That's Right--You're Wrong (1939)

91 or 95 mins | Musical comedy | 24 November 1939

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HISTORY

This picture marked the film debut of radio personality Kay Kyser and his band. The opening credits of the film read "with Kay Kyser's Band featuring Ginny Simms, Harry Babbitt, Sully Mason, Ish Kabibble and The College of Musical Knowledge." The Var review notes that columnists Shelia Graham, Hedda Hopper, Erskine Johnson, Jimmy Starr, Feg Murray and Fred Orthman make guest appearances in the press sequence of this picture. Modern sources claim that the writers in this picture were modeled after RKO's Gene Towne and Graham Baker. The team of producer-director David Butler, editor Irene Morra and writer William Conselman all worked together on the 1939 Universal film East Side of Heaven (see ... More Less

This picture marked the film debut of radio personality Kay Kyser and his band. The opening credits of the film read "with Kay Kyser's Band featuring Ginny Simms, Harry Babbitt, Sully Mason, Ish Kabibble and The College of Musical Knowledge." The Var review notes that columnists Shelia Graham, Hedda Hopper, Erskine Johnson, Jimmy Starr, Feg Murray and Fred Orthman make guest appearances in the press sequence of this picture. Modern sources claim that the writers in this picture were modeled after RKO's Gene Towne and Graham Baker. The team of producer-director David Butler, editor Irene Morra and writer William Conselman all worked together on the 1939 Universal film East Side of Heaven (see above). More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
15 Nov 39
p. 3.
Film Daily
20 Nov 39
p. 6.
Hollywood Reporter
9 Sep 39
pp. 6-7.
Hollywood Reporter
15 Nov 39
p. 3.
Motion Picture Daily
17 Nov 39
p. 7.
Motion Picture Herald
28 Oct 39
p. 62.
Motion Picture Herald
18 Nov 39
p. 44, 48
New York Times
30 Nov 39
p. 25.
Variety
22 Nov 39
p. 14.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCER
PHOTOGRAPHY
Dir of photog
ART DIRECTORS
Art dir assoc
FILM EDITOR
SET DECORATOR
Set dec
COSTUMES
MUSIC
Mus arr
Song staging
SOUND
VISUAL EFFECTS
Spec eff
SOURCES
SONGS
"The Little Red Fox," music and lyrics by James V. Kern, Lew Porter, Johnny Lange and Hy Heath
"Fit to Be Tied," music and lyrics by Walter Donaldson
"The Answer Is Love," music and lyrics by Sam H. Stept and Charles Newman
+
SONGS
"The Little Red Fox," music and lyrics by James V. Kern, Lew Porter, Johnny Lange and Hy Heath
"Fit to Be Tied," music and lyrics by Walter Donaldson
"The Answer Is Love," music and lyrics by Sam H. Stept and Charles Newman
"Happy Birthday to Love," music and lyrics by Dave Franklin
"Chatterbox," music and lyrics by Jerome Brainin and Allan Roberts.
+
DETAILS
Release Date:
24 November 1939
Production Date:
began early September 1939
Copyright Claimant:
RKO Radio Pictures, Inc.
Copyright Date:
24 December 1939
Copyright Number:
LP9386
Physical Properties:
Sound
RCA Victor System
Black and White
Duration(in mins):
91 or 95
Length(in feet):
8,510
Country:
United States
PCA No:
5715
Passed by NBR:
No
SYNOPSIS

When a big Hollywood studio begins to see their box office revenues slipping, studio head J. D. Forbes demands some down-to-earth yarns to fill the studio's coffers. For his campaign, Forbes recruits popular radio personality Kay Kyser and his band to come out to Hollywood. At first reluctant, Kay capitulates to the wishes of the band and accepts the studio's offer. Shepherded by manager Chuck Deems, the band arrives on the Coast, where they are greeted by producer Stacey Delmore. Problems arise, however, as the members "go Hollywood" and Kay's homespun image clashes with the romantic leading man role that screenwriters Tom Village and Dwight Cook have written for him. After the writers become deadlocked, Stacey decides to trick Kay into breaking his contract by replacing band singer Ginny Simms with leading lady Sandra Sands. Taking the advice of Village and Cook, Kay calls Stacey's bluff and accepts the role of Sandra's Latin lover. At a press party, he appears in flamboyant Chinese pajamas and announces that he is eager to play the role of the handsome Venetian gondolier who passionately loves Sandra. Kay's preposterous casting makes Stacey the laughing stock of the industry, prompting the producer to cancel the picture and pay off Kay's contract. Meanwhile, the band, convinced that Kay has lost his mind, has him kidnapped and returned home to their radio station in Rocky Mountain, North Carolina, where they all agree they ... +


When a big Hollywood studio begins to see their box office revenues slipping, studio head J. D. Forbes demands some down-to-earth yarns to fill the studio's coffers. For his campaign, Forbes recruits popular radio personality Kay Kyser and his band to come out to Hollywood. At first reluctant, Kay capitulates to the wishes of the band and accepts the studio's offer. Shepherded by manager Chuck Deems, the band arrives on the Coast, where they are greeted by producer Stacey Delmore. Problems arise, however, as the members "go Hollywood" and Kay's homespun image clashes with the romantic leading man role that screenwriters Tom Village and Dwight Cook have written for him. After the writers become deadlocked, Stacey decides to trick Kay into breaking his contract by replacing band singer Ginny Simms with leading lady Sandra Sands. Taking the advice of Village and Cook, Kay calls Stacey's bluff and accepts the role of Sandra's Latin lover. At a press party, he appears in flamboyant Chinese pajamas and announces that he is eager to play the role of the handsome Venetian gondolier who passionately loves Sandra. Kay's preposterous casting makes Stacey the laughing stock of the industry, prompting the producer to cancel the picture and pay off Kay's contract. Meanwhile, the band, convinced that Kay has lost his mind, has him kidnapped and returned home to their radio station in Rocky Mountain, North Carolina, where they all agree they belong. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.