutherland. The vivid 1930’s aesthetics, choreography, and screen-writing stand out due to Ray June's proficient cinematography. Alfred Newman’s compositions transformed into unforgettable musical numbers give the film its unique aural identity.

Palmy Days helped cement Eddie Cantor as an extraordinary comedian and singer of his time. The storyline's charming intricacy, the comedic performance of Cantor, and the strong presence of Greenwood stitched together with beautiful aspects of music, romance, and situational comedy makes this film a must-watch for fans of classic cinema.

In essence, Palmy Days is a testament to the gleaming comedy of the bygone era, brimming with classic songs, peppy dances, and nuanced performances. It's a delightful artifact, a frosty cream confection of a time when cinema aimed to serve as an antidote to the world's worries. Today, it stands to offer an interesting gaze into the past, exhibiting the classic music and comedy that kept spirits high during a trying period.