When picking up Herbie the boys realize that they’ve been swiped and try to hunt down the boy, as do the band of crooks, and eventually find him, but the microfilm that states where the gold rests is gone.
Pete and DJ go on board a ship for a cruise, taking Herbie, having found out that Herbie is built for speed. They encounter Louise Trent (Cloris Leachman), a lady with money, and her niece Melissa (Elyssa Davalos), who’s more scholarly, trying to get her doctorate, but rather introverted. The ship’s Captain Blythe (Harvey Korman) is a little deranged, thinking he’s back in imperial times, thinks of matters in very extreme militaristic terms, always speaking of them to anyone around, and is being eventually sought by Aunt Louise, who has a crush on him. Prindle and his men see that they’re on the ship, so they will meet them at the first stop in Rio, and go after the boy, Pete, DJ and Herbie to retrieve the microfilm. These people will be all made to go on a chase on land and water to get Paco back to safety, with the crooks hoping to find the gold.
“Herbie Goes Bananas” is a strange film in many ways, abandoning Herbie’s name and ability to race, making the title character in many ways secondary to the film. The orphan Paco calls him Ocho, which is given a final punchline which isn’t bad at all (sort of like the joke for Denise Richards’ character of Christmas in the James Bond film “The World Is Not Enough”), but it’s a pity to have Herbie be not nearly as important to the plot. He’s always there, yet somehow almost invisible.
The cast of the film does what it can with a script that has some major failings. It is the cast that especially help the film with its problems, even though they can’t create miracles.
Cloris Leachman plays Aunt Louise Trent, a slightly ditzy lady with money who is traveling with her niece Melissa, who she worries is too nebbish and won’t widen her world from her archeological studies. She isn’t anyone’s fool, and sees that Pete and DJ are trying to get financing for Herbie, while Pete romances Melissa, but thinks it will be an opportunity for her niece to possibly blossom. As always Miss Leachman imbues her character with warmth, and she is a steady hand throughout the story, keeping her character caring for all.
Cloris Leachman had been around since the late 1940s, and though she’d become much more high profile in the 70s with “The Mary Tyler Moore Show” and her Academy Award winning performance in “The Last Picture Show”, she was a seasoned pro by that time. She appeared in Robert Aldrich’s “Kiss Me Deadly” in 1955, and was a regular on “Lassie” from 1957 till 1958, a joke mentioned in “Herbie Goes Bananas” about the car not being a dog, an obvious reference to her previous role on the show. She had appeared in Walt Disney Productions’ “Charley And The Angel” in 1973 and in “The North Avenue Irregulars” in 1979.
Charlie Martin Smith plays Davie Johns, or DJ for short. He’s the friend of Pete who thinks going to Mexico to pick up a car is far-fetched, but after seeing Herbie’s speed is hoping to finance the venture to the Grand Premio of Brazil. He’s a bit of an opportunist, wanting Pete to fake a romance with Melissa to get her aunt to finance the car, which makes him a little less appealing than a typical Disney character. Mr. Smith’s natural charm goes a long way to make his character not really come off that way, and after the intentions are revealed to be known by Aunt Louise his good natured aspects are consistent.
Charlie Martin Smith started his career with an episode of “The Brady Bunch” in 1971, and appeared in the Gary Grimes film “The Culpepper Cattle Co.”, but it was the George Lucas classic “American Graffiti” that brought him huge attention playing Toad, which he brought great warmth to in 1973. He did films like “The Buddy Holly Story”, “More American Graffiti” in 1979, John Carpenter’s “Starman”, and “The Untouchables”. He would direct films like “Trick Or Treat” and “Boris And Natasha”. At Disney he appeared in “No Deposit No Return” in 1976, and would appear in “Never Cry Wolf” in 1982.
John Vernon plays Prindle who has been contacted by Shepard (Richard Jaeckel) about old Inka ruins having gold, and team up with Prindle’s henchman Quinn (Alex Rocco) to get the gold. Unfortunately timing is everything and a thieving boy will take the microfilm that states where the ruins are when he steals Shepard’s wallet, and Prindle’s plans are going to be delayed. John Vernon was a great actor, and he gives Prindle a nice presence. The script isn’t as kind to the character, though Vernon always gives it his all and makes it work.
John Vernon began his career in Canada in the 1950s. He was a Shakespearian actor, and it is obvious when seeing him in his film performances that he had a deep well of emotions that he could display with a simple glance. He also had an incredible voice, and he did some animation voice work early on, specifically playing Tony Stark/Iron Man and Submariner in the Krantz Animation “Marvel Men” animated series from 1966, also a Canadian production, giving especially Submariner incredible depth. He’d appear in films like Hitchcock’s “Topaz” and the mayor in “Dirty Harry” opposite Clint Eastwood, but will forever be known as the principal in 1978’s “Animal House”. John Vernon passed away at the age of 72 on 2/1/05.
Stephen W. Burns plays Pete Stanchek, the nephew of Jim Douglas who journeys to Mexico with his friend DJ to retrieve Herbie. Pete is good natured, patient, but can’t stand being robbed by a little thief, and doesn’t like having to romance a girl under false pretenses. Burns is quite likeable, making the character worth caring about.
Stephen W. Burns began his career in 1978. He appeared in an episode of “Eight Is Enough”, and the 1983 mini-series “The Thorn Birds. His last project would be an episode of the series “Werewolf” in 1987. He would tragically be in an accident that needed a blood transfusion, and he contracted AIDS from the untested blood, passing away on 2/22/90 at only the age of 35.
Elyssa Davalos plays Melissa, the nebbish, pretty, and very responsible niece of Aunt Louise. She has no problem with her outlook on life, and though she does like Pete’s attention, she is quite fine without him. She is very honest, and when the chips are down she does everything to help. Davalos has a challenging role, since Melissa is an introverted character, but she makes the character grow, being a more rounded character by the end.
Elyssa Davalos began her career in 1973, the daughter of Hollywood parents Richard and Ellen Davalos. She had just appeared in Walt Disney Productions’ “The Apple Dumpling Gang Rides Again” in 1979. She would appear on shows like “Scarecrow And Mrs. King, “Matlock”, and had the recurring role of the wife of Richard Dean Anderson as MacGyver on “MacGyver”. She has seemingly retired since 2007.
Joaquin Garay III plays Paco, who has escaped from an orphanage, and is trying to live off of his wits by stealing from unsuspecting tourists. He isn’t really a bad kid, but has had to turn to thievery to survive. Garay plays the character with great charm, playing the bigger than life child who has to try to take advantage of others by them thinking that he’s totally harmless and giving.
Joaquin Garay III began his career in 1973 on the series “Villa Allegre”. His father was actor and singer Joaquin Garay who played the voice of Panchito in the Disney classic “The Three Caballeros”, as well as the Frank Capra classic “It Happened One Night”. Joaquin Garay III would go on to be on shows like “Code Red”, and “E/R” with Elliott Gould, and has continued to appear in films and on television, still acting till the present day.
Harvey Korman plays Captain Blythe, the way out there nut of a captain of the Spanish Princess. He is high strung, has extreme ideas of the laws of the sea, and thinks nothing of others thinking that he is pedantic. Korman’s natural comedic instincts help him build his character through the rather limiting traits that the script gives him, doing what he can to humanize him. His natural likeability, despite playing intense characters, really is important for his being able to rise above the one dimensional character.
Harvey Korman began his career in 1959. He did voice work at Hanna-Barbera on “The Flintstones”, and became the second banana of Danny Kaye on “The Danny Kaye Show”, a variety program that set the stage for his biggest fame, becoming a regular on “The Carol Burnett Show”, being part of that program for 9 years. He would appear in films like “Blazing Saddles” and “High Anxiety”, also with Cloris Leachman. He’d appear on shows like “The Munsters” and “Mama’s Family”. He appeared on the short run TV show “The Nutt House” with Cloris Leachman in 1990, and team up with Tim Conway on the Dorf video shorts. He appeared at Disney on the television mini-series “The Adventures Of Gallegher” and “The Further Adventures Of Gallegher”. He would appear on the regrettable Disney Channel film “Gone Are The Dayes”. Harvey Korman would pass away on 5/29/08 at the age of 81. He is beloved.
Richard Jaeckel plays Shepard, who has seen the Inca ruins, and needs someone to help him get it to roll in the money of the gold found. It’s hard to know exactly why he needs Prindle, being that he has the location and a plane, but he becomes part of the trio of semi-crooks. Jaeckel plays comedy beautifully, not getting too many chances to do comedy in his career, showing his playing it totally straight delivering great results.
Richard Jaeckel began his career in 1943, appearing in the war film “Guadalcanal Diary”. He appeared in films like “The Gunfighter”, “The Dirty Dozen” and “Starman”. He appeared on shows like “Frontier Circus” and “The Wild Wild West”. At Disney he appeared as the title character in the TV film “Kit Carson And The Mountain Men “, and the anthology episode “Adventure In Satan’s Canyon”. Richard Jaeckel would pass away on 6/14/97 at the age of 70.
Alex Rocco plays Quinn, the henchman of Prindle who is tough, but the wild things that occur with Herbie starts to get him a little spooked, believing in voodoo, and thinking it may be at play. He’s also deadly scared of the bull in the bullfight, and Rocco plays it just right to make it work. His comedy instincts are nicely controlled.
Alex Rocco began his career in 1965. He appeared on TV shows like “Get Smart” and “Mission Impossible”, and films like “The Godfather”, and “Boris And Natasha”. Alex Rocco passed away on 7/18/15 at the age of 79.
Fritz Feld plays the Chief Steward who answers to Captain Blythe and tries to keep him somewhat civilized, a daunting task. He’s always at nerves ends with the lunatic ideas of the captain, trying to steer him in a more humane direction. Fritz Feld is his usual charming self, and does get to sneak in his mouth popping trademark, something that is always fun.
Fritz Feld began his career in Germany in 1917 in the comedy “The Golem And The Dancing Girl”, Paul Wegener spoofing the role he originated on screen (and would repeat). Fritz Feld was a supporting player in many classic comedies like “Bringing Up Baby”, “At The Circus” and “The Noose Hangs High”. He’d marry actress Virginia Christine, who had appeared in films like “The Mummy’s Curse” and “Invasion Of The Body Snatchers”, but is probably best known as Mrs. Folgers in the 1970s and 80s Folgers commercials of the time. At Disney Fritz Feld appeared in “The Computer Wore Tennis Shoes”, “Herbie Rides Again”, and “The Strongest Man In The World”. He passed away on 11/18/93 at the age of 93.
Vito Scotti plays Armando Moccia who’s in charge of the lower deck cargo, but who has a hell of a time trying to eat his dinner. Scotti is as charming as always, but the scene he’s in really shortchanges the possibilities for his character to work.
Vito Scotti began his career in 1949. He often played comedic characters of Italian or ethnic decent, with a wonderful over the top charm. He’d appear in shows like “Life With Luigi” with J Carrol Naish, “The Addams Family” and “Gilligan’s Island”. He appeared in films like “The Secret War Of Harry Frigg”, and “The Godfather” where he used his real voice, ironically playing an Italian without a real accent. At Disney he was quite prolific, supplying the voice of the Italian cat in “The Aristocats”. He appeared in the films “The Boatniks”, “Napoleon And Samantha”, “The World’s Greatest Athlete”, and “Herbie Rides Again”. On television he appeared in the “Zorro” TV film “El Bandido/Adios El Cuchillo”. Later he did the TV films “The Boy From Dead Man’s Bayou”, and “The Ghosts Of Buxley Hall”, and lastly an episode of “Small And Frye”. Vito Scotti passed away on 6/5/96 at the age of 78.
Jose Gonzales Gonzales plays the Mexican garage owner who is holding Herbie for Jim Douglas. He has the distinction of being the only character in the whole film to call Herbie by his name, mentioning that Herbie’s heart was broken when his girlfriend Lancia car had an accident in a race.
Jose Gonzales Gonzales began his career as a comic, and got into television doing his act of a Mexican immigrant. He was a contestant on “You Bet Your Life” with Groucho Marx, doing a hilarious exchange with the great Marx brother, reminding one a little of Groucho’s exchanges with Chico. He appeared on TV shows like “The Cisco Kid” (in 1954), and “My Three Sons”. His final role was in the film “The Naked Gun 2 ½ : The Smell Of Fear” in 1991. At Disney he appeared in the Elfego Baca episode “Law And Order Incorporated”, and in “The Love Bug” playing a different role than in “Herbie Goes Bananas”, having the distinction of being one of only three actors from the first film to appear in the last film of the series. Jose Gonzales Gonzales passed away on 12/15/00 at the age of 78.
Jorge Moreno plays the bus driver who is stopped by Melissa to try to chase after Aunt Louise and the Captain when they are “shanghaied” by Herbie. It’s a small role, but he is very charming in his quiet way, and makes the most of a small role.
Jorge Moreno began his career in the 1950s in shows like “Death Valley Days”, appearing on “Peter Gunn”, “Maverick” and “The Wild Wild West”. He appeared in films like “King Kong” in 1976, and “The World’s Greatest Lover” with Gene Wilder. At Disney he appeared in an episode of “Zorro”. Jorge Moreno passed away on 4/10/92 at the age of 75.
Iris Adrian plays the loud American wife at the bullfight. In the final version of the film she is only seen in the crowd at the victory celebration, not getting a line of dialogue, or even being able to make out her very distinctive voice. If it weren’t for the credits one wouldn’t even likely notice she’s in the film, her identifiable traits being left apparently on the cutting room floor.
Iris Adrian began her career in 1928 doing comedy shorts. She did films like “Bluebeard” with John Carradine and “The Stork Club” with Betty Hutton. She appeared in the opening scene of Deanna Durbin’s “His Butler’s Sister”, and in the Jerry Lewis film “The Errand Boy”. At Disney she’d appear in many comedies starting with “That Darn Cat” in 1965. She was in “The Barefoot Executive”, “Scandalous John”, “The Apple Dumpling Gang”, “No Deposit No Return”, “Gus”, “The Shaggy D.A.”, and “Freaky Friday”. She has the distinction of appearing in three Herbie films. She appeared in “The Love Bug” as the waitress at the drive-in, and as part of the dragstrip race in “Herbie Rides Again”, but amazingly doesn’t have a line in “Herbie Goes Bananas”, which would end up being her last Disney film and last film period. She would pass away on 9/17/94 at the age of 82. She is a huge part of the Disney comedies.
Jack Perkins plays the loud American, a small part that was apparently cut to almost nothing. He is visible in the after the bullfight celebration, raising some liquor bottle in his right hand, seemingly shouting over the crowd, but none of his dialogue is heard. He is next to Iris Adrian, who’s supposed to be his wife, but we never hear any dialogue. Jack Perkins is seen in the stands as the crooks’ car and Herbie have gone onto the ring, seemingly bad mouthing the cars being in the way of the bullfight, but his dialogue isn’t heard. WHY the dialogue is muffled on both occasions is hard to understand, especially since both Jack Perkins and Iris Adrian were established character actors.
Jack Perkins began his career in 1956. He appeared in small roles on TV shows like “The Rifleman” and “Peter Gunn”, and in films like “Spartacus” and “North To Alaska”. At Disney he first appeared in an episode of “The Swamp Fox” in 1960. He appeared in the Disney films “Million Dollar Duck”, “The Strongest Man In The World”, “Freaky Friday” and “The North Avenue Irregulars”. He had just appeared in “The Apple Dumpling Gang Rides Again” playing a drunk, so his character in “Herbie Goes Bananas” was similar to his last Disney outing, though he doesn’t get any moment. If it weren’t for the credits one could not even know he’s in the film. He also appeared in “The Love Bug” as a driver, so he is one of three performers who appear in the first and last film of the series. Jack Perkins passed away on 3/7/98 at the age of 76.
Henry Slate plays the off-watch officer who comes down to the storage area to help Vito Scotti when he complains about a car that’s moving by itself. The character isn’t given really anything to do except to function as the person in charge that tries to capture Herbie. Considering the gifted Mr. Slate is playing the role it’s a missed opportunity to give the scene more color.
Henry Slate began his career in 1938, becoming prominent in the 1950s, appearing in films like “You’re In The Navy Now”, “Rhubarb” and “Rock Around The Clock”. On television he appeared in shows like “Adventures In Paradise” and “The Roaring 20’s”. His final role would be in “Murphy’s Romance”. At Disney he appeared in quite a few comedies in supporting roles, always adding fun to a scene. He appeared in “The Strongest Man In The World”, “No Deposit, No Return”, as the enthusiastic fan in “Gus” with Iris Adrian as his wife, in “The Shaggy D.A.” as the taxi driver supporter of Wilby Daniels who ends up with a little problem, as a fisherman in “Pete’s Dragon”, as a bar patron in “The Cat From Outer Space” and a guard in the TV film “The Kids Who Knew Too Much”. Henry Slate passed away on 8/11/96 at the age of 86.
Alex Tinne plays the first Mexican local who sees Paco call for help when Herbie is rescued from the water. He is nice to the boy, but sees the opportunity to get money for the metal of the car.
Alex Tinne was a character actor who began his career in 1965 in small roles of Spanish language locals, a familiar face from his various roles. He appeared in films like “Change Of Habit” and “High Plains Drifter”, and TV shows like “The Big Valley” and “Charlie’s Angels”. At Disney he appeared in the featurette “Hang Your Hat On The Wind”, the TV anthology episode “Chango, Guardian Of The Mayan Treasure”, and the film “Scandalous John”. Alex Tinne passed away on 5/8/08.
Don Diamond plays the second Mexican local who tries to get to Herbie to get the metal with Alex Tinne. He’s more of a scoundrel, and cares less about the boy, being rather dismissive of the boy thinking of the car as a friend. He soon learns to not be so dismissive.
Don Diamond was a character actor who began in 1949 in an episode of “The Lone Ranger”. He appeared in TV shows like “The Adventures Of Kit Carson” and “The Life And Legend Of Wyatt Earp”. At Disney he had the unforgettable role of Corporal Reyes, the laky to Sgt. Garcia (Henry Calvin) in the series “Zorro”. He’d also appear in an episode of “Zorro And Son”, the only performer to appear in the original series to appear in the follow-up. He was also unforgettable in the role of Crazy Cat in the classic TV series “F Troop”, always trying to do something conniving that Chief Wild Eagle (Frank DeKova) has to try to control. Don Diamond passed away on 6/19/11 at the age of 90.
The film was produced by Ron Miller, the son-in-law of Walt Disney, having married Diane Disney in 1958. He began co-producing projects in 1962, his first movie credit being “Moon Pilot”, as well as the syndicated rerelease of “The Mickey Mouse Club” in 1962. He’d become in charge of the television programing and the films of the studio after the passing of Walt Disney, producing many classic films during that time. After the studio takeover in 1984 he would focus on his wine vineyard for the rest of his life, passing away on 2/9/19 at the age of 85.
The film was co-produced by Kevin Corcoran and Don Tait. Kevin Corcoran had been a child star at the Disney studio in films like “Old Yeller”, “The Shaggy Dog” and “Swiss Family Robinson”. After 1964’s “A Tiger Walks” he’d leave acting, but in 1976 he returned to Disney to produce films and TV shows. He’d be an assistant director, or second unit director, on many TV shows from the 1980s till 2005, but passed away from cancer on 10/6/15 at the age of 66.
Don Tait was a screenwriter, beginning his career with an episode of “Sky King” in 1952. He’d do scripts for shows like “Maverick”, “77 Sunset Strip”, and “The Virginian”. He would come to the Disney studio doing wonderful scripts starting with 1972’s “Snowball Express”. He’d do “The Castaway Cowboy”, “The Apple Dumpling Gang”, “Treasure Of Matecumbe”, “The Shaggy D.A.”, “The North Avenue Irregulars” and “The Apple Dumpling Gang Rides Again”. He’d do “Unidentified Flying Oddball” in 1979, and would do an episode of “Herbie The Love Bug” in 1982. He also co-produced “Herbie Goes Bananas”. According to the IMDB he’s still alive, which, if true, means he’s 100 (there are errors on the IMDB).
The music was by Frank De Vol who began his career in 1941 with the James Stewart film “Pot o’ Gold”. He’d begin as musical director for films and television, but would become the composer of film music because of his friend Robert Aldrich. Starting with “World Of Ransom” in 1954, and 1955’s “Kiss Me Deadly” (with Cloris Leachman) he become the famed director’s go to composer, including “Whatever Happened To Baby Jane?” and “Hush Hush Sweet Charlotte”. He’d score films like “Send Me No Flowers”, “Under The Yum Yum Tree” and “The Glass Bottom Boat”. He’d also score TV shows like “Family Affair”, creating its gorgeous theme, and “The Brady Bunch”, composing the music for one of the most famous TV theme songs of all time. As an actor he appeared on “Life With Elizabeth” with Betty White, the Disney classic “The Parent Trap” as the boy scout troop leader, “Camp Runamuck”, and “Fernwood Tonight”. At Disney he’d score “Herbie Goes To Monte Carlo”, and the TV film “The Ghosts Of Buxley Hall”, as well as the pilot “Tales Of The Apple Dumpling Gang” and the short-lived series “Herbie The Love Bug”, writing its title song. Frank De Vol passed away on 10/27/99 at the age of 88.
With a good cast, editing by Gordon D. Brenner, very nice photography by Frank Phillips, and nice location filming the film should be at least a decent film. For a film that has so many things going for it the script makes it impossible to succeed in many ways. There is something odd right off the bat that Jim Douglas has left Herbie again (he left him earlier in “Herbie Rides Again”), this time because Herbie’s heart was broken with the loss of his girl Giselle from “Herbie Goes To Monte Carlo”. Yes Herbie can be very difficult, but leaving Herbie again makes it a bad reflection on Jim Douglas, who’s been our hero in two films (and who mysteriously loses his first wife, or at least seems to). The plot excuse is a needless problem, and just having Jim lend the car would have been much better for the storyline of the series.
Not only has Jim left the car but his nephew Pete doesn’t even know much about the car even though he’s a race driver. If this car has won international races wouldn’t a driving enthusiast at least be familiar with his Uncle’s successes? Is Jim Douglas a distant Uncle? Does Pete know anything about his Uncle? It’s very odd. His friend DJ is very quick to try to get money from Aunt Louise and try to milk her for financing, wanting Pete to romance Melissa to help that work out, which isn’t particularly bad but it isn’t particularly honest, and if it weren’t for Charlie Martin Smith’s likeability it would come off much less agreeable.
Of course Paco is an orphan who’s escaped his orphanage, but how can he be “driving” a car in Mexico and never be stopped by the Police? It seems unlikely. Even one stop would have made the problem not be so absurd. In the rural areas it’s fine, but in the city? It just defies credibility. His wanting to make Herbie a taxi makes it even more pronounced how absurd the idea is, and when the local tells Paco that there’s a customer looking for a taxi it is even stranger, since an adult is encouraging a boy to be driving a car. Even though having a child be the lead of a film can have problems, the problems for the character of Paco are in the script, and Joaquin Garey III does his best with an engaging and charming performance.
For a car with a mind of his own Herbie also seems to be a car with energy of his own, since he never needs gas, and since an orphan is taking him around it’s a good thing since he doesn’t have money FOR gas. Even when Pete drives the car later he never needs gas. We don’t need to see them put gas in, but with the boy having him for such long stretches, and coming out of being sunk at sea, it becomes that now Herbie is magical. Technically he is, but another idea has been done to make it be that it’s just plain odd.
The three villains are also technically rather harmless until a pickpocket has taken the microfilm. Yes they aren’t doing something honest, but it’s not like they’re trying to rob a bank. They’re more like three men who have found gold and want to keep it, though it’s technically not theirs, but Paco taking the microfilm mistakenly just makes them become major villains. They do eventually have guns, but you can sympathize a little with three very unlucky pseudo thieves. At times you can see that John Vernon, Alex Rocco and Richard Jaeckel are sweating up a storm, the location filming having other challenges than just the script.
The script for the film was by veteran Don Tait who had written “The Apple Dumpling Gang”, “The Shaggy D.A.” and other Disney classics. Don Tait is a wonderful script writer so WHY it goes wrong is hard to say, but in 1979’s “The Apple Dumpling Gang Rides Again” he did similar things to that sequel that he’d do to “Herbie Goes Bananas”, but with much better results.
In “The Apple Dumpling Gang Rides Again” he takes the two reformed crooks Theodore and Amos and just has them return from the earlier film, exactly what happens in “Herbie”, since it is only Herbie that returns (and Jim mentioned). In a way it’s a sequel with little in common with its predecessors, just like the other sequel. In “Apple” there is a bigger than life comedic part that is partly villain in Marshall Wooly Bill Hicock (Kenneth Mars) who seems to be in his own world, creating some hilarious scenes, but if looked at objectively he sticks out as an extremely cartoonish character around the comparatively relatively normal other characters. The same occurs with Captain Blythe (Harvey Korman), and his absurd ways of reacting in a real world. If it weren’t for it being played by someone like Harvey Korman it’d be impossible to accept, but his ability to humanize extreme characters really helps, as in the scene late in the film where he asks Aunt Louise (Cloris Leachman) to ask Herbie if he knows where he’s going since they aren’t on speaking terms, which Korman really makes genuine, especially for such an outlandish character. Still Blythe is strange, and half of the jokes he supposedly is saying by being so tyrannical are simply not funny or even understandable, just weird, unlike the antics of the Marshall in “Apple” which are often really hilarious. It gets more logical as they get off the ship, but the concept for the character of the Captain is really out there.
In “Apple” Elyssa Davalos plays a very snobbish rich General’s daughter, while in “Herbie” she plays a nebbish character. In both films she is playing a difficult character which is a challenge to any actor or actress, but she does well in making them likeable enough. Technically her character Melissa is quite noble, like when she realizes that she needs to help her Aunt and the Captain who have been “shanghaied” by Herbie, and she valiantly tries to stop two busses, a car, and finally stands in front of one bus to get a means of transportation to go rescue them. She’s also a very honest character, which several of the characters in the film are not, or at least not enough.
Another thing about “Apple” is that it is an incredibly complex script that beautifully intertwines its various story threads to make an unbelievably satisfying climax of each of those different threads. It really is a marvel, with at one point Theodore and Amos ending up having to dress as saloon girls (really ugly dancing saloon girls) to try to escape killers, finding themselves on stage, seeing all of their different enemies IN FRONT OF THEM, not recognizing them because they’re in woman’s clothes, and Amos asking Theodore what are they going to do next. Theodore, having gotten sick of all their unbelievable bad luck in trying to become honest citizens states, “I’m gonna dance.”, and becomes a dancing saloon girl. It is brilliant madness, with fantastic story construction making all the episodic moments of the film have a common thread that makes for a great climax. Even another thread about supposed Indians throughout the film climaxes with an actual Indian attack on the train that has a brilliant punch line, beautifully crafted balancing of the many story elements, which gets more enjoyable with each viewing, it becoming quite irresistible.
In the script of “Herbie Goes Bananas” Don Tait obviously tries to do the same thing, except with really lousy results. So many of the scenes in the film don’t have any real importance. It’s hard to understand where it went wrong, but so many episodes in the film are frivolous and not good to begin with. The scene with Vito Scotti as a member of the ship’s cargo below where Herbie is being kept, and with Paco inside him, is simply too stupid for its own good. Scotti is wonderful as always, doing his usual Italian comedy, always right in his delivery, but he is up against a wall with such an illogical scene. Herbie has shown himself to be difficult in the three previous films, but here he is jeopardizing himself by allowing the boy to put his food BACK on Vito’s plate, instead of just leaving the garbage inside until he isn’t present. For a car with a mind of his own his mind seems to have become feeble. That Paco doesn’t see the danger in having someone know he’s a stowaway in the car by doing this makes him look foolish too, especially considering his resourcefulness in cheating people when he’s stealing; he’s going to do this? It is a totally absurd scene on every level, maddening in its stupidity.
The scene is executed well enough, getting into a chase with Henry Slate appearing in his last Disney film, with no chances for any of his talents to shine. That is another thing about both “The Apple Dumpling Gang Rides Again” and “Herbie Goes Bananas”, having some wonderful character actors in roles that give them nothing to shine in. For instance in “Apple” they have John Wheeler, a very recognizable character actor, play a conductor, and he doesn’t have any moment, a very familiar face given nothing to really do, it being able to have been played by anyone. In “Apple” it doesn’t hurt the film at all because of its strengths. In “Herbie” it just seems like a lost opportunity since a few fun moments with great supporting players to a film whose script is so misguided and needs the extra boost would have helped the final outcome. Disney films always used character actors to enhance the film, but in these two films they just fill roles, not often enhance them, leaving missed opportunities.
Henry Slate has nothing to do. Iris Adrian, one of the most reliable Disney supporting actresses isn’t even given a line. She is seen at the end of the bullfight scene, and if one looks as Paco realizes that they have to leave because the villains are coming, you can see Iris just to the left of Herbie, and to the left of her is Jack Perkins who’s billed as the “loud American”. Iris is billed as “loud American wife”, which she could have easily been, but since she doesn’t have any lines “loud” isn’t a word that could apply; mute yes. Jack Perkins had appeared in a hilarious supporting role in “Apple” as the town drunk who memorably sees Theodore swing on a rope to return the bags of money to the bank, perplexed by having seen something, but not being quite sure. In “Herbie” he plays apparently a drunk again since during the bullfight you can see him in one shot in the crowd elevating a jug of booze, which he also has at the end of the scene during the celebration. It probably ended up on the editing room floor whatever their characters were supposed to do, and Iris isn’t noticeable in the stands in the earlier sighting of Jack. Totally wasted opportunities.
The worst scene of the film is the final chase with the crooks, with the “Bananas” in the title finally coming into play in a literal sense. In trying to escape the crooks Paco puts bananas all over Herbie so that it looks like a shipment of bananas to a local store, which technically must have done well in the heat of Mexico, but it is a cute idea. Afterward Paco is selling the bananas, when Paco hears the villains’ plane, and tells Herbie to go see where it’s coming from. Prindle and Quinn are going down an exterior stairway to get to the plane with the huge gold coin to meet Shepard, but since Herbie can’t go after them Paco eggs him on to fight, and Herbie throws some of the bananas remaining on him at the crooks. They eventually step on the bananas, and it is a credit to John Vernon, Alex Rocco and then Richard Jaeckel that they do everything they can to make the scene work. They are a pleasure, but the scene is painful to watch at times. A film from 1978 called “Matilda” had a similar painful to watch scene where crooks try to catch the kangaroo, with bad results that are badly staged to work. Fortunately “Herbie” is directed by Vincent McEveety, and he DID know how to stage such things, but the absurdity of the idea is impossible to escape.
Then the chase on the field is simply too ordinary, with Herbie trying to chew, hit, and do whatever he can to stop the crooks from getting away, and Paco cheering him on. As it progresses Paco’s reactions get much better, but when he initially cheers when the bananas fly it is cringe inducing. It is an impossible to accomplish idea, and really mars the film at the climax. When the actual Police arrive there are officers that surround the plane and the crooks and they tell them in Spanish, “Get out of there.” and “Don’t move.”. Both “Get out of there” and “Don’t move” are told to them simultaneously. If one doesn’t know Spanish one won’t realize the problem, but the commands are totally contradicting and shows the kind of illogic that was being applied. Bizarre.
The thing that seems to have happened in the film’s script is that Tait fashioned the film as a children’s film. Disney films were never children’s films. They were family films, and the script is way too simple too often. Having a child in the lead makes it even more of a challenge to make it a family film, since it can get corny much more easily. It isn’t the character of Paco or Garay that is the problem, it is what they’re made to do. Garay is on the money generally throughout. Considering how the script treats him he only has two misfires, the first being in the cargo scene when he sees that they’ve been found out and are going to be chased he says, “Oh oh”, in a way that is overdone, which should have been reshot, and the other is the final chase with the crooks where he is simply cheering on the slipping on the bananas as it begins, in a situation that no actor could have given credibility to. He really is a winning actor, but an actor is dependent on the script, and if it asks them for things that aren’t flattering, it is impossible to not get into problems. The throwing of the bananas, the slipping, the cheering, and the foolishness of the whole scene is tough to believe to be in a Disney film. As the scene progresses to the actual chase it gets better for everyone involved, but the beginning is an extreme low point. Of course both of those scenes, and the Vito Scotti scene about the meal should never have made it to the final film to begin with, with the flaws that were inherent in them.
A look at the script of the film shows that very little was changed, with only a few things not making it to the film, and only a handful of lines added late or on the set, more likely on the set, especially by the always delightful Harvey Korman. Considering that the film’s script is so flawed it is amazing that experienced hands like Ron Miller, Vincent McEveety, Kevin Corcoran, and especially Don Tait didn’t stop it before they got to filming.
It does seem that it was a mindset at the studio that when they made finally a PG film that the so called “family film” was almost a “children’s film” now. It happens to “Herbie Goes Bananas”, as well as the 1980 TV movie “The Ghosts Of Buxley Hall” both of which suffer from scripts that are for a much younger audience (which also has poor Vito Scotti struggling with a poor script), and abandoning the family film. Technically “Return From Witch Mountain” has some of the same problems too. It’s weird, but it’s almost like they lost their effortless ability to make family films, and now they were distinguished as adult or children’s categories.
Looking at the script from 9/14/79 (the first revised script) there are very few things that didn’t make it to the screen, something rare for scripts in general. There’s usually a number of things that get changed or don’t make it, but they kept to the script about 99%, which is really surprising. Heck they’re almost word for word from script to screen. It is especially rare when it has so many shortcomings, but somehow it is how it ended up. When the film was released a lot of the reviews stated the film was 100 minutes, but the film was released at 93 minutes, suggesting the studio cut the film after the pressbook and announcements were done, thinking that it needed trimming; they should have thought of all that before shooting began.
Unless there was another later script these things below didn’t make it to the screen. Here are some of the differences:
-There is an intro to Aunt Louise & Melissa before they go into the dining room of the ship, going down a corridor, and the first time the buttoning of her top button is undone by her Aunt, something that is done afterward in the dining room to show Melissa’s timidity.
-In the script Aunt Louise arranges for the waiter to find two men that she’d like for the table, while in the movie it just seems they need space and she allows them to come over. Also she isn’t too happy with them being the choices in the script (which wouldn’t have been too flattering to whomever the actors who would have been hired later, if it had been kept in!).
-After the dance Melissa goes to her mirror after the kiss in the hallway and removes her glasses, suggesting that they are her guard from the world (maybe she just needs them to see with?).
-When Herbie is going overboard on the plank, and Cloris Leachman says she’s a woman and shows skin to Korman, a slightly suggestive joke for a Disney film, it is something that was not in the script, and probably her doing an improvisation. There is also Aunt Louise, Pete and DJ discussing if the Captain can get away with this, DJ saying that unless they get a last minute call from the governor it’s over. They are then escorted off the ship.
-Pete and DJ can’t pay their restaurant bill, which is how they end up working there, while in the film it suggests they got a job there.
-When Herbie is sinking and Paco is trying to save him, Herbie has flashbacks to previous things that happened in the earlier three films.
-When Aunt Louise and the Captain end up in the “Taxi” Herbie, and realize that it’s Paco and the same car, Korman ad libs “It’s a ghost!”, again adding nicely to the scene.
-Melissa is shopping not looking at sights and studying when they pass by shanghaied, and only one bus is passing by, not three, so she stops just one vehicle, with Pete saying, “You’ll never finish your theses that way.”, thinking of her as gutsy. The bus driver is quite honest about the poor condition of the bus, though afterward he does take an additional dollar from her in the original script.
-In the bullfight there is an ugly American, which would end up being called the Loud American played by Jack Perkins, with Iris Adrian as his wife, with him saying, “Get out of the ring, you bums. We came to see a bullfight.”, which never made it to the final print, though it may be the footage of seeing him in the stands shouting, but the audio is muted to non-existence.
-After the win Paco tells the Captain to bow, not Aunt Louise, and there is no kiss in the script, probably Leachman’s idea, leaving the lipstick on his cheek, which is a fun idea, especially with their chemistry.
-There is some talking after picking up Aunt Louise and the Captain on the bus, as well as more dialogue over ruins by the villains. When driving Herbie Pete says at one point, “I’m just along for the ride”, as he isn’t actually driving, Herbie is, which would be one of the few times it is so overtly stated and actually nicely witty, something that might have been best left in.
-Shepard fires at Herbie when Herbie retrieves the gold coin, but in the final film there is no gun used by him.
-When Blythe hijacks the driver to take him back to his ship, the driver is actually shown to be bewildered, but never seen in the finished film. They actually walk over to the doctor’s office, and after he states, “I’m sorry. They threatened to kill me.” Prindle tells them, “Get down on… Hands behind you.” A cord from the office drapes is cut by Quinn to tie them up with.
-Probably the most important deletion is when in the throwing bananas climax, and Shepard initially falls, Paco says, “Hey Ocho, he do a banana speet.” Very nice deletion.
-Shepard lifting the tail of the plane so Quinn can get it when it returns was added when filming.
-At the end Pete and Melissa are at a bar just before Aunt Louise tries to seduce the Captain, and are leaving as the Captain is coming in.
Melissa asks him: “Captain Blythe- how does it feel to be back where you’re monarch of all you survey?”
The Captain sadly states: “They didn’t know I was missing. They sailed 2,000 miles without me. All that time, and they thought I was in my cabin.”
Pete (embarrassed for him): “Well thanks for keeping your promise about the car.”
These deletions would have possibly worked better to keep, and were probably shot, with it being ironic that the egomaniacal captain was not noticed being a very nice irony.
-Melissa : “To victory in Rio!”
Aunt Louise (with double entendre): To Old Ironsides.
Pete: “To the team.”
Accordingly these two lines were deleted, and only Melissa saying it is shown on screen, with a cut away to Paco and Aunt Louise’s voice repeating “To victory in Rio!”, a much nicer way to end the film before the final song and credits.
So “Herbie Goes Bananas” has to be an awful film right? Not really.
With all that has just been stated the film HAS redeeming qualities, and though one has to forget the ridiculous script choices, it can become a pleasant film to enjoy (yes enjoy) with a different mindset. Again the actors do well by their roles, and are quite likeable, despite the limitations of what they’re being given. They work well off of each other, and one begins to accept them. Garay is really a delight from his opening scene, with one totally believing this little rascal is not a bad kid, but has had to become a pickpocket after he escaped the orphanage. He is really the main character of the film, so it is a lot to hang on a character that isn’t the title character.
When Pete is about to take Herbie, and DJ realizes his wallet is gone, it is nicely relayed to Pete what has happened, no actual words, and minimal visual communication, as real friends would understand, which is a nicely understated moment. When Paco is stopped by Pete and DJ from putting the wallet in the mail box he is angry and they eventually leave. He sees them out of the way, and then he says, “I got another one”, mocking their accomplishment, and it is a total delight. It was also done on the set, since it isn’t in the script, and one of the best lines in the whole film, as well as making Paco quite likeable, a little kid getting back at an adult in trying to limit what he can do.
When Herbie has taken Paco as a stowaway, and Pete and DJ are about to leave, not knowing that the crooks have seen Paco inside and are going to try to get him, Herbie reves his engines and wheelies out of there, swerving into the next street to escape, in a typical inspired Herbie moment. It is one of the few moments that suggest the Herbie we know. When in the cargo and Henry Slate and his men are trying to capture Herbie, the men jump on Herbie and he takes off, bursting through some crates, in a scene that echoes “The Love Bug” when the men of Thorndike try to stop Herbie at the shop, and he bursts through the glass of the display of the car dealership. It is a nice reference to the original film.
When Pete and Melissa are dancing he says the line, “You’re different than other girls I’ve known… For one thing you don’t giggle when there’s nothing funny.” It’s a nicely observant line, and in a way could apply to the film, but it is nicely done.
When Herbie is thrown off the boat on the plank it is an absurd scene, but it is beautifully staged, with mild slow motion showing the big stunt, and it is really impressive visually, showing Frank Phillips photography to be really superb, and that Vincent McEveety knew how to stage these kind of scenes with flair. When Herbie rises again, and the local Mexican men try to take him the stunt to get away is also nicely done.
The bullfight scene is the most famous of the film, and it is well done. The crooks end up in the bullring because Herbie seemingly accidently hits them and they’re propelled into the bullring. That Herbie does it essentially accidently is just another idea that is a missed opportunity since Herbie doing it INTENTIONALLY would have given him a little more of the thinking Herbie that we have come to expect. The bullfight is still decent enough, with Garay as Paco being especially charming in his confidence, effortlessly telling Aunt Louise and the Captain that it will be an exciting experience. It really is so charming that the scene comes off so much better accordingly. Admittedly some rear-screen projection after Herbie wins, with him doing a 180 with Paco bowing to the crowd is a little too noticeable.
One of the best lines in the film, when the bull is about to attack, and the Captain realizes the incredible danger he says, “30 years at sea and I’m gonna die in a bullring.” That was another ad lib from the great Korman, probably the best line in the film. John Vernon and Alex Rocco are nicely low key in their reactions, and Rocco’s fear, while Vernon finding it totally frustrating, shows that they gave the parts all the respect they could, since the script doesn’t do well by them at times. They really are wonderful.
When the Captain tries to do a phone call to get in touch with his ship he has some frustrating conversations on the phone. Yes the scene isn’t perfect, but Korman is, and he adlibbed some things in the scene that make it even better. He adds the “Toot toot! not Baa Baa”, in trying to express it is a ship not a sheep. It’s silly, but he is marvelous. When Louise hangs up the phone, without the Captain seeing it, and he walks off almost about to cry, he says, “They’ll take my command. They’ll take my sheep.”, it is simply brilliant, taking a line HE added, and building on the idea. He came up with that line, and uses the little real comedy that was there and makes it real comedy period. It really shines, and is probably the funniest part of the whole film because of his additions.
Later the Captain tries to send a message to the ship by carrier pigeon. The local man with the so-called service tells him it will arrive on the ship, and the Captain is reassured. Aunt Louise tells him, “He sure knows his pigeons.”, with total deadpan that is perfect. Korman and Leachman had worked together in “High Anxiety”, and they work beautifully off of each other. A nice touch for Disney fans is in the closing scene that has Leachman dancing, trying to seduce Korman, when he sees a ship that is outside through the porthole of the Sun Princess, his ship, it ending up being the Hispaniola, the ship from “Treasure Island”, using a clip from the film of 30 years before, which matches rather well considering the color of the time was a bit different.
Someone who really shines is Richard Jaeckel in the climax. He gets little to do till then, but he is so straight in his expressions in the climax that he sells it beautifully. When they get creamed by the bananas hitting the plane’s propeller it allows one of the best lines in the film by Alex Rocco, “Say what you want about voodoo, but where I come from cars don’t throw bananas, Joe.” The Joe was added or improvised since it isn’t in the script, giving Vernon’s character a first name. When they get on the plane Jaeckel reacts perfectly to the pursuing car, and he uses his glasses imaginatively, putting them in different places that stress his astonishment. When the plane goes through some posts, removing the wings of the plane, his glasses fall to his mouth area, and he screams, “MY WINGS!”, in a way that is truly inspired. That these three men can come off well with the faults of that scene really is a credit to them, McEveety, and that these are pros making the film, and are doing everything they can to make it work, even making the scene sort of work because of their contributions.
He even takes it further, for when Vernon tells him, “Can’t you make this thing go any faster?”, he responds with total aplomb, “The oil pressure is down. I don’t want to ruin my plane!” The plane is total junk by this point, but Jaeckel’s delivery is dead on. He is really funny and his bewilderment is irresistible.
Still the biggest asset of the film is first and foremost the score by Frank De Vol. It is simply wonderful. Just like “Herbie Goes To Monte Carlo” De Vol uses music to suggest the location that is fantastic. First there is a new Buena Vista logo, quite stunning in its blue hues with some other colors, replacing the new rainbow Buena Vista that debuted in 1978 first shown in “Return From Witch Mountain”, the new one being sort of a hybrid of the original blue with the 1978 rainbow version. The opening titles have a fantastic theme that is truly joyous. With the gorgeous lettering, with filigree in the capital letters that are especially impressive, the whole opening sequence is simply gorgeous, with an infectious melody that doesn’t leave one, following the bus with our leads as they arrive at Mexico.
De Vol does some wonderful touches throughout, like when the Captain is told by his steward to try to be nicer to Pete and DJ, he says things about enjoying the cruise, and then talks about lessons in playing maracas, with De Vol adding some wonderful maracas that really stands out as memorable when Korman mimes playing maracas. Even though it can hardly be heard when Pete and Melissa are dancing there’s a song “Look At Me”, sung by an unidentified singer which isn’t bad from what we can hear.
Just as he did in “Herbie Goes To Monte Carlo” De Vol uses the main Herbie theme of George Bruns for a moment when Herbie is about to be driven by Pete and DJ, while Paco is seen by the crooks under the hood, and Herbie takes off doing a wheelie, goes past the crooks and into the next street, De Vol punctuates the scene with the original theme with great flair. It is a nice touch, since he did it in the previous film only once and does the same here. It is a nice nod to George Bruns original fantastic contribution.
There are wonderful Spanish tinged themes throughout, but the standout of the score is the song “A Friend I Found”. Introduced in the middle of the film, just after Paco has rescued Herbie from his plunge in the ocean, and from the locals who wanted him for the metal scraps, Herbie and Paco take off and the song starts. In this scene it is nicely done, with them going around locales in their new found reunion, really being friends. The scene where the local kids surround the car, cheering them on is a little corny, and would have been better without it, but it isn’t bad, and the song continues beyond their last shot, so that it is only momentary.
However it is the end title version, just after they say, “To victory in Rio!”, that the song really is a stunner. The orchestration and the voices of the young chorus is perfectly in sync to a very uplifiting experience. The song is UNBELIEVABLY simple, and yet it is a marvel at how original and even complex it is. The end version only runs 69 seconds, so it is a very short song. Still if one listens to the lyrics they just have to be corny, but somehow they are NOT. They are so sincere that it comes off as unbelievably beautiful in sentiment and how it should really be that way.
The lyrics are also without a refrain, and outside of the words “A Friend” nothing is actually repeated. Considering everything it is almost illogical for the song to work, but it works in a magical way. Each stanza takes the song in a different direction, and the song has the traditional third stanza that goes musically in a different musical direction, an instrumental section, and a big wrap up that is incredibly satisfying. All within 69 seconds, and most importantly the melody is simply out-of-this-world gorgeous. You can’t get it out of your head. It really is a classic song, and nothing about it should lead to it being that, and yet the genius of Frank De Vol is on total display here, making music and lyrics that are so perfect, even if they suggest that they won’t come out that way. It is a marvel.
There is something similar to another maligned film, which deserves a lot of its reputation, “Santa Claus Conquers The Martians”. It is a dumb film, but if one gets away from the fact that it is essentially a children’s film being shot on no budget it has its charms. Most of all it has a gorgeous title song by Milton Delugg and Roy Alfred called “Hooray For Santa Claus”. However they almost always call him Santy Claus in the song. The gorgeous melody sung by a chorus of children is incredibly infectious, and just like “A Friend I Found” misspells “Friend” at the end of the song “Hooray For Santa Claus” misspells and mispronounces his name to be “Santy Claus” throughout. It works beautifully and shouldn’t, creating a very charming holiday song.
I’d first find out about “Herbie Goes Bananas” when I went to see “Lady And The Tramp” with “The Island At The Top Of The World”, the trailer going on before the films. I was quite surprised since the longest a Disney movie series had lasted was three with the Herbie and Dexter Riley series, so this was going one further. I’d see the TV Spots on the anthology show, with the film being released in the New York area later than the rest of the country, being released on 9/10/80 when school had already begun. I’d have to go a distance, since Disney films were being released in a rather limited way by 1979 in our area, and in few theaters.
I’d see the film, and loved the music, but thought it had something majorly missing. At the end of the film my sister comes up to me with her friend, and asked if I liked the film. I said yes, though admittedly I knew it wasn’t really as good as it should be, and she turns to her friend and says, “You see, I told you he would like it.” To put it mildly she hated it, as she had hated “Return From Witch Mountain” and “The Christmas That Almost Wasn’t”. It’s not like she didn’t have a point.
I had recorded the audio in the theater, and would hear the opening title music, the middle version of “I Found A Friend”, and the reprise in the end titles, especially the end titles, and knew that it was a fantastic song from the first time I heard it. It didn’t make sense that it was a great song, but it nonetheless was.
The film would not be available for a while, not showing on HBO, the anthology show, or video, just like “Herbie Goes To Monte Carlo” wasn’t. They were both finally released on video in October of 1984. I’d see both again, it having been already seven years since I’d seen “Herbie Goes To Monte Carlo”, which is a much better film. I’d see “Herbie Goes Bananas”, and knew things were wrong, but would see it again when they’d show it on “The Disney Sunday Movie”, and then give it a rest for many years.
Seeing it again years later on laserdisc I liked some of the jokes, especially Korman’s “I’ll lose my sheep” and “Twenty years at sea and I’m gonna die in a bullring.” I figured out then that they had made a children’s film, instead of a family film, and had screwed it up accordingly, but the script started dawning on me as being the real problem.
Last year, in 2019, I watched “The Apple Dumpling Gang Rides Again”, and marveled at the intricacies that the film has in its plot that really are amazing to dissect, since it builds so beautifully. I liked the film before, but noticing the script strengths gave me a new appreciation of it. It made me wonder who did the script, and seeing it was Don Tait, who I knew did many Disney films, I looked up his films and then realized that he’d do the following year’s “Herbie Goes Bananas”. Considering he had done so many classics for the studio, with no duds in them, how could he be so way off with “Bananas”? I then watched “Herbie Goes Bananas” again and realized that he duplicated the formula of “The Apple Dumpling Gang Rides Again”, but it wasn’t a good fit. Somehow the humor became childish, with no sophistication or much wit, though a few witticisms got in, most of all added by Korman. Still the camaraderie of the cast is nicely done, and one gets to like the characters a bit more, making the film somehow able to be enjoyable if one turns off the script problems and goes with it. There are films that I haven’t been able to do that with, but somehow “Bananas” has more going for it than I originally gave it credit for. These are pros that made the film that had done it many times before and though they obviously would have been better off with the studio putting a hold on it and getting a rewrite, it still was able to have some virtues.
In many ways “Herbie Goes Bananas” is the death knell for the original Disney studio, the Disney comedy coming to pass with it. “The Devil And Max Devlin” and “Condorman” are essentially Rated G films, but the tone in “Devil” is a comedy drama, the humor different, and it isn’t really with the same feel, no doubt also because of director Steven Hilliard Stern not being a Disney director. “Condorman” is an action adventure comedy, and though it’s pretty close to a Disney comedy, it still feels a little different, though it is a lot closer. With “Herbie Goes Bananas” and at the end of 1980 the TV film “The Ghosts Of Buxley Hall” the Disney comedy had become the children’s comedy, and it never was supposed to be that. It would end the Disney comedy after 21 years of so many gems and classics.
Why cover a film that has so many flaws in it, and is generally thought of as not worthy? Simply because it isn’t as bad as its reputation, and looked at with an open mind the problems can be seen to be what they are. It doesn’t make it a better film, but if it was as lousy as generally accepted it wouldn’t have grown on this particular viewer.
“Herbie Goes Bananas” is not a good film, but it isn’t without charms that really can be rather enjoyable. Its music and song are fantastic, its cast game to make the whole thing work, and though it doesn’t really come off, if it gets you in the right mood it can be a very pleasant 93 minutes.
“And I’ll bet you a banana, mañana, you’ll have a new friend!”