tavm I had the DVD of this version of Al Capp's comic strip for years but it's only been now that I even bothered to watch it. The reason was because since I've been reviewing the Our Gang shorts-and films outside the series featuring at least one member from the series in it-in chronological order, this was next on the list. In this case, former member Mickey Daniels has a cameo in which he does his famous laugh. I also found out that a few supporting characters from various eps of the series are also in this movie like Johnny Arthur (Spanky's father in Anniversary Trouble, Darla's father in Night 'n' Gales and Feed 'Em and Weep), Hank Mann (Drunk worker at train station in Alfalfa's Double, Butch's father in Bubbling Troubles), Marie Blake (Butch's mother in Practical Jokers, the title role in Alfalfa's Aunt), and Edgar Kennedy (the cop in various OG shorts that starred Jackie Cooper). Of them all, only Kennedy was funny enough to me. There's some amusing sound effects and some pretty good visual gags and silent comedian Buster Keaton wasn't too bad with what he was given. In summary, this version of Li'l Abner was okay as entertainment.

MartinHafer I am sure that nowadays the Li'l Abner comic strip loses a lot in translation. Its popularity over the years is one of those things that people today can't really understand. So, from the outset this weird little film has a big strike against it--especially because, by comparison, "The Beverly Hillbillies" is downright sophisticated.The film is set in the rustic village of Dogpatch--home of Li'l Abner and his kin. Oddly, Abner himself and his determined love interest, Daisy Mae, look relatively normal despite their clothes. But, as for most of the other major characters, they are, to put it bluntly, a group of freaks. Underneath tons of makeup and prosthetics, his parents and a few of the townsfolk look more like extras from the movie FREAKS than anything else! It's all rather creepy and comical. Sure, they did look a lot like the comic strip characters as well, but they just made me feel a bit repulsed.As for the film, there's a threadbare plot about Daisy Mae and Wendy Wilecat both wanting to get hitched to Abner. However, this plot doesn't even begin until late in the film. Instead, it's just a series of "comical" vignettes--most of which were never funny and only a few of which the audience might have laughed at in 1940. It's all rather sad seeing actors like Buster Keaton stuck in supporting roles, though for some of the old-time silent comedians (such as Chester Conklin and Al St. John), they are buried under so much makeup, wigs and prosthetics that you can't tell it's them--something I assume they felt grateful for when the film debuted.Overall, a one-joke film that is creepy and hard to watch from start to finish. The only positive value you might have is to use it to insult Southerners (and in particular, people from Arkansas and Tennessee)--but that would seem awfully cruel...unless you really, really hate them.

gftbiloxi Al Capp's cartoon strip was so satirically acidic that he was constantly being threatened with suit by the public figures he parodied--and at least one, Joan Baez, actually took him to court. But viewers needn't expect much of Capp's celebrated wit in this 1940 cinematic take on the much-celebrated residents of Dogpatch, USA; more silly than clever and more embarrassing than entertaining, L'IL ABNER has been justly neglected for more than a half a century.Still, it does have a few charms, and most of these are among the cast. Director Albert S. Rogell was a workhorse of the silent era, and the film is crammed to overflowing with a host of silent actors taking one more shot at fame--with the great Buster Keaton the most celebrated name on the roster. Sad to say, they are largely wasted, but we're at least given a chance to see them once more, a decade after their stars faded.The most successful members of the cast are actually the younger players, with Jeff York (billed as Granville Owen) unexpectedly effective in actually looking the part of L'il Abner himself. Martha O'Driscoll is merely acceptable as Daisy Mae, but Billie Seward strikes all the right notes as the man-hungry Cousin Delightful. And now and then a moment "pops" enough for you to see a little of what made Capp's concepts so wickedly funny.The plot is standard Capp, but it lacks Capp's bite: Daisy Mae loves Abner, Cousin Delightful wants him for herself, and Abner prefers pork chops. In terms of production values, the film was very obviously done on the cheap, and Rogell's direction is hardly inspired: not only is the camera static, the pace is positively leaden. Fans of the original strip will probably find it a guilty pleasure, but even they will likely admit that this is Al Capp with both fangs pulled.Gary F. Taylor, aka GFT, Amazon Reviewer

rsoonsa When LI'L ABNER was made, in 1940, Al Capp's comic strip of the same name was one of the U.S.'s favorites, with his hayseed creation finding himself in one jam after the other, without trying at all. A story by Capp is the foundation for this film, which holds a unique spot in cinema history, as it is the only attempt to precisely recreate comic illustration, utilizing makeup, costumes and exact phrasing (without interpretation). The plot and subplots generally revolve about the annual Sadie Hawkins Day celebration in Dogpatch, which presents area females with just about their only opportunity to catch a husband, by literally running down and snaring one of the town's fleeing bachelors. For those who remember the silent film era, this effort provides small roles for many pre-talkie stalwarts, including Buster Keaton, Edgar Kennedy, Chester Conklin, Al St. John, Lucien Littlefield, Hank Mann and Edward Brady. At times very reminiscent of Capp's drawing, the very tall Jeff York, billed as Granville Owen, is effective as Abner. Martha O'Driscoll, Kay Sutton and Billie Seward, as the three women most vigorously seeking marriage with Abner, do their hearty best with the thin scenario. More silly than cute, this picture is not marked by outstanding work from cast and crew, its significance coming only from the mentioned verisimilitude.