TheLittleSongbird If you are a fan of Bing Crosby fan you won't be disappointed by East Side of Heaven. The story is a touch protracted and I did wish Joan Blondell had more to do other than being a reactionary character, she seemed underused in the second half. East Side of Heaven is a nice film to look at, it isn't lavish but it is photographed with style and love and the costumes and sets are equally attractive. The music score is lush and catchy, and the songs don't disappoint either. Hang Your Heart on a Hickory Limb is colourfully staged and snappy and That Sly Old Gentleman and the beautiful ballad East Side of Heaven are classic Bing Crosby. The choreography is neither too simple or too complicated and it's elaborate without being overblown and when the film calls for a more understated touch it doesn't become laboured either. The dialogue is clever and snappy, the funniest moments coming from Mischa Auer and while East Side of Heaven drips with sentimentality it is also in an endearing and touching way, never forgetting to be entertaining either. Bing Crosby is charming and has no trouble being comfortable, he also sings a dream as he always did. Joan Blondell has allure and sassiness but she has had much better written roles. C Aubrey Smith ability to be gruff and classy as well as amusing comes naturally to him, but the most memorable performances come from Mischa Auer who's very funny and in some parts of the film hilarious and the absolutely adorable Baby Sandy. In conclusion, very entertaining and well done, won't disappoint Bing Crosby fans. 8/10 Bethany Cox

tavm This is one of two films Bing Crosby-a Paramount contract player-made on loan to Universal. In this one, he's originally a telegram singer before getting fired and becoming a crooning taxi driver. He's engaged to Joan Blondell and has Mischa Auer for a roommate. Oh, and there's a baby involved. I'll stop there and just say that the songs sung by Bing are entertaining especially one number taking place in a café where both the female cooks and some waitresses join in. There's plenty of funny lines and mannerisms especially from Auer. And this baby, whose name is Sandy, is sure cute! Really, this was a breezy 90 minutes that didn't test my patience. So on that note, East Side of Heaven is worth a look.

mark.waltz Someone once said, "Never do movies with dogs or babies. You'll loose every time". That proves to be true for Bing Crosby and Joan Blondell in this 1939 Universal comedy with songs. They have the first half of the movie to dominate, but once Baby Sandy comes on, it's all over for these two. Crosby is a singing cab driver who finds that the estranged wife of a drunken pal has left a baby in his cab to prevent her father-in-law from taking custody of the child. Crosby must then hide the baby until the mother reclaims it and prevent a nasty reporter from exposing him. Joan Blondell plays his girlfriend and gives her usual peppy wide-eyed performance, but really is wasted here. Fresh from 9 years at Warner Brothers, she was obviously hoping for better things, but didn't get it in this movie. Crosby sings a few charming songs, and is basically the same as he is in pretty much every other movie he made up to that point.Surrounding these two stars are such familiar character actors as Mischa Auer (as Crosby's Russian roommate) and C. Aubrey Smith as the grouchy millionaire/father-in-law. All of them don't mean squat once Baby Sandy shows up on the screen. Even cuter than Baby LeRoy, this tot smiles and plays for the camera as if she had one starring at her at birth. It's obvious as to why Universal felt she could handle her own series. Without the presence of this adorably little girl, the film would be entirely too cloying to enjoy.

oldblackandwhite East Side of Heaven, like most of Bing Crosby's 1930's vehicles, is mild, but very enjoyable entertainment. This one may rise a bit above the others because Crosby, on loan-out from Paramount to Universal, operates with a different and perhaps more sophisticated cast than usual. Not the least of which is that gorgeous, buxom hunk of womanhood, comedienne and fine actress Joan Blondell co-starring as his fiancé. The inimitable, delightfully and bizarrely funny Mischa Auer is on board as Bing's wacky, bug-eyed room mate. Auer, known as "the Mad Russian", had by this movie's 1939 release become a fixture in the period's screwball comedies. Labelled a stereotype by the present generation's politically correct doctrinaires, he was anything but. He was in fact a one of a kind comedian whose act, which has to be experienced rather than described, enlivened every picture he was in. Jerome Cowan contributes one of his typical nasty slickster, a radio gossip monger, while tall, distinguished C. Aubrey Smith adds a touch of class as a gruff millionaire trying to find his grand baby.And here we come to the real attraction of the show, aside from Crosby's crooning. Baby Sandy, the most utterly adorable, cute, well-behaved, and cuddly baby every produced by American motherhood, I'm sure. Even and old grouch like me couldn't resist her. The winsome kid is being kept by Crosby, a singing taxi driver, while the mother tries to get matters straighted out with her hubby, Smith's ne'er-do-well son. That with expected complications comprises most of this likable musical comedy's fluffy plot. Never mind, the show is carried by Bing's mellow singing, Auer's hilarious antics, Joan's big, blue-eyed good looks, and of course that precious little Sandy baby.Crosby's numbers included "Sing A Song Of Sunbeams", the warbling cabbie's theme song, the title song, sung at the end, and "Hang Your Hat On a Hickory Limb". This last is the best, as it expands into an elaborate song and dance number involving everyone in a large diner. Three plump old dolls, who must have started show biz in the Gay Nineties, sing a trio that almost steals the show from Bing, and a dancing chef-drummer uses everything in the kitchen for an instrument.Director David Butler, who also produced and wrote the story, guides all with his usual smooth, sure hand. He was in his element here. Through the 'thirties, 'forties, and 'fifties, before turning to television, he directed with consummate skill dozens of similar light weight but fun musicals and comedies. But he occasionally demonstrated versatility, as when he shifted gears to direct (with some uncredited help from Raoul Walsh) one of my favorite westerns San Antonio (1945 -- see my review).East Side of Heaven may have been a cheap production, but sets are first rate and the black and white cinematography sumptuous. It has the same smooth, polished look and sound of all big studio productions of the late 1930's through the late 1940's. Thoroughly enjoyable entertainment from America's favorite crooner and Old Hollywood's Golden Era.