Forget about Boys Town, Judge Hardy and Son, Babes in Arm, The Human Comedy or National Velvet. This is the less traveled road of Mickey Rooney’s post-MGM career where anything goes like co-starring with a talking mule (Francis in the Haunted House, 1956) or managing a troupe of trained monkeys (Babe: Pig in the City, 1998).
In the many peaks and valleys of his long career the Mickster never shied away from taking on difficult or questionable roles in his relentless desire to perform and entertain. While this adventuresome spirit might alienate part of his fan base that prefers to remember him as Andy Hardy or Judy Garland’s musical partner, it has won him an entirely new set of admirers. I’m talking about those who have seen and been amazed by his participation amid those lost post-MGM years in such eclectic fare as The Private Lives of Adam and Eve (1960), Platinum High School (1960), Everything’s Ducky (1961 with Buddy Hackett and a talking duck), Roger Corman’s The Secret Invasion (1964), How to Stuff a Wild Bikini (1965), the Mafia-Hippie-LSD comedy Skidoo (1968), and 1971’s The Manipulator (aka B.J. Lang Presents), where he plays a psychotic former director living in an abandoned warehouse with a female captive.
Rooney’s energy, range and versatility are truly awe-inspiring from his desperate loser of Quicksand (1950) to his subtle, moving portrayal in Requiem for a Heavyweight (1962) to his unexpected cameo in Babe: Pig in the City (1998). But I’m willing to bet that La Vida Lactea (aka The Milky Life), made in Spain in 1992, is probably the weirdest thing he’s ever done and very few people have seen it. Continue reading