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Absolutely brilliant

A Disappointing Continuation

Although it has its amusing moments, in eneral the plot does not convince.

One of the worst ways to make a cult movie is to set out to make a cult movie.

Frank Morgan (The Wizard !), Frank Pangborn (all those W.C. Fields movies), and big, bellowing Gene Pallette in one film. It'll take all of them and more to stand up to Teresita (Lupe Velez)! The carnival gets busted by the sheriff, and they all am-scray before the sheriff can haul them away. When they move into a high class joint, Pangborn is the hotel manager. Teresita puts on a show for the Follies producer (Frank Morgan), and suddenly she's back on top again. Kind of a strange turn, where the mexican girl goes on the stage as a turkish princess, then they concoct a story where suddenly she's a jazz dancer, and the audience doesn't mind being tricked. Lee Tracy is "Jimmy", Teresita's manager, who builds her up, but then he gets the boot! Will he get his revenge? It's a fun show biz adventure. The plot is just absurd, but it moves pretty quickly. Directed by Greg LaCava, who had directed some biggies... Stage Door, My Man Godfrey. Died young at 59 of a heart attack.

Lee Tracy and Lupe Velez are outstanding as press agent and circus dancer in this wild comedy of ambitious impostors. Tracy is a supremely fast talker….but Velez is probably right when she exclaims repeatedly that he's "Nothing but a four flusher!" A fun supporting cast includes Frank Morgan as big shot Broadway producer Merle Farrell, complete with long cigarette holder that he can't quite handle…and the great Eugene Palette as a circus escape artist who tags along with Tracy to the big city as a sort of assistant schemer.The plot may be somewhat uneven but this picture certainly has its moments. One sensational highlight is Lupe's song-and-dance on Broadway, in which she starts out stumblingly but changes her tune and wins over everyone, including the initially-shocked highbrow producer Morgan.Eugene Palette's scene staging a publicity stunt in a nudist colony is also hilarious. He shushes a companion complaining about the dress code: "You're lucky it ain't winter."Energetic performances and some spicy dialog produce plenty of laughs; Tracy and Velez pull off the rapid-fire love-hate bit superbly. If it's a bit inconsistent, this picture is nevertheless full of goofy surprises that keep us watching. Very entertaining.

This funny little pre-Code film benefits greatly from the dynamite teaming of Lee Tracy and Lupe Velez. Tracy plays Bates, a carnival barker/con man whose carnival is run out of town for fleecing local residents. He comes up with the bright idea of billing his girlfriend Teresita (Velez) as "Princess Exotica" from Turkey, and heads for Broadway. In New York, Bates fast-talks his way into a contract with the perpetually confused Merle Ferrell (Frank Morgan), then admits that Teresita is not a Turkish princess after all. Teresita electrifies the audience with a rendition of "Hey, Mr. Carpenter", then begins to grow apart from Bates, who is busy blackmailing Ferrell into hiring him for a publicist position. Finally, Bates believes that he has lost Teresita, so he quits his job with Ferrell, returns to the carnival, where Teresita is singing and dancing. The wedding march song ensues, signaling an upcoming Bates/Teresita marriage and the end of the film.This movie is just hilarious, with great singing and dancing from Velez, very funny performances from Tracy and Morgan, and punchy direction by La Cava. The "Hey, Mr. Carpenter" number is terrific, the dialogue surprisingly fresh, and the gags quite good. The scene in which a frantic Morgan finds blackmail photos of himself and Velez all over his office is howlingly funny. The great Max Steiner has a small role as a befuddled orchestra conductor. My only complaint is with the strange subplot about a nudist colony, which seems out of place.Watching this film makes me wonder what might have been. Tracy destroyed his career with an infamous drunken 1934 incident, and sadly Velez committed suicide in 1944. Both should have been major movie stars, but are remembered as footnote Hollywood actors—especially Tracy, who has been all but forgotten. It's a shame, because both Tracy and Velez shine brightly in this excellent, happy film.

Lee Tracy, too little known today, is one of the all-time great comic actors and a personal favorite of mine. He was the original Hildy Johnson in The Front Page on Broadway and although his major films are not numerous, each is a delight. Blessed Event with co-star Dick Powell and Bombshell with co-star Jean Harlow are gems long beloved by Thirties film buffs, but even they may not have seen The Half-Naked Truth, which is a pure jolt of the Lee Tracy magic. His physical and vocal presence are uniquely and unmistakably his: the lankily elastic body, the whirling-dervish energy, the sarcastic tone, the long fingers that always seem to be jabbing in someone's direction. There's not another screen actor I can think of who has quite the manic joie de vivre of the young Tracy. In The Half-Naked Truth, he plays a carnival barker and theatrical promoter who will go to any insane lengths to hog headlines (a very contemporary figure for us!). He's paired with Lupe "Mexican Spitfire" Velez, who proves to be an extremely apt partner for him; you believe in these two together, and that makes their final scene surprisingly emotional. (Tracy's magnetism definitely has its romantic aspect; watching Bombshell, an audience can be driven to heights of frustration waiting for Tracy and Harlow to realize that they are, in fact, perfect for one another.) The wonderful ending of The Half-Naked Truth also crystallizes the Tracy credo in a single line: "What good is life if you don't get some fun out of it?" You can have some of that fun by watching this film.