In the 1920s, William Claude Dukenfield, better known as W.C. Fields, was a headliner extraordinaire for the famed Ziegfeld Follies; as much of his humor was verbal, it was indeed strange when Paramount and director D.W. Griffith signed the funnyman to appear in the 1925 drama, Sally of the Sawdust, as the rascal father of Carol Dempster. Surprisingly, the choice worked, and the studio presented Bill Fields with a contract he couldn't refuse. During the next several years (before the advent of 'talkies'), W.C. appeared in a number of successful comedies before returning to the Broadway circuit.

When the movies learned to talk, Fields was not one of the first comedians the studios sought for their sound films. It was rather surprising considering his impeccable physical timing combined with his comedic asides during his amazing juggling displays. Fields' snide commentary delivered via that marvelous nasal voice was a natural for the 'talkies.' Finally, RKO filmed his legendary golf act as a short, The Golf Specialist (1930), followed by his sound feature debut in Warners' Her Majesty, Love (1931). Paramount got the message, and recalled their renowned alumnus to appear in the wonderful If I Had a Million and the wildly wacky Million Dollar Legs (both 1932), a package of popular all-star extravaganzas. Still searching for that perfect solo Fields vehicle, the studio continued to put him in as a sure fire laugh getter in omnibus-type musical comedies. So after appearing for producer Mack Sennett, now ensconced at Paramount, in a brilliant quartet of two-reelers (The Dentist (1932), The Barber Shop, The Pharmacist, The Fatal Glass of Beer, all 1933), Fields was once again scripted in as a specialty attraction for the upcoming International House (1933), a lavish all-star romp complete with songs, comedy skits, and specialty numbers.

For Fields, it was like old home week, as his director was longtime friend and drinking buddy, A. Edward Sutherland. British-born Sutherland, no stranger to show business or comedy, was the son of theatrical producer Al Sutherland and vaudeville superstar Julie Ring. Indeed, famous relatives peppered his extensive family tree on both sides of the footlights, including playwright J.H. Ring, uncle Thomas Meighan (a major silent star) and aunt Charlotte Greenwood. Briefly married to Louise Brooks (leading lady of his 1926 Fields silent, It's the Old Army Game), Sutherland sailed into the slapstick arena shortly after arriving in America, becoming one of the Keystone players at the age of 19. Yearning to direct, Sutherland spent the next few years honing his craft, landing the plum job of Chaplin's assistant on A Woman of Paris (1923). Aside from Fields, Sutherland would smoothly navigate a number of comedians through their paces, including Wallace Beery, Raymond Hatton, the underrated Raymond Griffith, Eddie Cantor, Mae West, Laurel & Hardy, and Abbott & Costello.

As entertaining today as it was at the time of its release, International House fascinates because of its diverse cast, running the gamut from Burns & Allen to a suave Bela Lugosi as a jealous Russian, and a unique framing device (a Chinese inventor calling world reps to bid on his invention: a television set that can zero in on any on-going event - in actuality, a precursor to Direct TV!). It is Fields, however, who steals the show, from the time he lands his rickety bi-plane, The Spirit of Brooklyn, atop the roof of the title residence. Spouting a series of eyebrow-raising one-liners that a year later would be impossible (due to the revised 1934 Production Code), Fields' side-splitting precision easily demonstrates why he was one of the greatest comics of all time!

Much of the "blue" content can be contributed to the movie's nominal lead, Peggy Hopkins Joyce, a fun loving playgirl, who briefly captured the public's fancy. Playing herself, she is the butt (no pun) of an array of ribald gags from both Fields and Stuart Erwin. Her presence alone may have prompted the lax inclusion of a Baby Rose Marie torch song (which made many reviewers uncomfortable) and the fabulous Cab Calloway "Reefer Man" number. The edgy adult content did not evade the critics; the Motion Picture Herald commented that the "...Action and dialogue are fast and furious. But much of the double-meaning dialogue is of the ultra-risque type that is apt to start the censors on the warpath." while The Nation admitted that Paramount stood a good chance "...of making the picture a popular successor to 42nd Street."

Director: A. Edward Sutherland
Screenplay: Neil Brant (story), Walter DeLeon, Louis E. Heifetz (story), Francis Martin
Cinematography: Ernest Haller
Costume Design: Travis Banton
Original Music: Howard Jackson (uncredited), John Leipold (uncredited), Ralph Rainger, Leo Robin
Cast: Peggy Hopkins Joyce (Herself), W.C. Fields (Prof. Henry R. Quail), Stuart Erwin (Tommy Nash), Sari Maritza (Carol Fortescue), George Burns (Doctor Burns), Bela Lugosi (General Petronovich), Gracie Allen (Nurse Allen), Edmund Breese (Doctor Wong), Franklin Pangborn (Hotel Manager).
BW-70m.

by Mel Neuhaus