Karry Best movie of this year hands down!

Console best movie i've ever seen.

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

vincentlynch-moonoi First, I have to disagree strongly with one of our reviewers who claimed that Joe E. Brown was "a minor film comic". Really? In 1933 and 1936, he was one of the top ten money makers in American cinema.It's a tricky business introducing pathos into a film comedy. How much is too much? In this film the pathos outbalances the comedy...but it works. True, this is not one of Brown's funniest films, but it may be his most endearing portrayal -- a college botanist who is remarkably timid, especially around girls. Ironically, Brown was 42 when he played a college student here, but his real natural athletic ability made him seem far younger.Most viewers probably won't recognize any of the other actors in the film, but they all do what they need to do to make this film so much more substantial than Brown's films even one year previous.The film is humorous rather than out-and-out funny, but Brown's acting is probably better here.I enjoyed it a lot!

normvog Despite the other reviewer's opinion, as far as pathos goes, this is easily one of Joe E. Brown's best films, and easily outshines "The Freshman" (which, imho, was one of Lloyd's poorest films).We've all been in situations where we're afraid of something/someone, and have to meet it, face it, if we are to move ahead in Life. Brown is the Every Man in this film, and we can all identify with him. (Much moreso than Lloyd).Dorothy Lee & Ruth Brown are (as they would say in the 30's)"easy on the eyes", as well (!) and it's interesting to hear Lee talk about "sex", "libido", etc back then.

mbrindell "Local Boy Makes Good" is a fine entry on Brown's resume.As has been mentioned by other reviewers, this movie's subject matter has been covered better before (i.e., Lloyd's "The Freshman"); however, one should keep in mind that this movie is an early talkie, so it provides opportunities for gags that weren't generally available to earlier filmmakers, and Brown makes the best of these new opportunities.Having come from the stage, Joe E. Brown is as much a verbal comedian as he is a physical one. Both of these comedic attributes shine in this film.I am not a big Brown fan. I've always viewed him as a minor film comic, albeit near the top of the minor film-comedian list. He achieved film popularity during his middle age (he was nearly 40 when this early-in-his-film-career movie was made). No sooner had he got his movie career rolling along than it was time for the studios to move him out and bring in younger blood. Having said this, I enjoyed this film. It is a pleasant time capsule.It is pre-Code, so be prepared for and enjoy the many saucy word games and rapid-fire, risqué repartee between Brown and the ladies.And speaking of the ladies: They are a pair of knock outs to be sure. Lee and Hall acquit themselves in a fine manner.One last word: If you want to truly appreciate Brown's contribution to Wilder's "Some Like It Hot," I believe you must acquaint yourself with his earliest films. "Hot" is not the movie to "discover" Brown's talents. It's done with "Local Boy," and films like it.

Oskado The plot, the budget, the playtime - even the slapstick - are modest in scope. As a result, the lead four actors and a camera with wonderful eye had what seems to me a "hands-free" opportunity to actually act and create a work with poetic charm. Joey and co-players are young, attractive, and exuberant, and share their humor with us across a gulf of seventy years. But that humor's consistently the stuff of which good comedy is made: incongruous play with high-tone ideas (Freudian dream analysis, botany), and characters battling their way through seas of foibles, inhibitions, mistaken word choices, vanities, and longings for things totally inappropriate. From works like this evolved - to my mind - all the better comedies to follow, from My Friend Godfrey, to the Pierre Richard films, the best of Albaladejo and his superb team, Shall we Dansu, Woody Allen's best works, Mad, Mad, Mad, World, or films like The Loved One, or Christmas Vacation. This may be a low budget film, but its ideas are not cheap - they target a common, human soul riddled with weaknesses and self-doubts we all share. And wow! Did I like Joe E. Brown and his fabulous colleagues in Midsummer Night's Dream - what a treasure.What a shame Hollywood all but dropped the baton - trading delicacy off in exchange for a bullying big-industry get-rich marketing clique to exploit ad tedium a totally different lowest common denominator.