Our Gang Follies Of 1938

technical details:

Production G-39.

Release no. R-601.

Filmed November 3 to 15, 1937. See the 'miscellaneous' section below for details.

Released December 18, 1937. It was the 162nd film in the series to be released.

Copyrighted December 21, 1937, by Metro-Goldwyn-Mayer Pictures Corporation. Registration no. LP7680. Since the copyright was not renewed, this film is now in the public domain.

All-talking two-reeler.

Opening title: 'Metro-Goldwyn-Mayer presents "Our Gang Follies Of 1938".'

King World Productions episode no. 22, available in both colorized and original black-and-white versions. This version is listed as "Follies Of 1938."

the crew:

Produced by Hal Roach

The film is credited as "A Hal Roach Production." The 1977 edition of Maltin & Bann's book shows the credit as "Produced by Hal Roach for M-G-M."

Associate Producer: S. S. Van Keuren

Not listed by Maltin & Bann. This credit appears in the film. The third version of the script refers to him as the production manager.

Directed by Gordon Douglas

This credit appears in the film.

Assistant Director: Lawrence Tarver

This credit derives from studio documentation.

2nd Assistant Director: Alex Finlayson

This credit derives from the daily film reports.

Photography: Art Lloyd, A. S. C.

This credit appears in the film.

Assistant Cameraman: Ernie Smith

This credit derives from the press release.

Film Editor: William Ziegler

This credit appears in the film.

Sound: W. B. Delaplain

This credit appears in the film.

Musical Director: Marvin Hatley

This credit appears in the film.

Dances Staged by Bud Murray

Not listed by Maltin & Bann. This credit appears in the film.

Written by Robert A. McGowan, Hal Law, Norman Blackburn and Charles Rogers

This credit derives from early treatments, which credit McGowan, a press release, which credits McGowan, Blackburn and Rogers, and a memo, which mentions the hiring of Law.

Script Clerks: Ellen Hansen and Murphy

These credits derive from the daily film reports, which don't mention Murphy's first name. On most dates, Hansen was the script clerk, but Murphy handled these duties for the recording sessions on Nov. 1st and Dec. 6th, and shared this job with Hansen on Nov. 19th. Hansen was later known as Ellen Corby.

Released by Metro-Goldwyn-Mayer

It appears that M-G-M helped to finance this film. The leader at either end of the 35mm prints refers to it as "A Metro-Goldwyn-Mayer Musical." Normally, it reads "Hal Roach Comedy."

Passed by the National Board of Review

As indicated in the film.

Western Electric System

As indicated in the film.

Approved by the Motion Picture Producers & Distributors of America

Certificate no. 3871.

studio personnel

vice president in charge of production - S. S. Van Keuren

secretary-treasurer - Mat O'Brien

Roach's assistant on production activities - Lawrence Tarver

assistant secretary-treasurer, comptroller - Hugh Huber

film editor and sound department - Elmer Raguse

story department - Jack Jevne

property department - W. L. Stevens

process department - Roy Seawright

still photographer - Bud "Stax" Graves

men's wardrobe - Harry Black

paymaster - Mrs. Grace Cash

transportation director - Bob Davis

school teacher - Fern Carter

possible uncredited involvement

writing - James Parrott, Hal Law, Felix Adler, Harry Langdon and Gordon Douglas may have been among the gag writers.

property department - Charles Oelze was probably involved in this capacity.

the kids:

There was actually an additional title card made for this film which listed the nine most prominent kids in the film. Presumably, the deletion of Ada Lynn's footage led to the removal of this title card.

featured kids:

Carl "Alfalfa" Switzer as "Alfalfa"

Lead role. Referred to as "Alfalfa the Great" on the neon signs. He gives up crooning in favor of opera. He was actually second-billed behind Spanky.

George "Spanky" McFarland as "Spanky"

Featured role. He runs the show, both as a kid and twenty years later in the Club Spanky sequence, where he's addressed as "Mr. Spanky." He received top billing in the deleted title card.

Eugene "Porky" Lee as "Porky"

Featured role. He accompanies Alfalfa throughout the film. This was, incidentally, Porky's favorite Our Gang film. He was fourth-billed.

Darla Hood as "Darla"

Supporting role. She's featured in three musical acts. She was third-billed.

Billie "Buckwheat" Thomas as "Buckwheat" aka "Cab Buckwheat"

Supporting role. He leads the band, both in the barn and at Club Spanky.

Georgia Jean LaRue

Small part. She sings to Philip MacMahon during the Love Bug act. She was eighth-billed.

Philip MacMahon

Small part. He sings to Georgia Jean LaRue during the Love Bug act. He was last-billed in the deleted title card.

Annabella Logan

Small part. She sings the "Loch Lomond." She was actually Scotch, and the niece of Ella Logan. She was sixth-billed.

Ada Lynn

Deleted small part. She sang "Your Broadway And Mine" during the Club Spanky sequence, only to be cut from the finished film. She was a blues singer described as a 'vest-pocket edition of Martha Raye.' She was seventh-billed.

Gloria Hurst

Small part. She's the blonde girl among the hula girls. She's also Tommy McFarland's dancing partner.

Laura June Williams

Small part. She's the girl to the right among the hula girls. The call sheet of Nov. 4th lists "Laura Ann Williams" among the extras in the opening cellar sequence, though I'm not able to spot her in the publicity photo of the extras.

Henry Lee

Small part. He and Harold Switzer are the two 'farmer boys' who do an unseen harmonica act. He's also part of the last number, and is in the cellar audience over to the left, wearing a cap. He's also to the far left of the room in Club Spanky. The 1977 edition of Maltin & Bann's book and Maltin's earlier The Great Movie Shorts both list Alvin Buckelew.

Harold Switzer

Small part. He and Henry Lee are the two 'farmer boys' who do an unseen harmonica act. He's also part of the last number, and is the usher in the gang's barn theater. He can also be seen in Club Spanky sitting at the same table with Darwood Kaye.

Tommy McFarland as "Tommy"

Bit part. He does an unseen act with Gloria Hurst when Alfalfa returns with his contract.

the 'eccentric girls':

Betsy Gay

Small part. She's the blonde girl on the left, the one that stands up and says 'Where's the king of the crooners?'

Gloria Mackey

Small part. She's the middle girl.

Trina Morris

Small part. She's the girl on the right.

the "Love Bug" girls:

Sylvia Johnson

Small part. She's Porky's girlfriend.

Jo Ann Thomas

Small part. According to the call sheets, she was the third girlfriend for Buckwheat in the "Love Bug"sequence and only worked on Nov. 11th. However, memos reveal that she also filled this role on the 8th and 9th.

Mona Jones

Small part. According to the call sheets, she was Buckwheat's girlfriend on Nov. 8th, 9th and 10th. However, since these documents were prepared prior to each day's shooting, it's more likely that Jo Ann Thomas was the girl who ended up in the film. She's also among Ben Carter's kids, who worked on earlier shooting dates, which means that she's probably among the band members in the cellar scenes.

Jean Marshall

Small part. According to the call sheets, she was Buckwheat's original girlfriend, on Nov. 6th. Since "The Love Bug" was not among the numbers scheduled to be shot on this day, she's the least likely among the three girlfriends to be the one seen in the film.

the Bud Murray girls:

These kids are all listed in studio documentation as among D. Murray's Kids. Not sure what the D stands for, or whether it's an error, but a lot of peripheral Our Gang kids were trained at Bud Murray's dance studio.

Gloria Brown

Small part. She's the tallest of the hula girls during the final number, and among the chorus girls, she's the first of the two girls with the letter 'L' on her sweater. She's also the middle Bowery girl, and worked in Ada Lynn's deleted routine.

Priscilla Montgomery

Small part. She's wearing the 'I' on her sweater. She's also the Park Avenue girl on the right, and is sitting just to the right of the slide in the cellar audience. She also took part in Ada Lynn's deleted routine.

Verna Dillon

Small part. She's the second girl with an 'L' on her sweater. She's also the Bowery girl on the left, and sits in the cellar audience along the right side, directly in front of Rae-Nell Laskey. She also worked in Ada Lynn's deleted routine.

Camille Williams

Small part. She's the girl with the 'E' on her sweater. She's also the middle Park Avenue girl, and sits in the cellar audience between Patricia Wheeler and Noreen Stein. She also took part in Ada Lynn's deleted routine.

Rae-Nell Laskey

Small part. She's the girl with the 'O' on her sweater. She's also the Bowery girl to the right, and sits in the cellar audience along the right side in the next-to-last row.

Patricia Wheeler

Small part. She's the girl with the 'S' on her sweater. She's also the left Park Avenue girl, and sits in the cellar audience between Priscilla Montgomery and Camille Williams.

Noreen Rita Stein

Small part. The 1938 directory states that she was in this film. She's the girl wearing the 'F' sweater, and also sits in the cellar audience to the right of Camille Williams.

Jackie Horner

Small part. An early 1938 directory states that Dorothy Horner had a week's contract on this film. Studio documentation lists her as Jackie Horner. Other references verify her name as Jacqueline Horner. A perusal of the casting directories reveals that they are one and the same, though the use of the name "Dorothy" is currently a mystery. She's the girl wearing the sweater with the exclamation point.

others

Also listed in studio documentation is Susette Laveil.

the Bud Murray boys:

Dickie Jones as "Dickie"

Small part. He appears in both the "Love Bug" act (as the Park Avenue boy at the far right), and in Ada Lynn's deleted routine. He's also seen carrying a sign in the opening shot and handles the curtains backstage. He also sits in the cellar audience in the back row next to Darwood Kaye.

Joe "Corky" Geil

Small part. He's at the far right among the Loch Lomond boys, and is also carrying a sign at the beginning of the film with Dickie Jones. He's also the left Bowery boy, and was one of the boys in Ada Lynn's deleted routine.

Bobby Crockett

Small part. A 1938 casting directory states that he appeared in this film. He's second from the left among the Loch Lomond boys. It also looks like he might be the middle boy in the Park Avenue group. He's also in the cellar audience sitting next to Rae-Nell Laskey, and appears to have taken part in Ada Lynn's deleted routine. He's also seen hanging out of the window in the opening shot.

Billy Diamond

Small part. It appears that he's to the far left among the Loch Lomond boys. Even if he's not one of them, he's definitely sitting in the audience between Patsy Currier and Billy Eckley in the second row from the back. He's also to the left among the Park Avenue boys, and took part in Ada Lynn's deleted routine.

Pete Troncale

Small part. He's the middle Bowery boy, and it also looks like he may have been part of Ada Lynn's deleted routine. He's also in the cellar audience, way in the back next to Dickie Jones.

Billy Eckley

Small part. This is the one boy on this list that isn't listed among the Murray kids. However, the second boy from the right in the Loch Lomond scene looks entirely like him, and a publicity photo of the cellar audience reveals a boy sitting next to Bobby Crockett who also looks like him.

others

Also listed in studio documentation are Leon Higby and Douglas Short. Presumably, one of these is the Bowery boy on the right. There's also a boy mostly out of camera range in the available photo of Ada Lynn's deleted routine.

the Ben Carter kids:

Ten of these kids were recruited to perform in 'Cab' Buckwheat's band. There are nine of them shown in the Club Spanky scene, and at least eight in the cellar band. Presumably, the same kids were utilized for both scenes. The ten dancing porters and waitresses at Club Spanky are not shown in the same shots as the musicians, so it's possible that this is the entire group of ten, especially since Carter ran a dancing school. One of these ten was Mona Jones, who is listed above. The others were:

Cullen Morris

Previously seen in "Shrimps For A Day." It appears that he's in both of Buckwheat's bands as well as in the dance number at Club Spanky. This might be true of all of these Carter kids.

Clarence Calvert

Alvin Morris

Sherrill Luke

Pauline James

Danellen Mabry

Beverly Thomas

Lorraine Long

Cordell (Bobbie) Hickman

Small part. He's not listed among the Carter kids, but a casting directory photo shows him in costume for Cab Buckwheat's band. Judging by a press photo, it appears that he's also second from the left among the cellar band members. The directory lists Bobbie Hickman, which was presumably an alternate name.

the Club Spanky waiters:

According to studio documentation, there were actually six waiters (in addition to head waiter Clifford Severn), though only two are apparent from watching the film.

Clifford Severn, Jr., as "Richard"

Small part. He's the waiter who speaks with Spanky.

Roger McGee

Extra. He's directly behind Spanky as he announces that Alfalfa will croon.

Bill Cody, Jr.

Extra. He's presumably the remaining waiter who's seen clearly in the film.

the Club Spanky check room girls:

Jana Ekelund

Bit part. She's the girl on the left.

Baby Patsy May

Bit part. She's the girl on the right.

at the opera house:

In addition to the three listed below are at least seven orchestra members, three girls and three additional boys in the first balcony group, and three girls and four boys in the second balcony group. Jimmy Sommerville is listed by Maltin & Bann as appearing in this film, and I think he might be the blonde boy in this second group. There are also perhaps ten kids behind the orchestra pit. Studio documentation reveals that the studio deliberately used different kids in this scene than in the other scenes in the film, with the apparent exception of Freeman. The number of girls indicated in the documentation corresponds to what's seen on film, while the number of boys indicates that perhaps one or more audience members doubled as an orchestra member. It's also apparent that the group behind the orchestra pit were made up of the kids on the balconies.

David Freeman

Bit part. Studio documentation reveals that he's the conductor. He later is seen on the dance floor of Club Spanky with a much shorter girl. The two of whom are closest to Darla as she first sees Alfalfa.

Daniel Boone

Extra. He's in the first balcony group to the far right.

Barry Downing

Extra. It looks like he's second to the left in the initial balcony shot.

outside Club Spanky:

Most notable is the doorman, who may be one of the Ben Carter kids. There are also several kids walking down the sidewalk.

Billy Minderhout

Bit part. Also known as Billy Mindy. Studio documentation reveals that he played Spanky's chauffeur.

cellar extras:

According to a publicity photo, there were 41 audience members, plus Harold Switzer as the usher. Three of these are the 'eccentric girls' listed above. At least ten of the other kids listed above were in the cellar audience. The call sheet for Nov. 5th mentions an extra named David Wilmot, but I'm not familiar with him.

Tommy Braunger

Extra. He's wearing a cap and sitting right behind the 'eccentric' girls.

girl 160

Extra. She sits directly behind the middle 'eccentric' girl.

John Collum

Extra. He's sitting directly behind girl 160, but is best seen at Club Spanky as Alfalfa tries to get away from the impresario.

Robert Winckler

Extra. He's seen carrying the second sign at the beginning of the film, and is sitting in front and towards the left in the audience. Maltin & Bann list him as Robert Winkler.

Patsy Currier

Extra. She's sitting directly in front of Dickie Jones.

Darwood Kaye

Extra. He's in the back row next to Dickie Jones, and is also at a back table in Club Spanky, sitting with Harold Switzer.

Dolores Freymouth

Extra. She sits to the left of girl 160, and is also at the same Club Spanky table as Harold Switzer and Darwood Kaye. Later known as Dolores Diane, and still later as Helene Stanley.

Charline Flanders

Extra. She appears to be the girl sitting two rows directly in front of Darwood Kaye in the cellar audience.

Cheryl Hopper

Extra. A publicity photo reveals her sitting way in the back directly in front of the large metal cylinder.

Louise Williams

Extra. A publicity photo reveals that she was on the far left among the cellar audience.

Club Spanky extras:

Six of the kids listed above are sitting in the audience at Club Spanky. There were also three stand-ins involved in this scene. The press release states that 150 kids were sitting at the tables in this scene. Studio documentation reveals that the number reached 60 at its highest.

Norman Salling

Extra. A 1938 directory states that he appeared in this film. He sits at the table closest to the stage, and is seen at the end of Spanky's introduction to the "Love Bug" number.

Paul Hilton

Extra. He sits at the table to the left of the table with the main kids.

Dorothy Heinrichs

Extra. A 1938 directory states that she appeared in this film. She sits at the table closest to the gang's.

Dix Davis

Extra. He's sitting at the table closest to the gang's, and is right next to Spanky during this scene.

Tim Davis

Extra. He sits at the table behind Georgia Jean LaRue and Philip MacMahon.

Raymond Rayhill Powell

Extra. Credited by Maltin & Bann as well as casting directories for appearing in this film. It appears that he's at the table right behind the table with the main kids.

Rhoda Williams

Extra. A 1938 directory states that she appeared in this film. A girl shown in the background of the shot in which Darla first notices Alfalfa has hair and a dress that matches the photo in the directory.

other kids

Extras. Maltin & Bann list Kenneth Wilson, Bobs Watson, Josephine Roberts and Philip Hurlic, but I don't see any of them in the film. A press release states that 179 children appeared as 'atmosphere,' but this is probably an exaggeration. A press release states that Maria Ayres was slated to appear in this film. This was newsworthy because she was the daughter of Agnes Ayres. It looks like she might be in one of the balconies during the opera scene, and perhaps at the far left among the cellar audience. Casting directories state that Frances Bowling, Leona McDowell, Jeanie Flickenger, Darryl Hickman and Charles Flickinger all appeared in this film, but I haven't been able to spot any of them. Presumably, they're purely extras.

the animals:

Leo

Bit part. The MGM lion appears at the opening of the film.

the adults:

Henry Brandon as the opera impresario

Supporting role. Named "Barnaby" in the script, but not on screen. He signs Alfalfa to a contract and makes him sing in the streets.

Gino Corrado as the opera singer

Small part. His rehearsal is interrupted by Alfalfa.

Wilma Cox as "Miss Jones," the stenographer

Small part. She draws up the contract for Alfalfa.

Winstead "Doodles" Weaver as the piano player

Bit part. He's seen in the background during the scene with the other adults. The press release states that he 'improvised eccentric tunes and daffy lyrics for the kids on the set. Director Douglas finally had to close the cover over the keyboard long enough to realign the gang for their musical paces.'

the music:

"Stage-Coach Conversation" by T. Marvin Hatley

Copyrighted Mar. 20, 1937. This is played over the opening titles and as the kids file into the barn. This tune was originally used in the Laurel & Hardy feature "Way Out West."

"King Alfalfa" by T. Marvin Hatley

Copyrighted Dec. 22, 1937. This is sung by Spanky, Darla and the chorus girls to open the review. A closing version is sung to end the film.

"Good Morning Children" by T. Marvin Hatley

Copyrighted Jan. 2, 1934. The introduction to this piece is played to introduce Alfalfa right before he sings "Barber Of Seville."

"Barber Of Seville" by Gioachino Rossini

From the opera "Il barbiere di Siviglia." The libretto was written by Cesare Sterbini. Premiered Feb. 20, 1816. This is sung by Alfalfa as he first takes the stage. It's then sung by Gino Corrado, and by Alfalfa, at the opera house. Alfalfa sings it again during his unsuccessful performance during the dream sequence, and then continues while carrying the tin cup. It should be noted that only the "Figaro" portion derives from the opera, and is listed on the daily film report for the recording session as a separate piece. The portion containing the words "I'm the barber of Seville" is apparently something that Marvin Hatley added and does not come from the opera. Hatley received arrangement credit for the overall piece. The daily film report lists the added portion as "Introduction To The Barber Of Seville."

"Pick A Star" by R. Alex. Anderson

This is the harmonica music played as Alfalfa walks out on Spanky.

"Loch Lomond"

Originally titled "Bonnie Banks O' Loch Lomond" and written around 1745. Evan Williams had a number ten hit with this song in 1912. Maxine Sullivan (with Claude Thornbill's Orchestra) reached number nine with this song ten days after this film was released. In this film, it's sung by Annabella Logan.

"Honolulu Baby" by T. Marvin Hatley

Copyrighted Oct. 18, 1933. This is played as Alfalfa sits back in the easy chair and starts to doze off. This song was introduced in the Laurel & Hardy feature "Sons Of The Desert."

"Interlude" by Leroy Shield

Copyrighted Dec. 22, 1937. This is played as Alfalfa's dream sequence begins. This was the last composition submitted to the Roach studio by Shield, and was written especially for this film.

"All Dressed Up In Rhythm" by T. Marvin Hatley

Originally copyrighted Sep. 19, 1936. This version copyrighted Mar. 22, 1937. This is played as the kids enter Club Spanky.

"Fanfare" by T. Marvin Hatley

This is played as "Cab" Buckwheat takes the stage.

"Follow The Leader" by Arthur Morton

The is played by the band led by "Cab" Buckwheat.

"The Love Bug Will Bite You (If You Don't Watch Out)" by Pinky Tomlin

Published in 1936. This was a number six hit for Jimmy Dorsey & His Orchestra in 1937. In this film, it's sung by Darla, with help from Porky, Buckwheat and Georgia Jean LaRue. The introductory passage is sung by Spanky. The alternate title "The Love Bug Will Get You" applies to this version.

"That Foolish Feeling" by Harold Adamson and Jimmy McHugh

Published in 1936. Lyrics by Adamson and music by McHugh. From the film "Top Of The Town." This was a number fifteen hit for Tommy Dorsey & His Orchestra in 1937. In "Our Gang Follies Of 1938," it's sung by Georgia Jean LaRue.

"There's No Two Ways About It" by Harold Adamson and Jimmy McHugh

Published in 1936. Lyrics by Adamson and music by McHugh. From the films "The Voice Of Bugle Ann" and "Top Of The Town." In "Our Gang Follies Of 1938," it's sung by Philip MacMahon.

"Lohengrin Wedding March" by Richard Wagner

Written in 1846 as the "Bridal Chorus," or "Treulich geführt," from Act III Scene 1 of the opera "Lohengrin." Premiered Aug. 28, 1850. This melody ends the big production number at Club Spanky. This swing version was arranged by Jimmie Grier, and had previously been performed by Grier and his orchestra in the Roach feature "Nobody's Baby." The term "Wedding March" is somewhat of a misnomer in this case, since the Wagner piece is generally referred to as the "Bridal Chorus," or more popularly, "Here Comes The Bride," and used as the processional music at most western weddings. What is normally referred to as the "Wedding March" derives from Felix Mendelssohn's "A Midsummer Night's Dream," and is commonly used as the recessional music.

"Learn To Croon" by Sam Coslow and Arthur Johnston

Published in 1933. Lyrics by Coslow and music by Johnston. From the film "College Humor." It was a number three hit for Bing Crosby in 1933. In "Our Gang Follies Of 1938," it's sung by Alfalfa.

other music

The only remaining music is when Alfalfa (twice) practices his singing with 'me me!' much like he did in "Framing Youth" (no. 159).

unused music

"Your Broadway And Mine" by Nacio Herb Brown and Arthur Freed

Music by Brown and lyrics by Freed. From the film "Broadway Melody Of 1938." This was sung by Ada Lynn during the Club Spanky sequence in footage deleted from the final film. It's sometimes referred to in studio documentation as "Your Broadway And My Broadway." Darla later sang this song in "Aladdin's Lantern" (no. 172).

"Sextet From Lucia" by Gaetano Donizetti

"Chi mi frena in tal momento" - "Chi raffrena il mio furore?" from "Lucia di Lammermoor." Libretto by Salvatore Cammarano. Premiered Sep. 26, 1835. This was the original opera piece selected for Alfalfa to sing, but was replaced by "Barber Of Seville." Worries over perceived Italian reaction to any burlesque version of the Sextet might explain why "Barber Of Seville" retained so little of its original content.

the locations:

Hal E. Roach Studios

The entire film was shot here. The interior cellar and tenement alley footage was shot on Stage 4. The interior and exterior Club Spanky, and interior opera house footage was all shot on Stage 3. There is some contradiction in studio documentation regarding the exterior opera house and interior cellar backstage sets, which are variously listed as being on Stage 3 and Stage 4.

miscellaneous:

Eleven shooting dates went into the making of this film. An eBay photo of some of the black kids in this film includes the following note on the reverse: 'Well here is the young lady today 5 years old Sept. 7th, 1937, with some of her dancing partners on the lot at Hal Roach Studio between shots where she was playing in a picture title "Our Gang Follies of 1938." Be sure and see it when it comes there. Was released Dec. 11.' In light of the documentation in the archives at USC, it seems that the Sep. 7th date pertains to the girl's birthday and not the shooting date. The release date might have actually been more of a preview or premiere date. The spellings of names listed in these notes are according to the original documents and are not always correct. Here's a breakdown of the activities, deriving from the call sheets, daily film reports, crew production sheets, and various memos:
Oct. 6 - A thumbnail synopsis by Robert A. McGowan carries this date, though it indicates that it was written the previous day. At this point, it was called "Gang Musical," and had been given the production number G39. The bad guy in the synopsis was named "A. Zilch."
Oct. 7 - A first treatment by McGowan carries this date, entitled "Our Gang Musical." It was already slated to be a two-reeler. An attached note from Gordon Douglas to Van Keuren indicates the removal of the idea of having Alfalfa sing during the Club Spanky sequence. The "A. Zilch" character in this treatment is said to transform into 'a Scrooge - a Barnaby.'
Oct. 14 - A Funk memo to Van Keuren from this date states that a quotation and availability for possible instrumental, vocal, visual use had been requested through New York for "Your Broadway And My Broadway," "Sextet From Lucia," and "Learn To Croon."
Oct. 15 - A quotation was received from Jack Robbins for "Your Broadway And My Broadway" indicating a fee of two hundred dollars per use.
Oct. 16 - A Funk memo to Van Keuren and Tarver from this date relays a wire from Mr. Decker in New York which stated that the publishers of "Learn To Croon" were absolutely refusing its use in the film. Decker also stated that "Sextet From Lucia" was in the public domain, but that any burlesque-style use of this song would lead foreign censors, especially those in Italy, to delete it from the film. Decker suggested that an exact description of its use be sent to him.
Oct. 18 - A Van Keuren memo from this date to Huber and Cash instructs them to 'start' writer Harold Law as of this date and charge it to this production. Copied in was O'Brien.
Oct. 20 - A Funk memo from this date to Van Keuren and Tarver states that MGM in New York was being wired as to the availability and cost of "The Love Bug Will Bite You" for instrumental, vocal and visual usage.
Oct. 21 - A Funk memo from this date to Van Keuren and Tarver states that Mr. Decker at MGM in New York quoted two hundred and fifty dollars for visual vocal use of "The Love Bug." Another Funk memo to the same two people states that Jack Robbins of New York was being wired as to the availability and cost of instrumental, vocal and visual use of "That Foolish Feeling" and "There's No Two Ways About It."
Oct. 22 - Another Funk memo to Van Keuren and Tarver relays the following wire from Decker: 'Re your wire October fifteenth the quote Learn To Croon unquote desired is from picture College Humor released 1933 composed Coslow and Johnson published by Famous - stop - Please advise earliest possible moment availability and cost instrumental vocal visual usage forthcoming our gang two reeler untitled.'
Oct. 25 - A Funk memo from this date to Van Keuren, Tarver and Douglas, relays a wire from Decker stating that Paramount wants one hundred and fifty dollars for visual vocal use of "Learn To Croon."
Oct. 26 - A letter from this date reads: 'Dear Mr. Raguse: This is to confirm my conversation with Mr. Funk concerning your proposed use of the songs entitled "That Foolish Feeling" and "There's No Two Ways About It" both composed by McHugh and Adamson. We are agreeable to permit you to make visual vocal uses at the rate of two hundred dollars each as quoted. I understand further that these uses will not in any way burlesque the songs in question. If these terms are in order, I will appreciate your acknowledgement which will be considered a binding agreement between us. With kind regards, I am sincerely yours, Jack Bregman.' This was copied to Van Keuren, Tarver and Douglas.
Oct. 27 - A Funk memo from this date to Van Keuren and Tarver states that "Lohengrin Wedding March" by Wagner was being cleared through MGM in New York for instrumental, non-visual usage, and that the number was in the public domain provided a new arrangement was used. A second Funk memo to the same two people states that three numbers were being cleared, which, according to local information, were all in the public domain. These were "Lohengrin Wedding March," "Loch Lomond," and "Barber Of Seville" (largo al factotum movement). The memo also reads: 'Confirmation of availability of the above numbers completes the music set-up of outside numbers to be used in this production.
Oct. 30 - Film costs for the previous week were $1934.17.
Oct. 30 to Nov. 3 - Script no. 3 is dated Nov. 3rd, but the first page carries the date Oct. 30th, suggesting that it was put together over a period of five days. At this point, the film was called "Our Gang Follies Of '38." The bad guy is named "Barnaby," with Alfalfa actually calling him "Mr. Barnaby" in the dialogue. Buckwheat is given the name "Cab Buckwheat" for the first time. Already slated were "Your Broadway And Mine" sung by Ada Lynn, and the "Love Bug" number featuring Phil McMahon and Georgia Jean LaRue. Most curious is the fact that Alfalfa sings with an adult voice during the flash-forward sequence.
Nov. 1 - The following musical pieces and backing tracks were recorded on this day: "Introduction To The Barber Of Seville," "Figaro," "Stage-coach Conversation," "Loch Lomond," "There's No Two Ways About It," "The Love Bug," "That Foolish Feeling," "King Alfalfa," "Your Broadway And My Broadway," and "Learn To Croon." A Raguse memo from this date copying in Van Keuren, O'Brien, Douglas and Burch, states that the official title of the film was "Our Gang Follies Of 1938." A Funk memo from this date to Van Keuren, Tarver and Douglas, relays a wire from Decker which states that "Lohengrin Wedding March," "Barber Of Seville" and "Loch Lomond" were all in the public domain provided new arrangements were used.
Nov. 2 - A Van Keuren memo from this date to Huber and Cash (and copying O'Brien) states that Alex Finlayson 'started' as an assistant director on this production as of this date.
Nov. 3 - This was the first day of shooting. Scheduled were the five main kids, 3 eccentric girls (two of whom would be Trina Morris and Betsy Gay), 2 boy ushers, 7 'Murray boys,' 9 chorus girls ('Murray kids'), 10 members of a 'colored' band, Harold Switzer and Henry Lee. The Murray kids were to be included in the audience of 40. Shooting was to take place on the tenement alley/exterior cellar set and the interior cellar set, both on Stage 4. Playbacks were to be Spanky's 1st number (intro), Darla's 1st number, and "Alfalfa Is The King." The title on the call sheet is "Our Gang Follies '38." The daily film report reveals that 9 script scenes (that is, shots) were completed, which is a bit fewer than planned, and that 16 Bud Murray kids, 10 Ben Carter kids, and 25 extra kids were used. It should be noted that combining the 16 Murray kids and the 25 extras just about adds up to the total number of kids in the audience, which numbered at least 42 in the film. A Tarver memo to Van Keuren, Huber and Collum, states that the five main kids 'started' as of this date.
Nov. 4 - This was the second day of shooting. Scheduled were the five main kids, 10 members of the 'colored' band, 9 Murray girls, 7 Murray boys, 2 farmer boys, 3 eccentric girls, Bob Winkler and 3 extra boys, and Laura Ann Williams and 3 extra girls. Shooting was to take place on the interior cellar set on Stage 4. Playbacks were to be Spanky's 1st number, Darla's 1st number, and "Alfalfa Is The King." The daily film report reveals that 8 script scenes were completed. A Collum memo from this date to O'Brien, Van Keuren, Huber and Cash, states that the five main kids 'started' as of Nov. 3rd. Another Collum memo to the same four people states that Phil McMahon 'started' as of Nov. 4th. Another Collum memo to the same four people states that the following children 'started' as of Nov. 2nd: (D. Murray's Kids) Leon Higby, Pete Trencalli, Joe Geil, Dickey Jones, Bobby Crockett, Billy Diamond, Douglas Short, Noreen Stein, Raynel Lasky, Gloria Brown, Verna Dillon, Purcilla Montgomery, Camille Williams, Jackie Horner, Patsy Wheeler, Susette Laveil, (Ben Carter's Kids) Clarence Calvert, Cordell Hickman, Cullen Morris, Alvin Morris, Sherrill Luke, Pauline James, Dan Ellen Mabry, Beverly Thomas, Mona Marie Jones, and Lorraine Long. Not mentioned on the call sheet was the "Loch Lomond" number featuring Annabella Logan, who 'finished' as of this date.
Nov. 5 - This was the third day of shooting. Scheduled were the five main kids, 10 members of the 'colored' band, 9 Murray girls, 7 Murray boys, 2 boys in sailor outfits (Henry Lee and Harold Switzer), 3 girls in hula costumes (Gloria Hurst, Gloria Brown, Lora June), 15 girls over 6 years of age (good types), 3 eccentric girls included among the 15 girls (Betsy Gay, Gloria Mackie, Trina Morris), and 9 boys over 6 years of age (good types). Called back from the set would be Bob Winkler, John Collum and David Wilmot. Shooting was to take place on the interior cellar set on Stage 4. The only playback scheduled was for "Learn To Croon." According to the daily film report, 11 script scenes were completed. It appears that all of the cellar footage, both for the beginning and the end of the film, were completed, not counting the backstage footage. A memo from this date mentions the use of Tommy McFarland and Gloria Hurst as two tapdancers.
Nov. 6 - This was the fourth day of shooting. Scheduled were the five main kids, Ada Lynn, headwaiter Clifford Severn, 2 check room girls (Patsy May and Jana Ecklund), 2 "Love Bug" girls (Jean Marshall and Sylvia Johnson), 9 Murray girls, 7 Murray boys, 6 waiters, 25 girls (6 to 10 years of age), 25 boys (6 to 10 years of age), and 10 members of the 'colored' band. Shooting was to take place on the interior Club Spanky set on Stage 3. Playbacks were to include the "Broadway" number, "No Two Ways About It" and "Foolish Feeling." The daily film report states that 3 script scenes were completed, and also lists Clifford Severn, Jana Eckliend, Jean Marshall and Sylvia Johnson. A Tarver memo from this date to Van Keuren, Huber and Collum, states that Patsy May 'started' as of this date. Another memo states that this day's shooting involved 60 extras, 1 bit player and 3 stand-ins. Film costs for the previous week were $7406.83, bringing the total to $9341.00 so far.
Nov. 7 - This was a Sunday. No shooting took place.
Nov. 8 - This was the fifth day of shooting. Scheduled were the five main kids, Ada Lynn, Georgia LaRue, Phil McMahon, head waiter Clifford Severn, the other waiters, the two "Love Bug" girls (Sylvia Johnson and Mona Jones), 9 Murray girls, 7 Murray boys, 10 members of the 'colored' band, and extras as needed. Shooting was to take place on the interior Club Spanky set on Stage 3, with playbacks of the same numbers as on the previous shooting date. The daily film report states that 7 script scenes were completed. A memo from this date mentions the use of 32 extras and 3 stand-ins. Another memo states that Jo Ann Thomas was Buckwheat's girlfriend, indicating that Mona Jones didn't work out.
Nov. 9 - This was the sixth day of shooting. Scheduled were the five main kids, Georgia LaRue, Phil McMahon, 9 Murray girls, 7 Murray boys, 10 members of the 'colored' band, the two "Love Bug" girls (Sylvia Johnson and Mona Jones), two waiters (Bill Cody, Jr., and Roger McGee), and extras as needed. Shooting was to take place on the interior Club Spanky set on Stage 3, with playbacks of "No Two Ways" and "Foolish Feeling." A memo from this date states that Jo Ann Thomas was Buckwheat's girlfriend, indicating that Mona Jones didn't work out. According to the daily film report, 7 script scenes were completed. A Collum memo from this date to O'Brien, Van Keuren, Huber and Cash, requests that Georgia Jean LaRue be 'started' as of Nov. 4th, and Ada Lynne and Annabelle Logan be 'started' as of Nov. 4th and 'closed' as of Nov. 8th. Another Collum memo to the same four people requests that Philip McMahon be 'started' as of Nov. 4th. A Tarver memo (actually written by Alex Finlayson) to Van Keuren, Huber and Collum, states that Annabella Logan finished working on Nov. 4th, Clifford Severn finished working on Nov. 6th, and Ada Lynn finished working on Nov. 8th. Another Tarver memo to the same three people advises that the following children finished working as of Nov. 9th: Leon Higby, Joe Geil, Dickie Jones, Bobby Crockett, Billy Diamond, Douglas Short, Noreen Stein, Ray Nell Laskey, Gloria Brown, Verna Dillon, Priscilla Montgomery, Camille Williams, Jackie Horner, Patsy Wheeler, Suzzette La Veil, and Peter Troncelli.
Nov. 10 - This was the seventh day of shooting. Scheduled were the five main kids, Georgia LaRue, Phil McMahon, the "Love Bug" girls (Sylvia Johnson and Mona Jones), 10 members of the 'colored' band, and extras as needed. Shooting was to take place on the interior Club Spanky set on Stage 3, with playbacks of "Love Bug," "Foolish Feeling" and "No Two Ways." The call sheet mentions that the following day's shooting was to take place on the interior opera house set. However, shooting was clearly falling behind, since cast and crew were back on the Club Spanky set instead. According to the daily film report, 6 script scenes were completed. A Tarver memo from this date to Van Keuren, Huber and Collum, states that Ben Carter's 10 colored children finishing working on this date. A Collum memo to O'Brien, Van Keuren, Huber and Cash, requests that the following children be 'closed': Clarence Calvert, Cordell Hickman, Cullen Morris, Alvin Morris, Sherrill Luke, Pauline James, Dan Ellen Mabry, Beverly Thomas, Mona Marie Jones, and Lorraine Long. Another Collum memo to the same four people requests that the 16 Bud Murray kids listed on the Nov. 9th memo be closed as of that date.
Nov. 11 - This was the eighth day of shooting. Scheduled were the five main kids, Georgia LaRue, Phil McMahon, Henry Brandon, the two "Love Bug" girls (Sylvia Johnson and Jo Ann Thomas), chauffeur Billy Minderhout, and extras as needed. Plans to shoot the opera house footage were delayed in favor of finishing footage on the interior Club Spanky set on Stage 3. Playbacks were to include "Love Bug" and "Foolish Feeling." An extra camera and operator would be needed. According to the daily film report, 11 script scenes were completed. Plans to move on to the exterior Club Spanky set were put off for a later date. A Tarver memo to Van Keuren, Huber and Collum, states that Henry Brandon started working as of this date.
Nov. 12 - This was the ninth day of shooting. Scheduled were Spanky, Alfalfa, Porky, Henry Brandon, Wilma Cox, Gino Corrado, an accompanist, 'kid chauffeur' Billy Minderhout, a kid orchestra led by David Freidman, and a group of extras made up of all new faces. These would include 6 girls (2 six-year-olds, 2 seven-year-olds, and 2 nine-year-olds) and 12 boys (3 six-year-olds, 3 seven-year-olds, 3 eight-year-olds and 3 nine-year-olds). An Austin car would also be needed. Shooting was to take place on the exterior Club Spanky set on Stage 3 and the interior opera house set, also on Stage 3. However, delays from the previous day required the shooting of footage on the interior Club Spanky set, finally finishing that portion of the film. The exterior Club Spanky footage was also finished on this date, but the opera house footage was delayed for another day. According to the daily film report, 12 script scenes were completed. A Tarver memo from this date to Van Keuren, Huber and Collum, states that Patsy May finished working on the previous day, and that Phil Mc Mahon, Georgia Larue, and Buckwheat Thomas finished as of this date.
Nov. 13 - This was the tenth day of shooting. Scheduled were Spanky, Alfalfa, Porky, Henry Brandon, Wilma Cox, Gino Corrado, Doodles Weaver, and extras as needed. Shooting was to take place on the interior and exterior opera house sets on Stages 3 and 4. However, it appears that only the interior footage was completed on this date. According to the daily film report, 14 script scenes were completed, with 23 still left to be shot. A note on the call sheet indicates that filming was scheduled for the interior cellar set on Stage 4 for the following Monday. A Tarver memo to Van Keuren, Huber and Collum, states that Doodles Weaver started working on this date, and that Darla finished working the previous day. A Collum memo to O'Brien, Van Keuren, Bren and Cash, relays the information about Weaver. Another Collum memo to the same four people requests that Patsy May be 'closed' as of Nov. 11th, and that Philip McMahon, Georgia Larue and Buckwheat Thomas be 'closed' as of Nov. 12th. Film costs for the previous week were $6687.08, bringing the total to $16,028.08 so far.
Nov. 14 - This was a Sunday. No shooting took place.
Nov. 15 - This was the final day of shooting. Prior to this date, 23 script scenes (that is, shots) were still left to be filmed. No call sheet or daily film report were available for research from this date, but the crew production sheet reveals that shooting took place on the exterior opera house stage door set and the interior cellar back stage set on Stage 3. There is also some indication that shooting was tentatively planned for Nov. 16th, but it appears that this wasn't needed.
Nov. 16 - A Tarver memo from this date to Huber and Cash requests that a check for two hundred dollars be given to Bud Murray, covering services rendered from Oct. 25th to Nov. 9th. A Tarver memo from this date to Van Keuren, Huber and Collum, advises that Henry Brandon, Spanky, Alfalfa, and Porky, all finished working as of the previous day. A Collum memo from this date to O'Brien, Van Keuren, Huber and Cash, requests that Spanky, Alfalfa and Porky be 'closed' as of Nov. 15th. A Van Keuren memo from this date to Huber and Cash, states that assistant director Alex Finlayson completed his assignment the previous night. These last items give us a pretty good indication that no shooting took place after the 15th.
Nov. 19 - Sound effects were recorded on this date, specifically taps to match the dance routines for "Your Broadway And My Broadway" and "There's No Two Ways About It."
Nov. 20 - Film costs for the previous week were $4137.77, bringing the total to $20,165.85 so far.
Nov. 22 - A Raguse memo from this date gives details regarding the opening titles for this film. It's apparent that one of the title cards prepared for the film listed cast members. The names on the card were Spanky McFarland, Alfalfa Switzer, Darla Hood, Porky Lee, Buckwheat Thomas, Annabelle Logan, Ada Lynn, Georgia Jean LaRue and Phil McMahon. Presumably, this card was cut from the film at the same time as Ada Lynn's big scene.
Nov. 27 - Film costs for the previous week were $1512.31, bringing the total to $21,678.16 so far.
Dec. 4 - Film costs for the previous week were $973.63, bringing the total to $22,651.79 so far.
Dec. 6 - Soundtracks were recorded on this day.
Dec. 10 - The domestic negative and the domestic negative soundtrack were delivered to the MGM lab, and the domestic positive Movietone print was shipped to W. D. Kelly in New York.

Press information describes Porky using a candid news camera to take photos of the 'celebrities' on the Club Spanky set. At least one photograph supports this story.

October 31st was Halloween, and Mr. and Mrs. R. E. McFarland and their sons Spanky and Tommy hosted a Hallowe'en dinner that evening. In attendence were Pat Ross, Penny Laws, Dickie Jones, Clark Flake, Darla Hood, Baby Patsy May, Alfalfa and Harold Switzer, Buckwheat Thomas, Porky Lee, and their parents.

November 4th was Darla's birthday (promoted as her sixth even though it was her seventh), and the studio held a gala luncheon party in her honor, which also celebrated the completion of this film (suggesting that perhaps the luncheon took place later than the actual birthday). Youngsters in attendance were Spanky and Tommy McFarland, Porky Lee, Alfalfa, Harold and Janice Switzer, Baby Patsy May, Gary Jasgur, Dorothea Page, Lee Anne Van Keuren, and Clarke Flake.

One of the press items for this film covered the history of the Our Gang series, so even though he wasn't in this film, Pete the Pup got some coverage. It turns out that Pete the Pup IV was still the dog starring in the series, which means Pete the Pup V probably never replaced his father.

One broadcast of the radio show "George Jessel's 30 Minutes In Hollywood" featured Norma Talmadge, Johnny Downs, and Our Gang, 'by courtesy of the Hal Roach Studios, fresh from their current picture, "Our Gang Follies Of 1938".'

From a Dec. 18th press release: 'Santa Claus paid an early call at the Hal Roach Studios. He arrived at eleven o'clock Saturday morning, early enough to escort Spanky McFarland, Alfalfa Switzer, Porky Lee, Buckwheat Thomas, Darla Hood and Baby Patsy May, members of "Our Gang," to the studio's annual Christmas party for these popular young players. Stage 4 was given over entirely to the festivities, with a mountain setting providing a background for a huge and elaborately decorated tree. Learning through Santa Claus of the contents of the children's letters, Mr. Roach gave each of them what he or she most desired. There was a pony, saddled and ready to be ridden off the stage, for Alfalfa, a gold trumpet for Spanky, bicycles for Porky and Buckwheat, and identical playhouses, large enough to let them carry on their housekeeping duties, for Darla and Patsy. Mr. Roach, his associate producers, Milton H. Bren and S. S. Van Keuren, other studio executives, members from other companies on the lot, and almost the entire studio personnel attended the party.

A synopsis dated November 3, 1937, describes a story that was never used entitled "Calling All Curs." In this story, Butch kidnaps Pete and sells him to a lab that's testing a new flea exterminator. The four main boys of the gang sneak in to rescue him.

This film was marketed by MGM as a "special" two-reeler, independent of the regular Our Gang series.

The opera house that Alfalfa visits is called the Cosmopolitan Opera House.

When Alfalfa stars in "The Barber Of Seville," a poster on the wall of the opera house reveals that his co-stars are Toni Tonelli and Bruna Wildman.

The ice cream cones were mashed potatoes whipped up with cotton. A variation of this story describes the ice cream as being of mashed potatoes, with the cones made of cotton.

Some reissue and television prints carry the title "Follies Of 1938."

The negative cost on this film was $58,815.

This film was 1948 feet in length.

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© Robert Demoss.