Grade: B
Comedy
Not rated (would be PG)
Over a 60-year film career, comedian Bob Hope starred in 54 features, but the former vaudevillian was also known for the USO shows he emceed from 1941-91, performing for American military personnel in times of war and peace. He received the Congressional Gold Medal in 1962 and also received the Medal of Merit from Gen. Dwight D. Eisenhower, the Presidential Medal of Freedom from President Lyndon Johnson, the Medal of Liberty from President Ronald Reagan, the National Medal of Arts from President Bill Clinton, and the Spirit of Hope Award (named for him) from the U.S. Department of Defense.
In other words, Bob Hope, who died at age 100 in 2003, is a national treasure. Since only one of his films (Road to Morocco) has been included in the National Film Registry, the public is dependent upon studios like Kino Lorber to preserve and release the old classics that are worth watching and rewatching. And The Paleface is a good one.
Of Hope’s films, the historical costume comedies are as much fun as the Road pictures he did with Bing Crosby and Dorothy Lamour. While The Princess and the Pirate is the best of the powdered wig era comedies, The Paleface is tops among the Westerns that Hope made. In it, we see Hope at the height of his career, both as an actor and as a comedian. The hard-working comic had appeared in four feature films in 1947, and a year later The Paleface teamed him with Jane Russell—the WWII pin-up “girl” who famously debuted five years earlier in Howard Hughes’ The Outlaw and had only appeared in one other soapy drama. Surprisingly, the two play well off each other, with Russell the straight man, of course.
It’s good to finally get this title on Blu-ray, though the timing is probably unfortunate. As monuments are being toppled and even Mount Rushmore has come under fire, this film’s title and treatment of Native Americans is racist—there’s no other way to put it. But this was the ‘40s, and all of America was thinking along the lines of what talented writer Frank Tashlin incorporated into the screenplay. No one thought anything of having just two Native Americans playing Indians and the rest played by Caucasians, and no one bristled when Native Americans were depicted as stern-faced chiefs (“How!”) or wacky medicine men. Wrong as we now know it to be, it was all part of the stereotypical humor of the era.
So where does that leave us? I personally think that it’s wrong to deny or erase history. Instead, America needs to own up to that history, and you don’t do that by burying it and forgetting it. America needs to learn from the past and learn to appreciate artwork and cultural artifacts from previous eras for what they are. You can enjoy a film for its performances and comedy and also be aware that what you’re seeing is no longer appropriate. And Hope’s historical comedies—the Westerns especially—are a good place to start if you want to teach your children about racism and racial stereotypes. They’ll find the films amusing, but then you can also talk about what you just saw and educate them on the reality of Native Americans in the U.S.
Hope plays “Painless” Peter Potter, who picks a peck of trouble when he pulls the wrong tooth and has to skip town. As he’s leaving, Calamity Jane (Russell) hops aboard his wagon following a shootout. She’s a government agent on secret assignment: discover who’s supplying weapons and explosives to the Indians and stop them before they start another war. And what better way to blend in than by joining a wagon train with a “husband” who’s as clueless as they come?
Even the violence (and that includes people shot to death) is played for laughs in The Paleface. Some of the gags involve several Indians clueless as Potter as well as laughing gas that Potter uses to numb patients, but the bulk of them revolve around his bumbling ineptitude and cowardice—especially compared to his rough-and-tough sharpshooting “wife.” There’s a surprising amount of character development in 
this comedy, which also stars American Indian actors Iron Eyes Cody and Chief Yowlachie, and frequent “heavy” Jeff York.
Hope often found a way to sing in his films, and in The Paleface he’s in peak form performing “Buttons and Bows,” which won the Oscar that year for Best Original Song. Mostly, though The Paleface is just good old-fashioned slapstick and one-liner fun, with a plot that’s strong enough to pull the whole wagon.
Entire family: Yes
Run time: 91 min., Color
Studio/Distributor: Kino Lorber
Aspect ratio: 1.37:1
Featured audio: DTS 2.0
Trailer
Amazon link
Not rated (would be PG for hints of innuendo and comic violence)
Language: 0/10—Nothing here of consequence
Sex: 2/10—Women in pantaloons, repeated hints of romance, comic kisses and one passionate one
Violence: 3/10—All violence is comic, including fistfights, shootings, and running gags of being dragged by horses and the number of Indians killed by a proclaimed hero
Adult situations: 0/10—Nothing not already mentioned
Takeaway: Kino Lorber did an excellent job on the transfer, with crisp audio and Technicolor presentation sharp and vivid as can be. Would it be too much to hope for The Princess and the Pirate, Monsieur Boucaire or another Hope Western, Fancy Pants (with Lucille Ball) next?
Grade: B+
as the Gentleman Bandit because of his politeness, gentility, and strict instructions that his men should never shoot or otherwise harm anyone. The Billy Miner Alehouse in Maple Ridge, British Columbiasd still celebrates this folk hero, not because he robbed from the rich to give to the poor, but because he only took from the hated Canadian Pacific Railway.
