An MGM Picture, copyright 18 July 1939 by Loew's Inc. Release dates: 21 July 1939 (U.S.A.); 25 December 1939 (U.K.). New York opening at the Capitol, 18 July 1939. Australian release: 12 October 1939. 9 reels. 7,683 feet. 85 minutes.
SYNOPSIS: Andy falls for the new schoolteacher.
NOTES: Number seven in the 16-picture "Hardy Family" series which garnered a special retrospective award in 1943 "for representing the American Way of Life".
Film debut of Helen Gilbert. An extraordinarily lovely girl, Helen Gilbert was a cellist in the M-G-M studio orchestra and had recorded many a soundtrack before being discovered by producer Lou Ostrow. Although she never hit the big time, she did make more than a dozen movies over the years, including that staple of Saturday matinees, "Florian" (1940).
COMMENT: This one starts as do most of the others, with Judge Hardy handing down some cracker-barrel wisdom in his court room. Then, as with the others, we go behind to the judge's chambers. There, the judge decides to pay some of his bills. The first on the list is the rates and taxes on some property the judge owns. The judge has no sooner signed the check then who should walk in the door, but two gentlemen interested in buying said property.
This ridiculous start warns us straightaway that this entry is certainly not one of the better efforts in the series, although the presence of Helen Gilbert lends it a curiosity value and Lester White's photography is unusually attractive.
But, as often happened, Lewis Stone is permitted to over-act in a most garrulous fashion. In fact, there is far too much talk altogether in the script. It is worth noting that George B. Seitz made such a hash of this one, MGM was not game to release it and Louis B. Mayor had to call in his favorite director, W.S. Van Dyke, who was asked to "doctor" it up. Van Dyke was not willing, but Mayor pleaded with him to take the assignment as a personal favor.
All the same, Van Dyke's efforts have not been particularly successful, although he has made a game attempt to liven up the corny script with tracking shots and pans and much more stylish compositions than rabid Hardy fans are used to. And for once, production values are also top-notch, thanks to Van Dyke's influence with Louis B. Mayer.
SYNOPSIS: Andy falls for the new schoolteacher.
NOTES: Number seven in the 16-picture "Hardy Family" series which garnered a special retrospective award in 1943 "for representing the American Way of Life".
Film debut of Helen Gilbert. An extraordinarily lovely girl, Helen Gilbert was a cellist in the M-G-M studio orchestra and had recorded many a soundtrack before being discovered by producer Lou Ostrow. Although she never hit the big time, she did make more than a dozen movies over the years, including that staple of Saturday matinees, "Florian" (1940).
COMMENT: This one starts as do most of the others, with Judge Hardy handing down some cracker-barrel wisdom in his court room. Then, as with the others, we go behind to the judge's chambers. There, the judge decides to pay some of his bills. The first on the list is the rates and taxes on some property the judge owns. The judge has no sooner signed the check then who should walk in the door, but two gentlemen interested in buying said property.
This ridiculous start warns us straightaway that this entry is certainly not one of the better efforts in the series, although the presence of Helen Gilbert lends it a curiosity value and Lester White's photography is unusually attractive.
But, as often happened, Lewis Stone is permitted to over-act in a most garrulous fashion. In fact, there is far too much talk altogether in the script. It is worth noting that George B. Seitz made such a hash of this one, MGM was not game to release it and Louis B. Mayor had to call in his favorite director, W.S. Van Dyke, who was asked to "doctor" it up. Van Dyke was not willing, but Mayor pleaded with him to take the assignment as a personal favor.
All the same, Van Dyke's efforts have not been particularly successful, although he has made a game attempt to liven up the corny script with tracking shots and pans and much more stylish compositions than rabid Hardy fans are used to. And for once, production values are also top-notch, thanks to Van Dyke's influence with Louis B. Mayer.