This is one of two filmed versions of George & Ira Gershwin's musical-Girl Crazy-I'm reviewing on this site. This one stars Bert Wheeler & Robert Woolsey as they end up in the West. Child performer Mitzi Green does some imitations during the "But Not for Me" number. Bert has another number with frequent female co-star Dorothy Lee. Kitty Kelly does the "I Got Rhythm" song which was partly choreographed by Busby Berkeley who later did that number in the Mickey Rooney/Judy Garland version of GC. Oh, and among the players is Stanley Fields who makes a very funny nemesis for the comedy team. I mainly remember him as the sheriff in my favorite Laurel & Hardy movie, Way Out West. In summary, this version of Girl Crazy may not have a lot of the Gershwins' songs but it does have plenty of hilarity so there's that! P.S. Norman Taurog did retakes for this movie. He'd eventually direct the Mickey/Judy version of GC.

When the screenwriter got ahold of the book of the smash hit 1930 Broadway musical, they didn't just take scissors to it. They demolished it with a weed whacker. Gone other than the basic story of a city slicker deemed as "girl crazy" who is sent out to find manhood in the wild, wild west is the bulk of George and Ira Gershwin's unforgettable score. What remains is a mixed bag of typical old vaudeville gags as evidenced by the casting of Wheeler and Woolsey in the top-billed roles.Wheeler is a rather dim-witted Chicago cab driver hired by Woolsey to drive him to Arizona (!) so he can work the crap tables and his wife (Kitty Kelly) can sing at the dude ranch club opened by their city slicker pal (Eddie Quillan). Wheeler is convinced to run for sheriff, but grizzled Stanley Fields threatens to shoot anybody who gets into the sheriff's office other than him. Romance follows for Quillan who takes up with a postal delivery girl (Arline Judge), and Wheeler finds romance with pretty Dorothy Lee. But with Fields out to shoot Wheeler and Judge being romance by a lecherous New Yorker (Brooks Benedict), their chances of getting together seem unlikely.Kelly, no relation to the infamous author of some tell-all autobiographies of Sinatra, Taylor, the Reagans and the Bushes, gets to sing Ethel Merman's star-making song, "I Got Rhythm", and does a decent job with it. The musical number is highlighted by some comical effects, including dancing cactus, a moosehead on the wall which sways, and a bartender (silent comic Monte Collins) whose hair skids back and forth to the rhythm. "Bidin' My Time" sets up the story of all the previously slain sheriffs by showing the local graveyard and a new tombstone being put in. "Never made it to office", the stone says, making you wonder which sap will be next. "But Not For Me" is embarrassingly performed by Mitzi Green (as Wheeler's pesky sister who won't stop demanding that somebody listen to her imitations), Quillan and Judge, and reprised by Green doing mimics of Crosby, stutterer Roscoe Ates, monocled George Arliss, and most hysterically, nose twitching Edna May Oliver. A little bit of that goes a very long way.This seems almost like an after thought, rushed together to capitalize on the show's success and to give Wheeler and Woolsey a vehicle exploiting their talents. It seems lame when compared with the Mickey/Judy MGM version filmed a decade later. That is why Leo the Lion roars at the beginning before the Radio tower begins to beep. On its own, it is acceptable entertainment, with a very funny chase scene between Wheeler and cop Nat Pendleton who is mistaken for a dummy earlier accidentally attached to the back of the cab. The scenes with Wheeler and Woolsey hiding out from Fields are retreads of what they already did in "Rio Rita" and "The Cuckoos", although Woolsey's attempts at hypnotizing Fields are amusing. One of the Mexican senoritas who flirts with the boys is future ingénue Rochelle Hudson. Even though the film is ultimately a mixed bag, it ends on a very funny pre-code note that is the icing on the cake. It's just too bad that the cake is mostly stale.

I saw this early RKO musical-comedy only for the music. The tagline, "Sensational Gershwin Songs", intrigued me so I wanted to see it. Though it has two Gershwin songs, including the memorable "I Got Rhythm", "Girl Crazy" is less a full-fledged musical than an endearingly riotous comedy, one of the funniest I have seen. IT is so funny, it hurts! The last time I laughed so hard in a movie was a Laurel & Hardy Two-Reeler called "Two Tars"(1928).It has one hilarious gag after another. I wouldn't spoil the fun, but the "hypnotism" scene involving Woolsey & Wheeler and the buffoonish cowboy is priceless. If you like Marx Bros, you will definitely like "Girl Crazy".

A rich, GIRL CRAZY young playboy decides to transform an old family ranch in Arizona into a fancy entertainment hot spot. He turns to a gambler buddy to come West & operate the games of chance. Together, they trick a witless cabby into running for sheriff in nearby Custerville, a town notorious for the low life expectancy of its lawmen...Wheeler & Woolsey (Bert Wheeler is the little fellow with the curly hair; Robert Woolsey has the glasses & cigar) have fun in this transmogrified Gershwin musical. With their one-liners & physical comedy, they were always able to transcend their material, even in an excessively silly story such as this. It is a shame that the Boys are all but forgotten today...Eddie Quillan, as the playboy, provides his usual peppy puppy support; Dorothy Lee, Wheeler's perpetual flame, appears but is given little to do, probably as she must share plot time with 3 other young ladies: Kitty Kelly, Mitzi Green & Arline Judge. Stanley Fields makes a fine buffonish bad guy. That's Nat Pendleton, unbilled, as the motorcycle cop.With songs by the Gershwin Brothers, the Boys are in very fine musical company. Kelly sings a rousing `I Got Rhythm' - while Quillan & Judge deliver `But Not For Me'. Wheeler & Lee get to warble `You've Got What Gets Me'. Movie mavens will want to pay attention to the very end of this song; the female who gets throttled by Wheeler is none other than the monumental Margaret Dumont, apparently escaped from the Marx Bros., appearing here in an uncredited cameo.