The Sir Lancelot Mysteries!

Look deep into the heart of a true cinephile and you’ll find not only a long list of movies he or she is dying to see and hasn’t but another equally long, if not longer, list of movies he or she is dying to see that were never made. 

Fantastical imaginings! Imaginary match-ups!  Cross genre mash-ups!  Seeing this image from RKO’s THE CURSE OF THE CAT PEOPLE (1944), I’m struck by how cool calypso singer turned occasional bit player Sir Lancelot looks in his gabardine suit and wide brimmed hat.  He looks just like a detective! In the film, directed by Gunther von Fritsch and Robert Wise for producer Val Lewton (as part of an ongoing series of psychological horror films shot at RKO), Lancelot plays a chipper valet for a nice white family in Tarrytown, New York.  In this scene, he is merely collecting his young charge from a neighbor’s house… and yet he has such a presence in his street clothes – such velvet glove authority – that I can’t help but imagine him involved in something a bit more complex.

Born Lancelot Edward Victor Pinard on March 24, 1902, in Cumoto, Trinidad, Sir Lancelot was the son of an affluent government official.  A musical prodigy as a child, Lancelot Pinard was aimed towards a career as a pharmacist and studied medicine in New York before the siren call of singing lured him to his true path.  He began performing classical numbers but soon incorporated calypso tunes into his repertoire.  Promoted by bandleader Gerald Clark under the Arthurian moniker “Sir Lancelot,” he made his debut at the Village Vanguard in 1940, where he established himself as a pioneer calypsonian and recorded popular calypso sides (which inspired a young Harry Belafonte).  This diversion from his stated career goal got him disowned by his family, which a wounded but undaunted Sir Lancelot answered with the song “Shame & Scandal,” which he performs in the RKO creeper I WALKED WITH A ZOMBIE (1942).  If you know that movie, you know what a intriguing character Sir Lancelot is, effectively playing himself: a nattily dressed troubadour with impeccable manners and a funny habit of incorporating shameful tidbits from the past into his songs to the mounting horror of his listeners.  More than one critic has labeled Lancelot’s unnamed character a one-man Greek chorus and the label fits; you get so accustomed to his sudden appearances and so enjoy the way he sticks it to Whitey that you miss when he disappears from the tale halfway through.

Wouldn’t it be great if RKO had really run with that character and the potential of a dedicated series built around him…  or at least farmed him out to other studios for a line of branded whodunits in the mold of The Saint and The Falcon or those plucky but always polite Asiatic sleuths Charlie Chan,  Mr. Moto and Mr. Wong?  I’m not asking for a lot – I’m not asking for Nick and Nora gloss or tons of Sherlock Holmes atmosphere, period detail and supervillainy – I’m just saying, how badass would it have been if little Sir Lancelot could have run around on some old back lot sets with his guitar strung across his rounded shoulders and mixed it up with some contract players as he sussed out the ugly truth with his trademark combination of gentility and doggedness and called out the killer in song?  Check out this actual newspaper from 1967 – “strange deaths” in Cuba at the same time Sir Lancelot is making a triumphant return trip to the Islands!  How hard would it have been for the aging balladeer to charter a seaplane and hop on over to Cuba to track down and corner the killer… who may even have been whiskered Commie front man Fidel Castro himself?)  Boy oh boy I wish they had made these movies. And the really cool thing is that Sir Lancelot outlived all the other movie sleuths – all the Charlie Chans, Mr. Moto and Mr. Wong, Sherlock Holmes and both Nick and Nora.  At the time of his own demise on March 12, 2001 (a tick of the clock away from his 99th birthday), he had truly buried them all!

The possibilities are endless.  In SIR LANCELOT STRIKES OUT (1941), he could solve a mysterious death while attending a double header at Wrigley Field, where he has been invited to sing the National Anthem!  In THINK TWICE, SIR LANCELOT (1944), he might have to deduce the guilty party from a set of identical twins!

In SIR LANCELOT’S GAMBLE (1942), he could unmask a killer from among the swells and dandies at a Mediterranean casino where he has been hired to perform!. In SIR LANCELOT IN RENO (1943), he could solve the slaying of a gay divorcee and try his hand at rodeo clowning!

In AHOY THERE, SIR LANCELOT (1944), he could thwart Italian drug traffickers while crewing aboard a tramp steamer.  (Trivia:  Like Lancelot’s swabbie cap?  His songs were the inspiration for the theme to GILLIGAN’S ISLAND and series creator Sherwood Schwartz briefly considered hiring him to sing it.)  In SIR LANCELOT IN CENTRAL PARK (1944), capitalizing on his single “A Night in Central Park,” our man could hear a murder rather than a murmur and clap the culprit in irons by the lion cage at the zoo!

In SIR LANCELOT ON VOODOO ISLAND (1945), our man could ankle Axis rats operating out of an allegedly haunted sugar cane grove in darkest Haiti with the help of an obliging zombie (Darby Jones, natch).  In SIR LANCELOT’S FAKE-OUT (1946), he could oppose counterfeiters who have bootlegged his recordings!  This would have been a great opportunity to put Sir Lancelot on the big screen with other calypso performers, like Lord Invader, whose “Rum and Coca Cola” was covered by The Andrews Sisters and became a big hit in the States even though the song was a condemnation of the corrupting influence of the American military on the Islands.  That’s what so great about Sir Lancelot… he serves up the judgment in such an entertaining and nonthreatening way that we’re completely charmed and arrested at the same time.  He sure would have cleaned house as a private dick and made some beautiful music while doing it.

In the kinder, gentler holiday classic MERRY CHRISTMAS, SIR LANCELOT! (1946), our tubby protag could clear the name of an innocent man charged with embezzlement while visiting relatives in Bedford Falls.  Oh, I could go on and on.  When you’re dreaming, the sky’s the limit.  I love my imaginary Sir Lancelot – Calypso Cop box set.  I think I’ll watch one of these gems right now – in my brain.

8 Responses The Sir Lancelot Mysteries!
Posted By Ian W. Hill : January 1, 2010 1:35 pm

Oh, god, brilliant.

I’d almost love to make up more, but you’ve provided about as many ones to imagine as would possibly have been created.

I think I’ll just think of them, and mention them, as if real, and maybe in 100 years, as far as written film history goes, they WILL be.

Posted By suzidoll : January 1, 2010 1:41 pm

I always thought Sir Lancelot was an odd duck, especially in I WALKED WITH A ZOMBIE when he sings a calypso-style song with a creepy verse that encapsulates the scandal at the heart of the narrative. But, maybe starring in his own film series would have turned him into a lovable, jovial character.

Posted By moirafinnie : January 1, 2010 3:10 pm

Oh, how much I wish your brainchild could have been true, RHS, if only to see this dignified man with the lyrical voice straighten out the world a bit in the ’40s. Please sign me up for your imaginary boxed set of Sir Lancelot – Calypso Cop movies.

I always loved whenever Sir Lancelot showed up in movies, especially since he was often the wisest guy in the room, ready to point out the folly of becoming vexed by life’s twists and turns,(“Calypso” in Brute Force is a particular fave).

Btw, one movie that should have been made: THEY CALL ME SIR LANCELOT!

Posted By Al Lowe : January 2, 2010 9:56 am

I too think about movies that were never made.

I would liked to have saved MGM in the late 40s and 50s when it was falling apart.

It wasn’t all Dore Schary’s fault. Or Mayer’s. The seven year actor contract system was ending, TV was a major threat and the courts made the studios sell their theaters.
Also, I think the producers at Metro had run out of ideas.
Another problem was that two of MGM’s best directors, Victor Fleming and Jack Conaway, passed away and Clarence Brown retired in the early 1950s. That left Minnelli, Cukor and Wellman and a couple that should have received better breaks, John Sturges and Anthony Mann. Both would do great elsewhere.
Some of the movies made much later for other generations might have saved the ship from being scuttled had they been made in the 40s or 50s.
How about Gene Wilder’s TV movie MURDER IN A SMALL TOWN with William Powell and Mickey Rooney (as the murderer)? Clark Gable and Ray Milland in THE MAN WHO WOULD BE KING? Tracy and Hepburn in A BIG HAND FOR A LITTLE LADY, with Tracy in the Paul Ford role, Hepburn in the part Joanne Woodward played and Joseph Cotten or Walter Pidgeon in the Henry Fonda role. Garbo, Tracy (or Cagney), Van Johnson and Jean Hagen in BULLETS OVER BROADWAY, instead of Dianne Wiest, Palminteri, John Cusak and Jennifer Tilly. MISERY with Spencer Tracy and Bette Davis instead of Kathy Bates and James Caan. Greer Garson, Pidgeon and Margaret O’Brien in THE PARENT TRAP instead of Maureen O’Hara, Brian Keith and Hayley Mills. O’Brien and Wallace Beery in HOME ALONE instead of Culkin and Pesci.
I also would have changed the casting of some of the movies they DID make. Esther Williams wanted the lead in CASS TIMBERLANE; I would have given it to her opposite Walter Pidgeon instead of Tracy. I always enjoyed EAST SIDE WEST SIDE because of its wonderful cast (Gardner, William Conrad, James Mason, Nancy Davis, Cyd Charisse) but I would have replaced the leads. James Cagney and Greer Garson instead of Van Heflin and Barbara Stanwyk.
And many of the movies made during that time frame would not have been made at all.

Of course, there was one thing stopping me from saving the day. I was born in 1948. And I don’t have a time machine to go back and tell them which movies to make and which ones to avoid.

I think some people blame MGM’s downfall on Schary but it probably would have happened anyway. When he left the studio he got no offers to run another major film operation.

I guess I just feel frustrated when I realize all the mistakes the studio made at that time. I feel like screaming, “What is the matter with you idiots? What are you thinking about?”

During that time Gable, Turner, Skelton, Garson, Elizabeth Taylor and other biggies made their worst films.

So, you aren’t the only one to daydream about what might have been.

By the way, that was an imaginative, well written piece.

Posted By Patricia : January 2, 2010 8:15 pm

One of the great treats of watching the Lewton pictures is the stock company of performers with Sir Lancelot in first place. We can’t have those delicious movies you envision, but what’s stopping you from giving us a novel? I’d buy a book. I’d buy a series!

Posted By Earl B : January 3, 2010 4:21 pm

“SIR LANCELOT – CALYPSO COP” – wasn’t that the short-lived TV series he later did for ZIV?

Terrific coulda-been/shoulda-been movies, and I love that newspaper page! It looks like a classic movie transition: showing first the “uh-oh, trouble” headline, then panning down to the “rest easy, he’s on the case” Lancelot story.

Posted By Walt : January 3, 2010 11:10 pm

I think I’ve got this right…Billy Wilder doing a film with Garbo in the late forties/early fifties. Have you seen those brief screen tests of her from that period? She’s stunning. Wouldn’t presume to map a scenario onto it, but I wish that deal had gone through.

Posted By Jenni : January 8, 2010 10:57 pm

I applaud your creativity here, RHS. The studio missed out on not creating these Calypso Cop series of movies.

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