Scudda Hoo! Scudda Hay! (1948)

Thanks for the memories!

Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Why they can't even have a legitimate name. Mule, donkey, ass. But a horse is a horse of course, of course. Jewish peasants in Anavtevka argue over the trading of a horse, claiming that it was a mule. Their reputation has them as stubborn creatures, sitting defiantly when they don't intend to move. But in films, little farm boys love them, especially Mexican ones, so that says something about their sweetness. Troubled farmboy Lon McCallister seems able to handle the two mules that their new owner (and his employer) Tom Tully can't, so he agrees to pay $5 a month for them. Unbeknownst to McCallister, the arrogant Tully is in cahoots with his nasty stepbrother to prevent him from completing the payment, all because of a vendetta against stepmother Anne Revere whose nastiness drove Lon's father out of their own home to his death.This film is known as the debut of Marilyn Monroe in a brief talking part (on and off in a second), and shouldn't be viewed with seeing her in mind. The female lead is the pretty blonde June Haver who was the musical rival to Betty Grable, and she's photogenic, charming and likable, if not completely magical. As her younger sister, Natalie Wood is as precocious as usual, but can't steal the film from the mules or lovable drunk Walter Brennan. McCallister gives a sincere performance, while Tully digs deep to show the many aspects of his bitter farmer. In her few scenes, Revere shows the ugliness of her character who has no redeeming qualities. The mixture of family melodrama and light comedy makes this rural slice of life film an entertaining time filler.

An enjoyable film dealing with a male Cinderella-like relationship. Fed up with his nagging wife and bullying son, a man heads out to sea and leaves his son $20.00 to fend for himself.The film is a gem as it shows the warm relationships that can develop with still another family and a man's determination to get those mules to work.Anne Revere appears briefly as the wicked wife but she is memorable once again. As her n'eer-do-well son, Bob Karnes, is miserable at his best. Lon McAllister shines as the step-son and Natalie Wood steals the show as a precocious youngster who always seems to be in the right place at the right time. Another good performance is given by Tom Tully as as a nasty neighbor, and Walter Brennan is in fine form as an understanding friend to the McAllister role.

First, the good news; this isn't a Red Skelton comedy, as one might fairly presume on the basis of its dismally uningratiating title.Second, the bad news (which turns out not really so bad after all), it's actually just another 40s Fox B-movie horsey drama.Thirdly, the factual news. Yes, this IS Marilyn Monroe's first screen performance with dialogue, albeit in this print consisting of a salute of "Hi!" to June Haver over and done with before the retina has any chance to pass muster over the event. Speculation and debate still seems to rage over whether or not alternate versions of this film, featuring alternate MM footage, exist (chiefly some business in a canoe, which certainly I did not see in this particular print).Lastly, the reality of the film itself and revelation of the title mystery. Homesteader half-brothers bicker tiresomely over mule raising and racing - yes, MULES. The title refers to the human call used to rouse them into action; but against the odds this is far from as asininely scripted as that synopsis would lead you to expect.Not that that is to concede much, but it must be remarked upon that the Technicolor production is endearingly mounted by Ernest Palmer (slumming inbetween 'big' projects), with verdance particularly resplendent in the farming sequences. On the thespian front, Revere does her Fox-standby bit as a resilient matriarch (despite being only in her mid 40s), in addition to 9-year-old Natalie Wood; churning out sarcastic aphorisms almost worthy of WC Fields, but totally unsmackable due to the precocious sagacity of her delivery.

No special effects, no musical numbers, no dance numbers, but a pleasant way to spend a rainy afternoon. The plot was predictable but acting was adequate and mostly realistic. Maybe not realistic results, but plot reinforced the attitude that hard work and honesty pay off in long run. Kindness to animals is nice sideline touch.