Check and Double Check

About the production

This was the first film adaptation of a radio show, marking a significant milestone in cross-media entertainment. Gosden and Correll insisted on performing in blackface makeup despite the emergence of sound technology that could have allowed African American actors to play the roles. The production included elaborate musical sequences featuring Duke Ellington and his orchestra, which were groundbreaking for their time. The film was shot in the early days of sound technology, presenting significant technical challenges for the production team.

Themes

Themes & topics

Historical background

Production in 1930 placed Check and Double Check among pre-war releases competing for attention in a rapidly expanding market. The title was derived from a catchphrase associated with the show. Directed by Melville W.

Why this film matters

Retrospective programs include Check and Double Check when mapping pre-war output across genres and national cinemas.

Making of

The production of 'Check and Double Check' was fraught with controversy from its inception. RKO paid Gosden and Correll an unprecedented $100,000 each for the film rights, a record sum at the time. The decision to use blackface makeup was highly controversial even in 1930, with many African American organizations protesting the production. The studio considered casting African American actors but Gosden and Correll refused, claiming they 'knew the characters better than anyone else.' Duke Ellington's involvement was a last-minute addition to provide authenticity to the Harlem setting. The sound recording presented enormous challenges, as the early microphone equipment couldn't easily capture the rapid-fire dialogue that made the radio show famous. The film's success led to RKO offering Gosden and Correll a multi-picture deal, which they declined, preferring the creative freedom and higher earnings of radio.

What critics said

Festival revivals have renewed discussion of Check and Double Check among pre-war specialists.

Did you know?

• This was the first film based on a radio program, setting a precedent for future adaptations
• Gosden and Correll performed in blackface despite the availability of sound technology that could have allowed African American actors
• Duke Ellington and his orchestra appear in the film, marking one of their earliest screen appearances
• The film's title comes from a catchphrase from the radio show
• The movie was so successful that it saved RKO from potential bankruptcy during the early Depression years
• Gosden and Correll refused to make any more films after this one, preferring the radio format
• The film included a special prologue where Gosden and Correll appeared as themselves explaining the transition from radio to film
• Original prints featured tinted sequences during the musical numbers
• The film's success led to numerous attempts to create other radio-to-film adaptations throughout the 1930s
• A special premiere was held in Harlem with an all-African American audience, creating a unique viewing experience

Awards & recognition

• None

Visual style

The cinematography by Jack MacKenzie utilized the early sound camera techniques of the era, with relatively static shots due to the limitations of sound recording equipment. The film employed some innovative lighting techniques for the musical sequences, creating dramatic silhouettes during Duke Ellington's performances. The contrast between the Harlem street scenes and the high society mansion was emphasized through different lighting styles, with the street scenes using more naturalistic lighting while the mansion scenes employed more dramatic, theatrical lighting. The cinematography also had to accommodate the actors' blackface makeup, requiring specific lighting adjustments to ensure the makeup appeared consistent on screen.

Innovations

The film represented several technical achievements for its time, particularly in the realm of sound recording. The production team developed new microphone techniques to capture the rapid-fire dialogue that characterized the radio show. The musical sequences with Duke Ellington's orchestra required innovative recording approaches to balance the various instruments and vocals. The film also experimented with early forms of sound mixing, combining dialogue, music, and sound effects in ways that were advanced for 1930. The makeup department created specialized blackface application techniques that would photograph properly under the new lighting requirements of sound filming.

Music

The film's soundtrack was particularly notable for featuring Duke Ellington and his orchestra, performing several original compositions including 'The Mystery of Love' and 'Three Little Words.' The music was a significant draw for audiences and represented one of the earliest appearances of a major jazz orchestra in a feature film. The score also incorporated elements from the radio show's theme music and various sound effects that would be familiar to radio listeners. The sound recording was challenging due to the early technology, but the musical numbers were generally well-received and helped establish Ellington as a national figure. The film's soundtrack was released on 78 RPM records and became a commercial success separate from the film itself.

Famous quotes

'Check and double check!' - Amos

'Holy mackerel!' - Andy

'I'll be there with bells on!' - Andy

'That's the stuff!' - Amos

'Well, I'll be dogged!' - Andy

Memorable scenes

• The opening sequence where Amos and Andy struggle with their open-air taxi in Harlem traffic
• The mistaken delivery of the wrong orchestra to the high society party
• Duke Ellington's performance of 'The Mystery of Love' at the mansion
• The climactic scene where Amos and Andy recover the missing diamond necklace
• The final scene where the duo returns to their humble taxi business after their society adventure

What audiences thought

The film was a massive commercial success upon release, particularly among white audiences who were fans of the radio show. It grossed over $1.2 million on a $325,000 budget, making it one of RKO's most profitable films of 1930. African American audiences had mixed reactions, with some appreciating the inclusion of Duke Ellington while others objecting to the stereotypical portrayals. The film's popularity led to increased merchandise sales and boosted radio show ratings significantly. In subsequent decades, as racial attitudes evolved, audience perception shifted dramatically, with the film becoming largely unavailable for public viewing due to its controversial content. Modern audiences who have seen the film generally view it as a historical artifact rather than entertainment, with most finding the racial stereotypes difficult to watch.

Film connections

Influenced by

• Amos 'n' Andy radio show
• Minstrel shows
• Early sound comedies
• Harlem Renaissance culture

This film influenced

• The Big Broadcast (1932)
• Amos 'n' Andy (TV series 1951-1953)
• Numerous radio-to-film adaptations of the 1930s

Film restoration

The film exists in complete form with several prints held in major archives including the Library of Congress and the UCLA Film and Television Archive. Some original tinted sequences from the musical numbers have been preserved. The film has been digitally restored but remains largely unavailable for commercial distribution due to its controversial content and complex rights issues.

Where to watch

• The film is occasionally screened at film festivals and special retrospective events
• Some archives offer viewing by appointment for research purposes
• Bootleg copies circulate among film collectors but quality varies significantly
• Not currently available on major streaming platforms due to rights and content concerns