I would guess that almost all members of this group purchased something online this holiday season: a toy, clothing, books, electronics … you name it. I also suspect that none of us gave any thought to purchasing a husband or wife. Yet, mail-order brides (occasionally husbands) were fairly common for the century following the Civil War, largely among rural males. The title and concept of I Got Her Through the Mail, starring comedian “Smoke” Wells, would not have been a mystery to Panoram viewers.
I had naïvely thought that the mail-order bride was an American phenomenon, in place for a relatively short period. When I checked this out on Wikipedia, I discovered a far more complicated story, including the fact that the practice is still around today. Because it can now be seen as an element of human trafficking, I would understand discomfort among viewers. But as always, we have to place this Soundie in perspective and understand that eighty years ago, ordering a bride through the mail was seen as a merely peculiar and occasionally useful custom. By 1940, it was something from which humor could be derived, even if the “fun making” was at the expense of others.
“Smoke” Wells was a well-known stage comedian who worked with Janette Gilmore for more than a decade, with time off during the war years. The duo was usually billed as Wells and Gilmore and they entertained on variety stages coast to coast with novelty dances and comic vocals. The two were in Los Angeles when Wells asked to appear in a Soundie, I Got Her Through the Mail.
The Soundie was one of six produced and directed by a friend of mine, Arthur Dreifuss, who also directed shorts and features for Universal, Columbia, and the beloved Monogram. The music, somewhat nondescript, was provided by a studio orchestra under the direction of Lud Gluskin. This humorous musical number heads in exactly the direction one would expect. Wells goes through the “catalog” selecting beautiful women, only to find that the results don’t meet his expectations. There is, however, a surprise ending that helps make the three-minute journey worthwhile.
Now, in all fairness, this is not a great Soundie. It is certainly professionally made, and considering that it was probably filmed in one day, there should be no complaints aimed at director Dreifuss. It was used to fill out a weekly release somewhat heavy on big band performances and “pop” songs. In that way, it served its purpose and is worthy of a review more than eighty years later.