Wild Poses
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| Wild Poses | |
|---|---|
| Directed by | Robert F. McGowan |
| Produced by | F. Richard Jones Hal Roach |
| Written by | Carl Harbaugh Hal Roach H. M. Walker Hal Yates |
| Starring | George McFarland Matthew Beard Jerry Tucker Tommy Bond Emerson Treacy Gay Seabrook Franklin Pangborn Stan Laurel Oliver Hardy |
| Cinematography | Francis Corby |
| Editing by | William H. Terhune |
| Distributed by | Metro-Goldwyn-Mayer |
| Release date(s) | October 28, 1933 |
| Running time | 20 minutes |
| Country |  United States |
| Language | English |
| Preceded by | Bedtime Worries |
| Followed by | Hi'-Neighbor! |
| Allmovie profile | |
| IMDb profile | |
Wild Poses is two-reel (twenty minute) short subject in the Our Gang (a.k.a. The Little Rascals) series.
It was produced and directed by Robert F. McGowan for Hal Roach Studios and first released on October 28, 1933 by Metro-Goldwyn-Mayer. A sequel to the previous Our Gang short, Bedtime Worries, Wild Poses features a brief cameo by Laurel & Hardy.
[edit] Plot
The short features comedian Franklin Pangborn as Otto Phocus, a haughty photographer who attempts to take some family portraits of the uncooperative Treacy family. Just outside the photographer's studio, Spanky is told by his friends (among them Matthew "Stymie" Beard and Tommy Bond), that Phocus plans to "shoot" him; thinking the camera is a cannon. This leads Spanky to avoid having his picture taken, and his habit of punching Phocus in the face with regularity.
Phocus serves as Spanky's foil in other ways as well. He tries to get Spanky to pose with an exaggerated sweet smile on his face; when Spanky sees Phocus' ridiculous grimace he turns to his Dad and says, "Hey Pop, do you see what I see?" Later, when Spanky's friends have filled the rubber shutter bulb with water, and Phocus squeezes it, squirting Spanky's Dad with water, his Mom tells Spanky, "That's how they take watercolor pictures."
[edit] Laurel and Hardy cameo
At the beginning of the film, a salesman is seen soliciting Otto Phocus' services throughout a residential neighborhood. At one home, he tells a housewife that she has "two of the most photogenic children" he has ever seen. The camera cuts to reveal the womans two children, portrayed in a brief cameo by Laurel and Hardy, dressed in baby clothes and using giant sets from their 1930 short Brats. Laurel and Hardy briefly fight over a baby bottle, until Laurel eye-pokes Hardy and emerges victorious as the scene transitions to set the main plot in motion.
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