Sing and Like It (1934)
Directed by William A. Seiter

Film Review

A year after directing the film for which he is now best remembered, King Kong (1933), Merian C. Cooper produced this madcap comedy that effectively spoofs the two most popular genres of the time, the musical comedy and gangster movie.  Under the deft stewardship of comedy director William A. Seiter, Sing and Like It manages to be an enjoyably daft romp that makes up for its so-so script by throwing at us some of the most talented character actors working for RKO at the time, a bunch of Grade-A eccentrics who look as if they might just have escaped from somewhere.

Zasu Pitts, a star of the silent era now relegated to mainly comedy roles, delivers the most malicious parody of the diva who is born to 'sacrifice herself for her art', murdering her lyrics as she does so with a singing voice that is only marginally less tuneful than a pneumatic drill in an echo chamber.  Meanwhile, former Olympic wrestler Nat Pendleton flexes his comedy muscle as the tone-deaf hoodlum who, his soul stirred by the recollection of his long lost mother, resolves to inflict Miss Pitts's vocal tyranny on an unsuspecting world.

As the fussy impresario whom Pendleton chooses for his vile enterprise, Edward Everett Horton gives a good impression of a man drowning in quick-setting treacle, voicing his unwavering despair with the occasional withering one-liner.  Throw in Pert Kelton, as the feisty gangster moll with evil musical ambitions of her own, and Ned Sparks as Pendleton's taciturn (but hilarious) henchman, and you can't help laughing at such a riotous ensemble.  A tad repetitious, Sing and Like It suffers from a paucity of ideas and well-thought-out comedy situations, but the enthusiastic contributions from the oddball cast easily make up for this.  In the end, this modest comedy gem manages to be more satisfying than most of the films that it so cruelly, and so knowingly lampoons.

Film Synopsis

T. Fenny Sylvester is a gangster boss who is not known for letting his heart rule his head, at least not until the day when, in the course of a bank robbery, he overhears Annie Snodgrass singing a song that takes him back to his happy infanthood.  Annie is rehearsing for a musical play staged by the bank she works for and is understandably delighted when Sylvester shows up and tells her he is going to make her the star of a glitzy musical show.  The problem is that the heartless hoodlum is the only one who appreciates Annie's non-existent talents, so he has some difficulty persuading theatrical producer Adam Frink to allow Annie to take the lead in his next show.  Frink has no choice but to acquiesce, convinced that Annie's singing will be the death knell of his career...