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It's the Holy Grail of Stoogedom. Forget about finding the flabby 10 hour cut of Greed or the missing reels of pinko Welles' The Magnificent Ambersons and say, Hello, Pop!

For seven decades it remained the long-lost Stooge. A fire in the MGM vault in 1967 -- something to do with a duck laying nitroglycerine eggs -- had archivists and other assorted knuckleheads convinced that the only existing print was fried crisper than a tapeworm's dinner of burnt steak and a rotten egg.

In December of 2012, the Vitaphone Project received an email from an 80-year-old collector claiming to have in his possession a 35mm two-strip Technicolor nitrate print of the 1933 short. Credit Metro, where the boys worked before moving to Gower Gulch, with springing for the Technicolor. Unless it was Rita Hayworth, tight-fisted studio head Harry Cohn and his underlings at Columbia didn't think in terms of a budget-swelling color process.

Short of crabby Jerry Lewis finally manning up and releasing his nutzy Koncentration Kamp Komedy, The Day the Clown Cried, this could be the most important discovery since the wheel.

Truth be told, the color Metro shorts aren't a patch on their Columbia counterparts. My favorite Stooge color is White, Jules White. When it comes to the boys, I'll take Columbia's colorful sound library over all of Mother Nature's (and Herb Kalmus') hues.

Source: Film Forum

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