Greatest Films of the 1930s
Greatest Films of the 1930s


Greatest Films of the 1930s
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1937

Title Screen Film Genre(s), Title, Year, (Country), Length, Director, Description

The Awful Truth (1937), 90 minutes, D: Leo McCarey
A classic screwball comedy of the 1930s, filmed previously in 1925 and 1929, and remade as the musical Let's Do It Again (1953). Based on Arthur Richman's 1922 play, and the first on-screen pairing of Irene Dunne and Cary Grant. After an argument and a series of false accusations, married couple Jerry (Cary Grant) and socialite Lucy Warriner (Irene Dunne) agree to a 90 day interlocutory divorce. He pursues singer Dixie Belle Lee (Joyce Compton) and socialite Barbara Vance (Molly Lamont), while she sees both her handsome voice teacher Armand Duvalle (Alex D'Arcy) and wealthy oil heir Daniel Leeson (Ralph Bellamy). With rapid-fire, witty and sophisticated dialogue, they each try their best to thwart or sabotage each other's romances and marriage plans with others, and bicker over who gets custody of their pet terrier Mr. Smith (Asta of The Thin Man). By the end, they both discover the awful truth that they still love each other.

Captains Courageous (1937), 115 minutes, D: Victor Fleming
Rudyard Kipling's tale of adventure, an MGM classic, and remade as two TV movies in 1977 and 1996. A spoiled young heir Harvey Cheyne (Freddie Bartholomew), the son of shipping magnate Mr. Cheyne (Melvyn Douglas) falls overboard from a luxury ocean liner and is rescued by a simple, crusty Portuguese fisherman Manuel (Oscar-winning Spencer Tracy). He is brought on board a New England, Nantucket fishing schooner, and immediately demands to be brought to shore. He is forced to remain onboard for the remaining part of their 3-month fishing trip, and work to earn his keep. He is taught a love of the sea and a valuable series of lessons on life, humility, work, trust, love, and courage. Gradually, he is transformed into a different lad.

A Day at the Races (1937), 109 minutes, D: Sam Wood
One of the best Marx Brothers films, made during their peak years for MGM. A follow-up film to their successful A Night at the Opera (1935) from a few years earlier. Horse doctor veterinarian Dr. Hugo Hackenbush (Groucho Marx) pretends to be a psychiatrist and is hired by a wealthy hypochondriac Mrs. Upjohn (Margaret Dumont) to run a sanitarium that she is financing. Instead, he goes to the horse races, where he gets racing tips from Tony (Chico Marx) in the famous "tootsie-frootsie" ice cream scene. With other memorable scenes and wild comedy routines.

Dead End (1937), 92 minutes, D: William Wyler
Adapted from Sidney Kingsley's hit Broadway play, with a script by Lillian Hellman, and set in the Depression. A social drama about the harsh realities of the ugly, oppressive environment of New York City slums and tenements in the 1930s, with poverty and crime. A cold-blooded career gangster Baby Face Martin (Humphrey Bogart) returns to his boyhood neighborhood for a visit - a dead end street in a lower East Side slum, and becomes an unwelcome influence on the street kids (dubbed the Dead End Kids, and later known as the Bowery Boys). This plot vignette is intercut with two other stories about residents struggling to make a living: the plight of young architect Dave (Joel McCrea) who opposes his boyhood friend Martin, and dreams of rebuilding the depressed waterfront area, and the story of working girl Drina (Sylvia Sidney) whose brother Tommy (Billy Halop), one of the neighborhood Dead End Kids, idolizes Martin and is being negatively influenced by him.

The Good Earth (1937), 138 minutes, D: Sidney Franklin
MGM's beautiful film production - producer Irving Thalberg's last picture - of Pearl Buck's 1931 Pulitzer Prize-winning novel about a peasant couple in rural China. A simple, poor Chinese rice farmer Wang Lung (Paul Muni) weds O-Lan (Best Actress-winning Luise Rainer, two years in a row) in an arranged marriage. They must endure hard labor, poverty, and a severe drought and famine. During government strife and a revolution that sweeps through the land, their lives are transformed and he becomes the wealthiest landowner in the province. Their efforts and their family disintegrate from his all-consuming greed for money and the devastating effects of a swarm of locusts. In the end, he learns too late that his long-neglected, self-sacrificing, saintly wife was the one who had held everything together.

Grand Illusion (1937, Fr.) (aka La Grande Illusion), 114 minutes, D: Jean Renoir
This Nazi-banned, anti-war masterpiece was the first foreign film to be nominated for an Academy Award for Best Picture. In the late 1930s, French filmmaker Jean Renoir attempted to signal a warning about warfare's 'grand illusions' with this classic film, set in a WWI German prison camp in 1916. The film, for the most part, only implied that a war was occurring outside the prison. Aristocratic French officer Captain de Boeldieu (Pierre Fresnay) faced a dilemma regarding his escape with other POWs, including working class mechanic French officer/hero Lieut. Maréchal (Jean Gabin) and wealthy middle-class Jew Lieut. Rosenthal (Marcel Dalio). They were imprisoned and under the watchful eye of stiff German Captain von Rauffenstein (Eric von Stroheim), with a neck brace and wearing a monocle - the commandant of Wintersborn, the German's maximum-security camp. Boeldieu sacrificed himself when reluctantly shot by von Rauffenstein, to allow Marechal and Lieutenant Rosenthal to escape. There was a touching deathbed farewell to Boeldieu from the consoling German commandant. Ultimately, the two escapees took refuge with widowed German farm woman Elsa (Dita Parlo), and found safety and freedom across the Alps and into Switzerland on the border. In the film's last line, one of the soldiers who spotted them shouted: "Don't shoot! They are in Switzerland," to which another responded: "All the better for them."

The Hurricane (1937), 103 minutes, D: John Ford
A spectacular disaster film and tropical fantasy set in the South Seas, followed by an inferior remake in 1979. With a lush film score by composer Alfred Newman. A native named Terangi (Jon Hall) from the island of Manakoora, marries his childhood sweetheart Marama (Dorothy Lamour). Terangi is convicted of attacking a white man and imprisoned. He is repeatedly sentenced to longer and longer terms of imprisonment for making failed escape attempts. His case is appealed to the island's new white governor Eugene De Laage (Raymond Massey), who is a strict by-the-book disciplinarian, although his wife is sympathetic to Terangi's plight. The film ends with a climactic hurricane sequence with great special effects.

In Old Chicago (1937), 115/95 minutes, D: Henry King
Darryl F. Zanuck's disaster film and romantic drama that was designed to take advantage and piggyback upon the success of MGM's previous year's hit San Francisco (1936). The screenplay by Lamar Trotti and Sonya Levien was based on a story by Niven Busch. The story was about a strong rivalry between two of the three sons of widowed, strong-willed matriarch Mrs. Molly O'Leary (Alice Brady), the one whose cow reportedly kicked over a lantern and started the Chicago fire. Her youngest son was Bob (Tom Brown), a mother's helper who flirted with the pretty Swedish servant Gretchen (June Storey). The two eldest O'Leary sons took very different paths and were in fierce conflict: a virtuous good son, an honest and reforming lawyer Jack (Don Ameche) running for mayor, and a bad son - a corrupt yet charming gambling saloon owner and scheming, devious rogue Dion (Tyrone Power). Dion's assistant was singer Belle Fawcett (Alice Faye), also his business partner and lover. Chicago boss Gil Warren (Brian Donlevy) wanted to destroy both brothers. The quasi-historical film climaxed with a spectacular 20-minute sequence of the Chicago fire of 1871, with an abrupt inspirational ending. The Chicago Historical Society assisted in the picture's historical accuracy, although much of the film was fictionalized.

The Life of Emile Zola (1937), 123 minutes, D: William Dieterle
The Best Picture-winning film biography of the famous 19th century French intellectual and novelist, the first film to receive 10 Academy Award nominations, and the second biographical film to win the Academy Award for Best Picture after The Great Ziegfeld (1936). Director Dieterle directed star Paul Muni in two other historical dramas: The Story of Louis Pasteur (1936), and Juarez (1939). The tale of Zola was remade in José Ferrer's film I Accuse! (1958) with a screenplay by Gore Vidal. The film traces the life of Emile Zola (Paul Muni in another of his many biopics) from his youth, as a friend of Paul Cezanne (Vladimir Sokoloff) starving in a Parisian attic, to the peak of his career. He is celebrated as France's greatest author and the champion of the oppressed. However, on the eve of membership to the French academy, with great personal cost, he defends a Jewish officer Captain Alfred Dreyfus (Joseph Schildkraut) - the Dreyfus Affair - who is unjustly accused of treason, and then banished to Devil's Island for a life term. The highlight of the film was Zola's famous six minute courtroom speech.

Lost Horizon (1937), 138 minutes, D: Frank Capra
Capra's telling of James Hilton's 1933 book - escapist, idealistic and naive. Escapees and refugees fleeing from a Chinese revolution in Bakul board a plane bound for Shanghai that crash-lands, and five survivors are led through the icy Himalayans by Chinese monk Chang (H. B. Warner) to a magical enchanted paradise, a hidden Tibetan utopia at the top of the world named Shangri-La. There in the peaceful valley, war and death and financial panic are unknown, people live almost forever (time has stopped) and everyone follows the law "Be kind." Shangri-La's wisest man is the High Lama (Sam Jaffe), originally known as missionary Belgian priest, Father Perrault, who wishes to have one of the group's members, British diplomat Robert Conway (Ronald Colman) be his successor. Conway is a romantic dreamer who believes he has found a new home and a new romantic interest when he falls in love with the ethereally beautiful Sondra (Jane Wyatt). He is convinced, however, by his younger brother George Conway (John Howard) to leave. The film's most startling scene is when George's Shangri-La lover, 20-year-old Russian girl Maria (Margo) accompanies him and she dies an old wrinkled and withered woman (aging by half a century, the time she spent in the valley). Despairing and hysterically crazed after an abrupt return to the world of time and death, George commits suicide by throwing himself off a cliff ledge. Conway struggles to get back to England, where he is haunted by his memories of his time in the idyllic valley, especially with Sondra, and he makes an effort to return. The film ends with a toast and salute to the missing Conway: "Here's my hope that Robert Conway will find his Shangri-La. Here's my hope that we all find our Shangri-La."

Make Way For Tomorrow (1937), 91 minutes, D: Leo McCarey
One of the saddest and most poignant and sentimental films ever made (similar to Ozu's Tokyo Story (1953)), during the weary end years of the long drawn-out Depression, about the harsh realities of aging. Although beautifully realized, it was not a hit at the box-office and was forgotten for many years. Based on Josephine Lawrence's novel The Years Are So Long. Financially-distraught elderly couple Ma and Pa Cooper - Barkley (Victor Moore) and Lucy (Beulah Bondi), married for 50 years, lose their foreclosed house to the bank when they cannot make the mortgage payments. They request aid from their five children for housing or assistance, and there is a temporary solution - although the couple are forced to separate: Lucy will move to New York to live in the apartment of eldest son George's (Thomas Mitchell) family, while Barkley will be 360 miles away at the home of mean-spirited daughter Cora Payne (Elisabeth Risdon) and her unemployed husband Bill (Ralph Remley). Accommodations in New York for Lucy are cramped, with George's wife Anita (Fay Bainter) and daughter Rhoda (Barbara Read) upset with the disruption and intrusion. To not be a burden, Lucy ends up in a female retirement-nursing home, and Barkley decides to travel to the warmer climate of California for health reasons, to live with unseen daughter Addie. They share a heartbreaking farewell at the same NY train station as their honeymoon years earlier, in the film's downbeat ending.

Marked Woman (1937), 99 minutes, D: Lloyd Bacon
At the time of this film's making, Bette Davis had become disillusioned by the poorly-scripted films being offered to her by Warner Bros. studio. She fled to Europe to further her career, although was brought back by a lawsuit (that she contested and lost) and forced to make this hard-boiled film - an urban crime melodrama based on the real-life story of NYC vice lord Charles "Lucky" Luciano. It is the story of a nightclub hostess ("prostitute") Mary Dwight (Bette Davis), who works at the Club Intime (a "clip joint") as a party girl, owned and operated by a notorious "Lucky" Luciano-type gangster Johnny Vanning (Edward Ciannelli). Special prosecutor and crusading district attorney David Graham (Humphrey Bogart) tries to convince Mary (at first unsuccessfully) to be a key witness to testify against her crooked boss - first for murdering one of the debt-owing customers Ralph Krawford (Damian O'Flynn) and then for killing her innocent younger sister Betty (Jane Bryan), by slugging her down a staircase to her death. To threaten and scare her, Vanning scars Mary's face, making her a "marked woman." This convinces her to finally testify in court with other hostesses to convict the abusive gangster (and sentence him to the electric chair) who regularly beats and mistreats his brothel prostitutes. [Note: In real life in 1936, celebrated Special Prosecutor Thomas E. Dewey put Lucky Luciano behind bars on prostitution charges.]

Maytime (1937), 132 minutes, D: Robert Z. Leonard
The third film pairing MacDonald and Eddy, a musical drama-romance (adapted from the operetta by Rida Johnson Young) once popular but mostly forgotten nowadays. In 1906, an aged opera singer Marcia Morney (Jeanette MacDonald) lives with her longtime loyal maid Ellen (Rafaela Ottiano). Morney relates in flashback the story of her life forty years earlier. She tells of her love for poor baritone singer Paul Allison (Nelson Eddy) and their idyllic time together at a May Day festival, but instead marries Svengali-like impresario-trainer Nicolai Nazaroff (John Barrymore). After several years, she co-stars with Paul in an American opera production and their love is rekindled, leading to tragic consequences for the two lovers when Nicolai's jealousy overtakes them and he shoots Paul dead. Concludes with a magnificent sequence of the spiritual images of the doomed lovers meeting together on a flower-strewn path and reprising "Will You Remember (Sweetheart)?" Also includes the musical numbers: "Mammy's L'il Baby Loves Shortnin' Bread," "Carry Me Back to Old Virginny," and "Czaritza" - an adaptation of Tchaikovsky's 5th Symphony with modern lyrics.

Nothing Sacred (1937), 75 minutes, D: William A. Wellman
A superb screwball comedy (the first filmed in color) from former newspaperman and scriptwriter Ben Hecht (who also wrote the play "The Front Page" - made into another famous screwball comedy His Girl Friday (1940)). The comedy satirizes the world of tabloid reporting and its corruption and dishonesty. Remade as Living It Up (1954) with Dean Martin, Jerry Lewis, and Janet Leigh. An incompetent Dr. Enoch Downer (Charles Winninger) diagnoses a simple Warsaw, Vermont woman Hazel Flagg (Carole Lombard in her most beloved role) as having only six weeks to live due to radium radioactive poisoning. A small-town newspaper's cynical ambitious reporter Wally Cook (Fredric March), who has already been reprimanded for printing exaggerated stories in the Morning Star, exploits and sensationalizes the story of Flagg's imminent death by creating publicity and increasing sales. He writes a series of pathetic stories, and sends her to the big city of New York, where she becomes a national hero (with a ticker-tape parade and presentation of the key to the city). She wants to tell the truth about how her diagnosis has been changed and that she is not dying, but is not allowed to. When the obvious ruse is about to be revealed, Cook and Flagg (who have fallen in love) make their getaway to a tropical island, while it's rumored that she has committed suicide.

One Hundred Men and a Girl (1937), 85 minutes, D: Henry Koster
A musical comedy, starring teenaged singing sensation Deanna Durbin, and conductor Leopold Stokowski in his first feature film (his next one was Fantasia (1940)). An irrepressible young girl Patricia "Patsy" Cardwell (Deanna Durbin) pesters a great conductor (Leopold Stokowski playing himself) to form an orchestra comprised of her unemployed trombonist/musician father John Cardwell (Adolphe Menjou) and ninety-nine of his closest friends.

Pépé le Moko (1937, Fr.), 94 minutes, D: Julien Duvivier
An early pre-film noir, and example of French poetic realism. Remade in the US as Algiers (1938) with Hedy Lamarr and Charles Boyer, and remarkably similar (in parts) to Casablanca (1942). In the 1930s, Parisian underworld tough-guy yet dashing gangster Pépé le Moko (Jean Gabin) hides out in the Casbah (a winding district of alleys, hideouts, crowded streets and markets) in Algiers, to evade French and Algerian police. After a period of two years ruling but also imprisoned there, he longs to be free and enjoy the good life in Paris and Marseilles. One night after a shootout with authorities, he meets gorgeous Parisian socialite Gaby Gould (Mireille Balin), the kept woman of a rich older man (in the champagne business) - and they begin a romance. Pépé's jealous lover Inès (Line Noro) taunts him: "No more Paris, no more Marseilles, nothing but the Casbah!" Algerian inspector Slimane (Lucas Gridoux) plots to arrest Pépé by coaxing him out of the Casbah, using Gaby as attractive bait.

The Prisoner of Zenda (1937), 101 minutes, D: John Cromwell
The best version of the many remakes and versions (1913, 1915, 1922, 1952, and 1979) of Anthony Hope's novel, a swashbuckling adventure tale. The 1952 version, a shot-for-shot remake by MGM starred Stewart Granger and Deborah Kerr. This is the masquerade story of an Englishman commoner, Rudolph Rassendyl (Ronald Colman), who is on holiday in the small central European country of Ruritania. He thwarts a revolutionary assassination plot when called upon to sit on the royal throne for his cousin and lookalike, the kidnapped soon-to-be-crowned King Rudolf V (also Ronald Colman). Behind the plot is a band of rebels led by the crown prince's evil brother Black Michael (Raymond Massey) and his dashing villain henchman Rupert of Hentzau (Douglas Fairbanks, Jr.). Includes swashbuckling sword fights and a romance between the commoner/king and the regally-beautiful Princess Flavia (Madeleine Carroll).

Snow White and the Seven Dwarfs (1937), 82 minutes, D: Disney Studios (David Hand)
Disney's first full-length animated feature, based on the Brothers Grimm fairy tale. The film was costly at $1.7 million, and took 3-4 years to complete. The film is the story of a young, beautiful servant girl Snow White who is brought up by her evil stepmother, the vain and jealous queen. When told that the "fairest of them all" is Snow White, the queen has her huntsman take Snow White to the forest to kill her and return with her heart. The huntsman cannot carry out the gruesome task, and frees Snow White, who runs into the forest, and finds the cottage of the loveable seven dwarfs, diamond-mine workers. When the wicked, jealous queen learns from her Magic Mirror that Snow White is still alive, she transforms herself into an old hag beggar woman, and offers Snow White a bite from a poisoned apple. Snow White enters into a deep sleep until she is awakened by Prince Charming's kiss. A timeless classic with sing-along-songs, including: "Heigh Ho," "Whistle While You Work," and "Someday My Prince Will Come.".

Song at Midnight (1937, China) (aka Ye Ban Ge Sheng), 113 minutes, D: Weibang Ma-Xu
The first Chinese horror film, remade as Ronny Yu's bigger-budgeted Phantom Lover (1995) starring Leslie Cheung, and a variation or reinterpretation of Gaston Leroux's novel The Phantom of the Opera, and Rupert Julian's film The Phantom of the Opera (1925) with Lon Chaney, Sr. An artistically-made work of art, with opera singer Song Dan-ping (the Erik the Phantom anti-hero character) (played by Jin Shan), who falls in love with Li Xiaoxia (Ping Hu), the daughter of General Wan-Yin (Woo Ping). The disapproving father punishes Dan-ping by disfiguring his face with acid. Mutilated and feeling shameful about his looks, Dan-ping spreads the rumor that he is dead, causing his lover to go mad with grief. Ten years later, a young opera singer Sung Xiaoou (Chau-Shui Yee) meets Dan-ping by accident hiding in the opera house, and discovers his fateful past.

Stage Door (1937), 83 minutes, D: Gregory La Cava
A film adaptation based on the Edna Ferber/George S. Kaufman play about a New York boarding house filled with hopeful and aspiring theater actresses (many are soon-to-be famous stars of the 30s and 40s). An entertaining Hollywood backstage, behind-the-scenes comedy/drama of the lives and ambitions of actresses and stage hopefuls who live together in a theatrical boarding house. They include the privileged and wealthy debutante Terry Randall (Katharine Hepburn) who is trying to make it on her own without the help of her family's money, her rival and sarcastic tough-cookie roommate Jean Maitland (Ginger Rogers), and high-strung depressed actress Kaye Hamilton (Andrea Leeds). Jean allows leering producer mogul Anthony Powell (Adolphe Menjou) to take her out only to insure getting a part, but Terry gets the lead because her father has backed and financed the production without her knowledge, causing despair and jealousy among the others. With great, sharp-tongued dialogue and a realistic, almost all-girl cast.

A Star is Born (1937), 111 minutes, D: William A. Wellman
The first of three film adaptations, this non-musical version was one of the best of Hollywood's behind-the-scenes tragic dramas, featuring a star-crossed romance. The script borrowed from the lives of real-life Hollywood failures, including John Gilbert, John Barrymore, and Wallace Reid. Followed by two remakes: A Star Is Born (1954) with Judy Garland and James Mason, and A Star is Born (1976) with Barbra Streisand and Kris Kristofferson. A successful but alcoholic, self-destructive, aging superstar actor Norman Maine (Fredric March) meets, falls in love with, and marries a charming, talented young newcomer/hopeful Esther Blodgett/Vicki Lester (Janet Gaynor). With his influence, she is introduced to powerful Hollywood figures including studio producer/director Oliver Niles (Adolphe Menjou). After being discovered, her career blossoms and she enjoys a meteoric rise to stardom, contrasted with Norman's slow decline, unemployable status, and self-destruction, sinking deeper into alcoholism. Eventually, he meets a despairing suicidal end after visiting a sanitarium and jail.

Stella Dallas (1937), 105 minutes, D: King Vidor
A classic and popular dramatic tearjerker/soap-opera about clashing social values and a devoted mother's sacrificial love - the best version of three filmed attempts (a silent film in 1925, and a feature film in 1990 with Bette Midler). It was also a best-selling novel by Olive Higgins Prouty, a play (without a Broadway run), and a radio serial that played for 18 years. The film is the touching portrayal of an upwardly mobile, small-town, good-hearted mill-girl named Stella Martin (Barbara Stanwyck) who marries a down-on-his-luck heir Stephen Dallas (John Boles). She enters into money when he becomes a successful businessman, but is never able to escape her vulgar, hard-living and coarse middle-class ways. She loses her husband when he leaves her for a former love, the widowed, society-bred Helen Morrison (Barbara O'Neil). She then gives up their daughter Laurel (Anne Shirley) to her wealthy father, in a supreme act of self-sacrifice and selflessness. She affirms she will not get in the way of her daughter's happiness or her social and romantic aspirations (allowing Laurel to marry into a wealthy family). The tearjerking ending is unforgettable, as she watches her daughter's happy marriage from afar.

Topper (1937), 98 minutes, D: Norman Z. McLeod
A delightful comedy/fantasy that was followed by two sequels: Norman Z. McLeod's Topper Takes a Trip (1938) (without Cary Grant) and Roy Del Ruth's Topper Returns (1941), a 1953-1955 TV series with Leo G. Carroll as the title character, and two TV movies, Topper (1973) (with Roddy McDowall) and Topper (1979) (with Jack Warden). It tells
about a free-spirited, wealthy, fun-loving couple named George (Cary Grant) and Marion Kerby (Constance Bennett), with wealth, fast cars, and excessive partying. The happy-go-lucky married duo are killed in an auto accident when they crash their roadster into a tree. Before they are granted entrance to heaven, however, they must perform a good deed for their stuffy bank president - to teach mild-mannered proper Cosmo Topper (Roland Young) to liven up, relax and enjoy life's pleasures. They appear at will as haunting invisible ghosts, often at awkward moments, but are only seen by Topper - taking pleasure at embarrassing him in humorous predicaments. In one hilarious scene, the Kerbys help the drunken Topper down a hotel staircase and through the lobby.

Way Out West (1937), 65 minutes, D: James W. Horne
Possibly the best Laurel and Hardy comedy (with tremendous slapstick), in a western setting. Stan Laurel (Himself) and Oliver Hardy (Himself) agree to deliver a gold mine deed and map for deceased prospector friend/partner Seymore "Sy" Roberts (Tex Driscoll). They travel west to Brushwood Gulch to give the rightful inheritance to the prospector's daughter Mary Roberts (Rosina Lawrence), but along the way, a crooked bartender Mickey Finn (James Finlayson) learns of their mission and persuades his floozy barmaid/girlfriend Lola Marcel (Sharon Lynne) to pose as an imposter and hijack the map and deed. When the two learn they were deceived, they must get the map back and rescue the girl. Includes a delightful soft-shoe dance sequence of the comedic pair to "At the Ball, That's All," the singing of "The Trail Of The Lonesome Pine," a hilarious chase scene to get the deed, Stan's tickling-to-death scene, the attempt to sneak into the saloon using Dinah the Mule, and the concluding song: "We're Going to Go Way Down to Dixie."


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