Tuesday, October 31, 2017

Now and Forever (1934), 6+ {nm}

Young freewheeling wanderer Jerry Day and his beautiful wife Toni are at odds over their lifestyle....
(81 mins.) Released 1934-08-31
Director: Henry Hathaway
Stars: Gary Cooper, Carole Lombard, Shirley Temple, Guy Standing

Drama | Musical | Romance

(same disc as Little Miss Marker)

This is definitely NOT a musical, hence the "{nm}" in the title of this post. Only 1 number, ST singing in a drawing room, and it's only a portion.

But the movie is entertaining. Stars Cooper and Lombard are eminently watchable, and the story of teetering between good choices and bad has a satisfying (not easy) ending.

Paramount, dir. Hathaway; 6+

Little Miss Marker (1934), 6+

Little Martha Jane, aka Little Miss Marker (Temple) is left with the bookmaker Sorrowful Jones by her dad as part of a bet on a horserace...
(80 mins.) Released 1934-06-01
Director: Alexander Hall
Stars: Adolphe Menjou, Dorothy Dell, Charles Bickford, Shirley Temple

Comedy | Drama | Family | Musical
http://www.imdb.com/title/tt0025410/

(Out of sequence because I just acquired this and Now and Forever.)

Shirley's 9th film (skipping one where her scenes were deleted), and the 5th of 9 released in 1934, but only 5 list her in their Soundtracks (with 1 song each). Notice that this (and N&F) are from Paramount, not Fox.

Well, I wouldn't count this as a musical. A couple of nightclub songs by the female lead and one by ST with her. No dancing, However, satisfying performances by Runyonesque folks, and ST can switch easily between newly minted tough and sweetness personified. Plot has gruesome elements and too-quick turns.

Oh, my! Dorothy Dell, the female lead, died before she could make the next ST movie, Now and Forever. She was only 19 (road accident)! She looks much older here, and sings well enough to give Alice Faye a run for her money. Neither of her other 2 movies are available now, although clip(s) are on YouTube.

Paramount, dir. Hall; 6+

Young Man of Manhattan (1930); 7- {nm}

Two flappers (Claudette Colbert and Ginger Rogers) try to get their newspaper reporter boyfriends to pay attention to them.
(79 mins.) Released 1930-04-19
Director: Monta Bell
Stars: Claudette Colbert, Norman Foster, Ginger Rogers, Charles Ruggles

Comedy | Musical | Romance | Sport
http://www.imdb.com/title/tt0021568/

originally posted 26 Oct 2017

Claudette Colbert 4th film, she's 1st billed; Ginger's FIRST, and she's 3rd billed before Charles Ruggles (Norman Foster is 2nd; he has 46 acting credits and began directing in '36, with 38 credits, 1 posthumous).

Nice drama, NOT a musical, despite IMDb genre, hence the "{nm}" in the title of this post. Colbert is highly effective as a sincere reporter trying to make her marriage work. Foster is playing an insensitive alcoholic(maybe), and he's effective too. Ruggles is the wise pal of the husband, Rogers plays an underage teen trying (and sometimes succeeding) in pulling the husband away from home. There's a definite anti-prohibition bent here, since someone gets serious alcohol poisoning from a single bottle, and the feminist angle with both spouses working, and she earns more than he.

Watched here; not a good print, but good enough:
https://www.youtube.com/watch?v=i0EV2X6osa0
Tempting to rate this a 7 for the historic value of the social issues.

Paramount, dir. Bell; 7-

Palooka (1934); 6-- {nm}

Knobby discovers young hunk Palooka and trains him to fight the reigning champ, also drunken sot, Al McSwatt.
(86 mins.) Released 1934-01-26
Director: Benjamin Stoloff
Stars: Jimmy Durante, Lupe Velez, Stuart Erwin, Marjorie Rambeau

Comedy | Music
http://www.imdb.com/title/tt0025619/

originally posted 25 Oct 2017

This did not earn the Music genre tagged here, hence the "{nm}" in the title of this post. It has one number of Lupe Velez singing and wiggling in a night club, and a portion of Inka-Dinka-Do by JD alone. Don't put any stock in Thelma Todd on the roster; she appears for less than a minute in the beginning of the film.

Edward Small Prod, dir. Stoloff; 6-- (sic)

Baby, Take a Bow (1934); 5 {nm}

Eddie Ellison is an ex-con who spent time in Sing-Sing prison. Kay marries him as soon as he serves his time...
(76 mins.) Released 1934-06-30
Director: Harry Lachman
Stars: Shirley Temple, James Dunn, Claire Trevor, Alan Dinehart

Comedy | Drama | Family
http://www.imdb.com/title/tt0024854/

originally posted 19 Oct 2017

Really not a musical, hence the "{nm}" in the title of this post. The one song and dance number is bad, which would be appropriate to a child that age. She danced really well a few films ago, with James Dunn (her dance partner here), so this must have been an artistic choice.

Beware child in jeopardy plotline. Strange that they would colorize this one. The setting & plot matches B/W.

Fox Film Corp., dir. Lachman; 5

Kiss and Make-Up (1934); 6+ {nm}

Dr. Maurice Lamar is a noted plastic-surgeon who makes his rich clients beautiful, and also makes them...
(78 mins.) Released 1934-07-13
Director: Harlan Thompson
Stars: Cary Grant, Helen Mack, Genevieve Tobin, Edward Everett Horton

Comedy | Musical | Romance
http://www.imdb.com/title/tt0025351/

originally posted 19 Oct 2017

First movie in my Musicals list released after the activation of the Breen office, requiring certification. (This is released July 13; cutoff was July 1.)
https://en.wikipedia.org/wiki/Motion_Picture_Production_Code

Three songs does not a musical make. So while I watched this as part of my Musicals quest, I'm logging this in the non-musicals list. Hence the "{nm}" in the title of this post.

I like the criticism of the pursuit of beauty. But then its chief critic is revealed to wear a toupee. Oh, well, it's a frothy bit of fun.

The director also wrote the screenplay; this is 1 of only 2 directing credits; 18 writing, 15 producing.

Paramount, dir. Thompson; 6+

The Emperor Jones (1933), 5 {nm}

Unscrupulously ambitious Brutus Jones escapes from jail after killing a guard and through bluff and bravado finds himself the emperor of a Caribbean island.
(72 mins.) Released 1933-09-19
Director: Dudley Murphy
Stars: Paul Robeson, Dudley Digges, Frank H. Wilson, Fredi Washington

Drama | Music
http://www.imdb.com/title/tt0023985/

originally posted 11 Oct 2017

Watched now because I thought it might fall into the musical category. Although Robeson sings a couple of songs, I don't feel that it fits the genre, hence the "{nm}" designation on the title of this post.

I'm giving this a 5 because I don't understand Jones' collapse at the end.

[Spoiler Alert for several paragraphs] So a rural man seeks a better life, and becomes a Pullman porter. He likes the life on the road, and doesn't return to his rural home. He gambles and cavorts with women (mostly one), but his ambition pushes him to seek duty on "the president's" car. Here he tries to insert himself in the business he observes, and gets sent back to the routes in Georgia.

In his gambling/womanizing life, he kills his former friend in self defense, and gets sentenced to hard labor. At the quarry, a guard wants him to beat a fellow prisoner with a bat, he refuses, and as the guard does it, Jones kills him with a shovel (defense of another). He then climbs into the truck hauling rocks out of the quarry, and encourages the skip-loader operator to dump an extra scoop of rocks on him, hiding him from the guards, or at least convincing them he's dead.

He survives that and makes his way to his old home town, simply using this as a rest stop to escape again. Next he's on a Caribbean freighter, and he decides to swim to shore on a lesser island before arriving somewhere he could be recognized by the police.

The island is governed by a black "king", whose guards capture Jones when he washes ashore. He is "saved" by a white trader on the island who buys him from the king. Jones learns the trader's business, eventually achieving partnership. Then he wants to assert himself further into the island powerbase, replaces the bullets in a gun with blanks, and provokes the gun owner to shoot at him repeatedly. He declares that he can only be killed with a silver bullet, and becomes the Emperor of the island.

He adopts a Nazi-looking crest, and Napoleonic uniforms. His court visitors dress in Louis XIV clothing to match. But he's a harsh ruler, and over-taxes the populace. The people riot, his court staff abandon him, leaving only his white trader/partner to apprise him of the situation. He finally realizes he'll have to leave, and exits via the jungle.

In the jungle he's haunted by past events, and shoots at each ghost that haunts him. (I don't understand why he's plagued by ghosts here. He's awake. Is he physically diminished somehow?) Eventually the "law" of the island catches up with him, and shoots him with silver bullets. The End.

[end of spoilers] I don't feel I should have to research a film to understand it, but I don't want to watch it a fourth time for clues (once was the commentary track). So the wikipedia entry says "This section was written as a nearly autobiographical account by [playwright] O'Neill, who had gone off to Honduras the year after his graduation from Princeton and gotten hopelessly lost in the jungle, resulting in hallucinatory fears." We get no indication of lots of time passing in the jungle, so I still don't understand why Jones went nuts so quickly.

Worth watching for Robeson's voice and his physical and psychological presence.

John Krimsky and Gifford Cochran Inc. (distr. UA), dir. Dudley Murphy, William C. de Mille (uncredited); 5

Broadway Melody of 1936 (1935); 7+

Bob Gordon is staging a new Broadway Show, but he is short of money. He gets an offer of money by the young widow Lilian...
(101 mins.) Released 1935-08-25
Director: Roy Del Ruth
Stars: Jack Benny, Eleanor Powell, Robert Taylor, Una Merkel
Dave Gould ... dance numbers created and staged by; Oscar winner, see below
Albertina Rasch ... stager: "Lucky Star" ballet

musical, romance

originally posted 28 Oct 2017 03:22

All Freed/Brown songs, all the time; most have been used before, and most will be in Singin' in the Rain (1952). Francis Langford again (good!), looking a lot like Harriet Hilliard (m. Nelson). June Knight sings well, and dances well too (hair and eyebrows); strange that she can perform that well, but has to finance the show to get attention. Nick Long, Jr. can kick high with his right leg, and dances well.

Full-blown Eleanor Powell numbers here; she is the Star of the film and she taps and dances ballet and backbends a bit. Buddy Ebsen and sister Vilma dance more comedically, since he is very gangly. Jack Benny as a gossip reporter on the Broadway beat with assistant Sid Silvers; Robert Taylor as a successful Broadway producer with assistant Una Merkel.

Dave Gould won the Oscar for Best Dance Direction for "I've Got a Feeling You're Fooling" here, and for "Straw Hat" in Follies Bergere de Paris. Other nominees.

The ratio of dance and music to plot is very good. MGM has finally learned how to make a dancing musical, only 6 years after the first talkie Best Picture Academy Award for the namesake of this one, and 4 years before Arthur Freed produces. The production numbers are lavish, and the trick furniture and statuary is riveting. They also experiment with trick photography. They do a poor job matching contrast levels with the rear projection (as is the norm for now), but the split screen work is very nice: people walk through a center line to change costume, reversing black and white. Their attempt at a BB overhead shot is horrible: they keep the camera moving and the picture shakes like the cherry-picker is going to shatter.

The song Broadway Rhythm debuts here. 

MGM, dir. Del Ruth (& Van Dyke); 7+

Every Night at Eight (1935); 7-

Three young girls working in an agency have build a singing trio. They want to 'lease' the dictaphone of their boss to make a record of their singin...
(80 mins.) Released 1935-08-02
Director: Raoul Walsh
Stars: George Raft, Alice Faye, Frances Langford, Patsy Kelly

comedy, musical, romance

originally posted 28 Oct 2017 00:41

REALLY pleasant surprise. I like Faye and Langford; thought of Patsy Kelly only as comic relief. But Kelly can sing (she solos a bit), and the three of them blend together BEAUTIFULLY.

My (bootleg) copy runs 1:15 instead of 1:20; the time passed quickly with lots of songs. The most famous: I Feel a Song Coming On and I'm in the Mood for Love. 

George Raft is young (34) and handsome, but acts arrogant and embittered, as usual. He's a bandleader here, and has white, reserved Cab Calloway moves, dancing in place as he wields the baton, moving only from the waist down. He moves his feet enough for me to notice his 1 inch heels. (IMDb shows him as 5'7".)

I have almost all of AF's movies; can't wait to see when they let her eyebrows grow back in. The super-plucked look was awful, even on Jean Harlow.

This movie is slightly more integrated than usual. During the amateur hour, a white woman sings like a chicken (but wears ostrich feathers (they had a lot of bald ostriches in the '30s!)) and they cut to a well-dressed black man, who looks depressed, but he cracks a smile while listening to the chicken lady. Also, when Raft & cie get their own radio program, their large ensemble of singers is black, with a terrific baritone lead (James Miller - identified on TCM.com as "black singer" here). Unfortunately they're in minstrel outfits, but their faces are not blacked up, and they don't act minstrel-y. The sponsor is a "mint julep" company.

Nice to have a show biz setting that's about radio instead of theatre.

My 7 isn't a strong recommendation, but I like it too well to settle on 6. Maybe on second viewing I'll downgrade it from familiarity.

Walter Wanger Prods & Paramount, dir. Walsh; 7-

Curly Top (1935); 7

Wealthy Edward Morgan becomes charmed with a curly-haired orphan and her pretty older sister Mary and arranges to adopt both under the alias of "Mr. Jones." As he spends more time with them, he soon finds himself falling in love with Mary.
(75 mins.) Released 1935-07-26
Director: Irving Cummings
Stars: Shirley Temple, John Boles, Rochelle Hudson, Jane Darwell

family, musical, romance

originally posted 27 Oct 2017 22:39

As a musical, meh. ST dances alone atop a piano, not great. Most famous song: Animal Crackers in My Soup, and she's just walking up and down the aisle of the drab orphanage mess hall. Both Boles and Hudson have solos too.

But as a fantasy (I want to be adopted by the nice, rich, handsome man), or as history lesson (why would audiences crave more of this little actress? Orphanages, what are they?), EXCELLENT. Really pulls at heart strings. The scene where she charms the butler is sublime. (This is the 1st of 4 films with Treacher; later they dance together.)

Our millionaire in this film goes in for reproductions. Among the paintings he re-imagines as Curly is Gainsborough's The Blue Boy (c. 1770), which Henry Huntington purchased in 1922, and resides, on display, in the Huntington Library to this day (will undergo restoration in 2018). I did appreciate that he chose the boy's portrait, rather than its companion, Lawrence's Pinkie (1794, also at the Huntington, facing BB, displayed together since the late 20's), who is a girl.

For the history lesson:

The rating is for the 1st 42 minutes. The rest is fine, but extraneous to my reasons for liking this.

Fox Film Corp, dir. Cummings; 7

Sanders of the River (1935); 6+

British District Officer in Nigeria in the 1930's rules his area strictly but justly, and struggles...
(98 mins.) Released 1935-04-04
Director: Zoltan Korda
Stars: Paul Robeson, Leslie Banks, Nina Mae McKinney, Robert Cochran

adventure, drama, music

originally posted 27 Oct 2017 07:41

Overt propaganda for British colonialism, particularly in Africa. Robeson as a chief, Bosambo, aligning himself with the British, Nina Mae McKinney as his wife. (Some of the women here are bare-breasted, some are not. NM is not.) She is luminous and regal, in love with her husband and devoted to her children.

Although described by Bosambo as kind, the British magistrate is quite willing to use force, and executes a rival chief in summary judgement.

Robeson is a strong presence, but when placed on a mini-stool to sit below the Brit, he looks uncomfortable. The featurette confirms Robeson's displeasure at the resulting film, and that he demanded more and more control over the final product in his subsequent work. (They say that Jericho, aka Dark Sands (1937), is his best film, partly because of the control he exercised.)

The 2 Robeson songs show how rhythm, melody and rhyme can help teach (warriors to fight). NM's maternal song conveys love and vision for her children.

London Film Prod., dir. Z.Korda; 6+

Hooray for Love (1935); 6+

A young man with money falls for singer Pat Thatcher, and her con man father makes the most of it.
(72 mins.) Released 1935-06-14
Director: Walter Lang
Stars: Ann Sothern, Gene Raymond, Bill Robinson, Maria Gambarelli
Sammy Lee ... musical dance numbers created and directed by

comedy, musical

originally posted 27 Oct 2017 02:20

The highlight of this film is I'm Livin' in a Great Big Way: Bill Robinson, dancing and singing with Jeni LeGon, accompanied by Fats Waller, at 0:52-1:01, reprise 1:10:20-:46.

I's very pleasant overall. Lionel Stander as the Russian director of the musical (yup, another backstager), Gene Raymond as the Broadway producer wannabe, Ann Sothern as the working actress/singer/dancer, lots of chorus boys and girls (supposedly Lucille Ball again, and Dave O'Brien, but I wasn't watching for them.)

I like that they did full numbers during the film, and then referenced them with the turn of a program page, and then presented new numbers too. (I've grown tired of the BB method of withholding the good stuff for the last 20 minutes.)

RKO, dir. Lang; 6+

In Caliente (1935); 6

Magazine editor Pat O'Brien givesMexican dancer Dolores Del Rio a bad write-up, and then becomes romantically involved...
(84 mins.) Released 1935-05-25
Director: Lloyd Bacon
Stars: Dolores del Rio, Pat O'Brien, Leo Carrillo, Edward Everett Horton

comedy, musical, romance

originally posted 26 Oct 2017 23:03

I cannot imagine why I gave this 7 before. We have NO charismatic stars here. Dolores Del Rio is nice, but not enough to carry a movie for me, at least not if Pat O'Brien is all she gets to play off. EE Horton needs a woman to run away from. And none of the dance ensembles scream that BB was at hand. While others imitate his style, here he imitates theirs. The Dancing DeMarcos (duo) are good at what they do, but they are so strictly ballroom that I don't like them. Plus, the husband, who looks like Irving Berlin, always manages to face the camera. The songs are ok, with The Lady in Red introduced here.

Warner Bros, dir. Bacon [+BB]; 6

Go Into Your Dance (1935); 7-

Al Howard may be a star on Broadway, but he is no longer welcomed by any producer. It seems that he...
(89 mins.) Released 1935-04-20
Director: Archie L. Mayo
Stars: Al Jolson, Ruby Keeler, Glenda Farrell, Barton MacLane
Bobby Connolly ... dances created and staged by; Oscar nom'd, see below

crime, drama, musical, romance

originally posted 26 Oct 2017 20:19

The song that lingers with me is About a Quarter to Nine, which AJ sings twice, RK dances to it, and they use it as dance music and background music. Clearly they're selling it, and I buy it.

Ruby's dancing is better than usual; they gave her something to do with her hands and/or choreographed them.

This is a backstager, but it's the established star who's fallen and struggles to rise again. Glenda Farrell is AJ's strong, smart sister. Helen Morgan sings The Little Things You Used to Do atop a piano; when dancing with AJ she's taller; she plays trouble in a skirt. RK eventually pairs up with AJ, and gets shot for her efforts. Arthur Treacher is onscreen briefly toward the beginning, playing with Glenda. 

Near-BB spectacle created by Bobby Connolly, especially in the She's a Latin from Manhattan number with a large globe onstage. Aha! Bobby Connolly is Oscar nominated, Best Dance Direction for "Latin from Manhattan". Dave Gould won; nominees.

First National (WB), dir. Mayo, (Curtiz & Florey); 7-

My post on Oscar, Best Dance Direction, 1936-38


Goin' to Town (1935); 6+

Former dance hall queen Cleo Borden, newly rich, falls for and pursues an upper-crust Englishman.
(74 mins.) Released 1935-04-25
Director: Alexander Hall
Stars: Mae West, Paul Cavanagh, Gilbert Emery, Marjorie Gateson

comedy, musical

originally posted 26 Oct 2017 17:30

Previewing the cast list, I'm struck again by the fact that NONE of the names are familiar. Don Adams told a story on a Cavett show: when he was a young comic, and MW was older, doing a night club act, she forbade him from completing any of his jokes, so he wouldn't outshine her (he was opening for her.) Did she cast her films that way too?

Cowboy dance hall queen, prenup benefactress, winning racehorse owner, social climber, opera singer (Delilah, as in Samson and; she sings in French; Camille Saint-Saëns appears in the IMDb Soundtracks list). She wrote the screenplay, delivers her signature elegant bawdiness, and sings 3 non-opera songs.

Major Pictures Corp (distr. Paramount), dir. Hall; 6+

Strauss' Great Waltz (1934); 5+

The story of Johann Strauss the elder and younger.
(81 mins.) Released 1934-03-01
Director: Alfred Hitchcock
Stars: Edmund Gwenn, Jessie Matthews, Fay Compton, Esmond Knight

biography, music, romance

originally posted 26 Oct 2017 15:53

Yes, Hitchcock directed a musical. It was released in 1935 in the US, which is why it looks out of sequence here.

Not very illuminating (perhaps even false?) as a biopic; not very pleasurable as a musical. Focuses on J.Strauss, Jr's breakthrough with the Blue Danube waltz (although it's satisfying when we finally hear it through), threatening his father's top status, and jumping ahead of his brother(s) for whom the father has more respect. Jesse Matthews plays his muse, Fay Compton her titled rival. Both sing well. Matthews, of course, has no opportunity to dance.

After the obviously fake visuals in the opening scene, I didn't watch the rest very carefully. I invite myself to look more at subsequent scenes - if I ever watch this again.

Gaumont British Pictures, dir. Hitchcock; 5+

Reckless (1935); 7

Wealthy Bob Harrison buys all the seats in the theatre to watch Mona Leslie's musical by himself. He loves her...
(97 mins.) Released 1935-04-19
Director: Victor Fleming
Stars: Jean Harlow, William Powell, Franchot Tone, May Robson

drama, musical, comedy

originally posted 26 Oct 2017 15:15

The only Harlow film classified as a musical. (She apparently had a bit part in The Love Parade (1929).) Musical is justified by her singing 4 numbers, 3 with her dancing. Her voice was dubbed, and her dancing doesn't thrill, but she was credible in her role as a Broadway star.

This is her first film with W.Powell, the other being Libeled Lady (1936). She dies in 1937 while engaged to him.

How did she tolerate this plot? According to one of the IMDb bios, in 1932 her recent husband Paul Bern committed suicide by gun after his (former) common-law wife met Harlow; the wife also committed suicide a few days later. Not quite the plot of this film, but close enough.

Nina Mae McKinney solos briefly at the end of the Reckless musical number, but the framing is quite far, so you have to pay attention. She is not Harlow's voice double here, despite what it says in NM's IMDb bio.

I'll stay with my prior rating, but I'm not recommending it as a musical, more for Harlow and the story, which tells Depression era audiences that money doesn't buy mental health, much less happiness.

MGM, dir. Fleming; 7
______________________________
Update 17 Nov 2017

Is Reckless a remake? An IMDb Trivia item says:
Producer David O. Selznick based this on the Libby Holman murder scandal. Jean Harlow felt the story had disturbing similarities to suicide of her second husband, Paul Bern. She believed that she was cast in the picture in a deliberate attempt to capitalize on that event, and refused the role at first. In William Powell's autobiography, he says he convinced her to accept it rather than be suspended. 
On the Holman bio page, it says, among many juicy stories:
In 1932, over the family's annual alcohol-fueled July 4th holiday party held at the estate, she told her husband she was pregnant and there was reportedly a tense confrontation - stories differ, but there was a gunshot and Libby and Ab Walker (whispered to be her lover), a close friend of Smith's, were indicted for murder. Fearing scandal over their son's activities, the intensely secretive Reynolds family persuaded local authorities to drop the charges; the death was ruled a suicide. The scandal stuck to Libby and her career suffered. ... Despite her excellent performances, the Reynolds scandal dogged her and she was often hissed and booed. 
The IMDb Connections page cites both Sing Sinner Sing (1933) and Brief Moment (1933) as antecedents. But they both have the same release year, they are from different studios, and they don't share any writers in common. I found both films online, and watched them.

Brief Moment has nothing in common with Reckless beyond a singer marrying a millionaire; no one dies. It's Trivia says it was based on a Broadway play also called Brief Moment that closed in Feb '32. Excellent copy here.

Sing Sinner Sing is a lot more similar to Reckless. A singer marries a millionaire, he is a raging drunk who cannot stop partying. He gets depressed one day and is killed by gunshot - he had a gun in his hand immediately before we hear the shot. His wife goes on trial for the murder, and as she hears her guilty verdict, her former boss (a gambling ship / nightclub owner/manager) who was obsessed with losing her to the millionaire, comes to court with a gun, screaming that he killed the millionaire and now he wants to kill her too.

The Sing Sinner Trivia page has this item:
The character of Lela is based on infamous torch singer Libby Holman, and the character of Ted Rendon is based on tobacco heir Zachary Smith Reynolds, who married Holman on November 16, 1931 and was found shot dead in their home on July 6, 1932. The death was originally ruled a suicide, but a coroner's inquiry later decided it was murder. Holman was suspected of having killed her husband for his inheritance but was never prosecuted for the crime.
So it is plausible that Reckless is derived from Sing Sinner, but did MGM pay the Sing Sinner producers for the rights to the story? Unlikely, since both were based on the Holman/Reynolds public scandal. Sing Sinner is in public domain, available on disc, Amazon Prime and YouTube in poor visual and aural quality. (It's amazing that both SSS and BM are the same year. The quality is night vs. day.)






The Big Pond (1930); 6

A tour guide in Venice romances a visiting American tourist whose father owns a chewing-gum factory back in the U.S. She sets out to convince her skeptical father to bring the tour guide to America and give him a job in the plant.
(72 mins.) Released 1930-05-03
Director: Hobart Henley
Stars: Maurice Chevalier, Claudette Colbert, George Barbier, Marion Ballou

comedy, music, romance

originally posted 26 Oct 2017 04:33

watched bad print here:

MC sings You Brought a New Kind of Love to Me very early in the film. This is the song the Marx Bros spoof in Monkey Business (1931) in the passport checking scene. Here it's "their song" and repeated a lot. MC sings one other; so it's not really a musical, but it's on the cusp. Enjoyable. Makes sense that they did another (The Smiling Lieutenant, 1931, above).

Paramount, dir. Henley; 6

The Sap from Syracuse (1930); 6+

Ellen Saunders is an heiress on a cruise to Europe being pursued by a day laborer mistaken for a prominent mining engineer. During the cruise, he foils two crooks try to get rid of her.
(68 mins.) Released 1930-07-26
Director: A. Edward Sutherland
Stars: Jack Oakie, Ginger Rogers, Granville Bates, George Barbier

comedy, musical

originally posted 26 Oct 2017 01:07

Ginger Rogers 2nd film, found here:
She is first billed, with Jack Oakie 2nd.
Not much of a musical. I did see Oakie sing the second song on the Soundtracks list. Not sure about the 2 others.

I like GR & JO separately and together.

Paramount, dir. Sutherland; 6+

Queen High (1930); 6

The two partners of a ladies' garter business are constantly feuding with each other. When they ask their lawyer to dissolve their partnership...
(85 mins.) Released 1930-08-23
Director: Fred C. Newmeyer
Stars: Charles Ruggles, Frank Morgan, Ginger Rogers, Stanley Smith

comedy, musical

originally posted 25 Oct 2017 22:52

Eleanor Powell's first film, found here:
Not really a clear print.
Not sure I saw her, but we had a tapper in the garter office at 17:45.

This was Ginger Rogers 3rd film. Her nose looks very big here, probably because she has dark hair, and it covers some of her cheeks, because looking at her IMDb portrait from Barclays on Broadway era, her nose isn't small.

Ruggles and Morgan are serviceable as usual, both for comedy and singing their novelty songs. Nice to see a musical without a backstage center.

Paramount, dir. Newmeyer; 6

George White's 1935 Scandals (1935); 5

A vacationing Broadway producer, George White, stops off in a small Georgia town to send a telegram...
(84 mins.) Released 1935-03-29
Director: George White
Stars: Alice Faye, James Dunn, Ned Sparks, Lyda Roberti

comedy, music, romance

originally posted 25 Oct 2017 19:39

Eleanor Powell's first credited film; Queen High (1930) is online. Here she does 1 tap number and it's too tame. Same can be said for the whole film. Even with Alice Faye and Lyda Roberti, it's just dull, with no plot worth following, and meh performances. If I were George White, I wouldn't have taken so many credits for this one. Then again, it's a poor bootleg copy, but I don't think a crisp beautiful transfer would help much.

Fox Film Corp, dir. White, Lachman, Tinling; 5

Mississippi (1935); 6-

Crosby plays a Philadelpia Quaker engaged to a Southern belle. He becomes a social outcast when he refuses to fight a duel...
(73 mins.) Released 1935-03-22
Director: A. Edward Sutherland
Stars: Bing Crosby, W.C. Fields, Joan Bennett, Queenie Smith

comedy, musical

originally posted 25 Oct 2017 14:49

4 Rodgers & Hart songs; best known: It's Easy to Remember (And So Hard to Forget); I don't love this arrangement. The pub.dom print is decent.

I don't like antebellum times and this is no exception. Southern honor and dueling and servants. I waffled whether to rate this 5+.

WC Fields and Bing Crosby sound like an interesting pair, but see the prior sentence. Joan Bennett is still blonde (her natural color); she will be more striking as a brunette.

Paramount, dir. Sutherland & Ruggles; 6-

Gold Diggers of 1935 (1935); 7-

Romantic antics abound among the guests at a luxury hotel, including a stage director, an eccentric millionaire, and the daughter of a financial backer.
(95 mins.) Released 1935-03-15
Director: Busby Berkeley
Stars: Dick Powell, Adolphe Menjou, Gloria Stuart, Alice Brady
Busby Berkeley ... dances created and staged by; Oscar nom'd for "Lullaby of Broadway" and "The Words Are in My Heart"; Oscars 1936

comedy, musical

originally posted 25 Oct 2017 01:59

Really awful and really awesome. With F&G I like to see the dances in context, because they have meaning within the story. But the dancing pianos, introduced by DP singing to his romantic interest don't need the laborious story we've endured for 1:06 to get there. Clearly it's a boy wooing a girl who likes the sentiment. And The Lullaby of Broadway number is the dancing-est ensemble number Berkeley produced: dozens of men and women actually dancing, not just making beautiful formations. And it climaxes in a bizarre dramatic twist that made me immediately rewatch it to see if I misunderstood what I saw.

So I hate the story: penny-pinching millionaire dowager Alice Brady is deeply annoying; I like her as a wise scatterbrain, not here. I don't care if she or her children are swindled or find happiness. I also don't care about the songs DP gets to sing, nor did I get any inkling why he falls for Brady's daughter (having that mother in law should be sufficient deterrent.) I usually like Adolph Menjou, but he's so manic here that I have to pretend he's Berkeley's attempt at a humorous self-portrait just to tolerate his rehearsal scenes.

But I LOVE the 2 end-of-movie production numbers. I could put those on a loop for a few hours.

Hopefully the next time I watch this it won't be immediately after Naughty Marietta, where the story definitely justified the lovers' attraction, and the songs helped them express and deepen it. Set expectations LOW for the first 1:06, loop the last third of the film a few times and think Kafka, German expressionism and reversed film projection.

First National (WB), dir. Berkeley [+BB]; 7-

My post on Oscar, Best Dance Direction, 1936-38


Naughty Marietta (1935); 7

In order to avoid a prearranged marriage, a rebellious French princess sheds her identity and escapes to colonial New Orleans, where she finds an unlikely true love.
(105 mins.) Released 1935-03-08
Stars: Jeanette MacDonald, Nelson Eddy, Frank Morgan, Elsa Lanchester

drama, musical, romance

originally posted 25 Oct 2017 01:35

First of 8 pairings of JM & NE. I can see why they were so popular. Even if future outings disappoint, there's always the possibility that they would strike this kind of gold again.

He is the rugged hero she longed for. She is the beauty he didn't know he craved. Their voices are their instruments of seduction, far less sublime than F&G's dancing, since they sing at the top of their lungs. But it's operetta, and that's a requirement.

Very enjoyable to WATCH. I doubt that a soundtrack album would be as fulfilling, because it is their acting that sells their succumbing to each other's charms.

MGM, dir. Leonard & Van Dyke (both uncredited); 7

Harlem Is Heaven (1932); 6-

(69 mins.) Released 1932-05-27
Director: Irwin Franklyn
Stars: Bill Robinson, Eubie Blake, John 'Spider Bruce' Mason, Putney Dandridge

crime, drama, musical

originally posted 24 Oct 2017 20:43

Only 57 min instead of 1:09.

Next time you watch this, look for James Baskett, who played Uncle Remus in Song of the South ('46).

Backstager, with rehearsal, dress rehearsal and performance scenes. Enough dancing, almost all with Robinson, to make me happy. And I prefer to see the dances in context. This one has the onstage mini-staircase built for Robinson's routine; starts at 36:40. Filmed full-figure and closeup on feet, which shows just how narrow the prop is: width is about 1.5 of the length of his feet; 5 steps up and 5 down. Lovely hollow sound when he's tapping on it; I wouldn't be surprised if they had a mic under the steps.

Lincoln Pictures & Herald Pictures, dir. Franklin; 6-

Dixiana (1930); 5 but...

In antebellum New Orleans, two men vie for the affections of a beautiful young girl during Mardi Gras.
(100 mins.) Released 1930-07-22
Director: Luther Reed
Stars: Bebe Daniels, Everett Marshall, Bert Wheeler, Robert Woolsey
Pearl Eaton ... dances staged by

comedy, musical, romance

originally posted 24 Oct 2017 19:34

My megapack copy is short (1:24), bad quality and has no color footage.
A full length watchable copy (1:39) with color footage starting at 1:18 is here:

Bill "Bojangles" Robinson dances alone starting at 1:23:02 for about 3 minutes. He's dressed in rags, feather-dusting the thrones of the King and Queen of Mardi Gras. He taps around a bit, tosses the duster away, and taps up and down some stairs leading to the thrones. Unfortunately, for at least half of it, the frame cuts him off at the ankles. But it's still marvelous to watch, and different from the staircase work he does in The Little Colonel. There are other dance sequences, with large ensembles, but nothing worth noting. (I also found the clip of only his sequence on YouTube.)

I dislike Wheeler and Woolsey, can't recognize Bebe Daniels until she speaks (looks similar to Dorothy Lee to me), am annoyed by the gambler plotline, dislike the male singer and his speaking voice, so I recommend to myself to not watch this again.

RKO, dir. Reed; 5

Roberta (1935); 6+

In Paris, a man clueless about fashion suddenly inherits his aunt's dress shop, while his bandleader friend reunites with his old flame.
(106 mins.) Released 1935-03-07
Director: William A. Seiter
Stars: Irene Dunne, Fred Astaire, Ginger Rogers, Randolph Scott
Fred Astaire ... dances arranged by
Hermes Pan ... assistant dance director

comedy, musical, romance

originally posted 24 Oct 2017 01:17

I remembered this as too much about the dress boutique; it is. Lucille Ball shows up as a model at the fashion show near the end of the movie, in a big feathered cape; didn't see her elsewhere, but even with a big closeup she's not easy to recognize. This is her 20th feature film (started in '33); only 6 more (late '35) before she gets screen credit.

Great songs here: Yesterdays, Smoke Gets in Your Eyes, I Won't Dance, Lovely to Look At. Fred dances without GR in scenes 7 & 22; with GR in scenes 11, 29 & 31. Often a song scene precedes the dance scene. 

Seiter directs Astaire again in You Were Never Lovelier (1942), and does multiple ST movies, 1 Sonja Henie, 2 Deanna Durbin; 30 of his 72 talkies are music/musicals. He was also prolific in the silent era.

I would NOT recommend this as someone's first F&G movie. 

RKO, dir. Seiter; 6+

Folies Bergere de Paris (1935); 7

An entertainer impersonates a look-alike banker, causing comic confusion for wife and girlfriend.
(82 mins.) Released 1935-02-22
Director: Roy Del Ruth
Stars: Maurice Chevalier, Merle Oberon, Ann Sothern, Eric Blore
Dave Gould ... dance director, Oscar winner, see below

comedy, musical

originally posted 23 Oct 2017 23:30

Chevalier, Ann Sothern, Merle Oberon, produced by Darryl Zanuck.

Club performer is dead ringer for a banker in trouble.

Excellent opening numbers, especially the umbrella'd ensemble dancing to Rhythm of the Rain (almost worthy of early BB). Second ensemble with MC & AS starts at 1:14:20, Singing a Happy Song; lots of straw hats of various sizes (real, enlarged, and the size of a stage); again BB-worthy.

I was unhappy with Dave Gould's dances being edited in Flying Down to Rio and The Gay Divorcee. I don't remember such trouble in Hollywood Party, and not here. Perhaps it was Sandrich, although he was only 2nd unit director on FDTR. Aha! Dave Gould won the Oscar for Best Dance Direction For "Straw Hat", and in Broadway Melody of 1936: "I've Got a Feeling You're Fooling". Other nominees.

Also filmed the same year: the same thing in French with MC and a French cast; also a 20th Century production, with a second director.

Remade as That Night in Rio (1941) with A.Faye, D.Ameche and C.Miranda, and On the Riviera (1951) with D.Kaye, G.Tierney and C.Calvet.

Well, 7 is generous, but I won't change it. This made me smile.

20th Century Pictures, dir. Del Ruth; 7

My post on Oscar, Best Dance Direction, 1936-38


The Little Colonel (1935); 7-

After Southern belle Elizabeth Lloyd runs off to marry Yankee Jack Sherman, her father, a former Confederate colonel during the Civil War...
(81 mins.) Released 1935-02-22
Director: David Butler
Stars: Shirley Temple, Lionel Barrymore, Evelyn Venable, John Lodge

comedy, family, musical

originally posted 23 Oct 2017 19:34


Bill "Bojangles" Robinson is the only reason I own Shirley Temple movies.
Here is his first. He dances twice: once to get ST up the stairs to bed (marvelous, starts 56:40, about 3 min), and with her in the stable (with wooden floor, 1:06:30 for 2 min). (According to Encyclopedia Britannica, where photo originates, BR worked as a stable boy at age 8, also danced for pennies then.)

The last 2 minutes are in color. When you watch that, and then look at the colorized movie, you see just how awful colorization still is.

Nice to see Lionel Barrymore walking upright. 

Fox Film Corp, dir. Butler; 7-




Check and Double Check (1930); 5- {nm}

Typical Amos 'n Andy storyline has the boys trying to make a go of their "open-air" taxi business while they get caught up in a society hassle...
(77 mins.) Released 1930-10-03
Director: Melville Brown
Stars: Freeman F. Gosden, Charles J. Correll, Sue Carol, Irene Rich

comedy

originally posted 23 Oct 2017 18:15

[CM50.2B] I must have put this on the musicals list when I saw it on Duke Ellington's page. Only saw one scene of Duke Ellington Orchestra, without the usual closeup of Duke; soundtrack credits 3 songs played by DEO (but Bing Crosby doesn't appear, despite his vocal credit.)

Looks like first use of Three Little Words on film.

So what is worse: black actors portraying demeaning versions of Negros (and getting paid), or white actors in blackface doing the same? At least it's not self-denigration? [word origin: Latin denigratus, from de- + nigrare to blacken, from nigr-, niger black]

The actors playing Amos & Andy are white, and played them on radio since 1928, then the 1951 TV show hired black actors. We'll see these white actors again as A&A in The Big Broadcast of 1936, and hear them as the voices of A&A in 2 cartoons.

RKO, dir. Brown; 5-

Glorifying the American Girl (1929); 6-

The rise of a showgirl, Gloria Hughes, culminating in a Ziegfeld extravaganza "Glorifying the American Girl".
(95 mins.) Released 1929-12-07
Director: Millard Webb
Stars: Mary Eaton, Eddie Cantor, Helen Morgan, Rudy Vallee

comedy, drama, musical

originally posted 23 Oct 2017 16:57

Back to '29; public domain copy [CM50.2B]. I suppose it's interesting to see a Ziegfeld production while they were still on stage, and the credits read "under the personal supervision of [FZ]". I rather expected to see Erte's name in the credits too. Reminds me of the Laguna Pageant of the Masters, but the tableaus were not originally paintings. There are also singers (R.Vallee), comedians (E.Cantor & cie tailor skit) and dancing. Since this print is all B/W, the best thing about it is the Helen Morgan singing What Wouldn't I Do For That Man, which you can find on YouTube (from this film).

Some color footage:

More was made of the "star" losing the man who waited for her than the hardship of having to share 50% of her earnings to her cast-aside "partner".

Paramount, dir. Webb; 6-

Sweet Adeline (1934); 6-

In 1898, composer Sid Barnett manages to get his sweetheart, Adeline the beer-garden singer, to sing...
(87 mins.) Released 1934-12-29
Director: Mervyn LeRoy
Stars: Irene Dunne, Donald Woods, Hugh Herbert, Ned Sparks
Bobby Connolly ... ensembles director

musical, romance

originally posted 22 Oct 2017 03:45

1898, Kern & Hammerstein, 3 singing actresses with solos. It helps to understand that this was a starring vehicle for Helen Morgan on Broadway. What I do NOT understand is the ending, where the whole thing we've been watching has been a play, with Pop is the backstage manager, not ID's father and owner of the beergarden. So it's a movie about a play about a play? No reviews talked about this, and IMDb closed the discussion boards.

Most famous song: Why Was I Born? Both production numbers are good to watch: Lonely Feet starts at 1:07, We Were So Young starts at 1:13:20. Not so much the movie overall. I love Irene Dunne, but this would have been better with Helen Morgan, and NOT the switcheroo of setting at the end.

Warner Bros, dir. LeRoy; 6-

Bright Eyes (1934); 6-

An orphaned girl is taken in by a snobbish family at the insistence of their rich, crotchety uncle, even as her devoted aviator godfather fights for custody.
(85 mins.) Released 1934-12-20
Director: David Butler
Stars: Shirley Temple, James Dunn, Jane Darwell, Judith Allen

comedy, drama, family, musical

originally posted 22 Oct 2017 02:19

The home of On the Good Ship Lollipop. Airship, that is. The only renditions of the song occur on a mail ship. No musical fantasy at all. No dancing.

Director Butler did several ST films, and later at WB several Doris Day films. Of his 59 (68?) talkies, 38 are music or musicals.

Fox Film Corp, dir. Butler; 6-

Flirtation Walk (1934); 6-

A Musical-romance with Dick Powell as a private stationed in Hawaii who gets involved with Ruby Keeler...
(97 mins.) Released 1934-12-01
Director: Frank Borzage
Stars: Dick Powell, Ruby Keeler, Pat O'Brien, Ross Alexander

musical, romance

originally posted 22 Oct 2017 00:03

A WB musical at West Point without BB?? Ah, it's not a musical. It's a drama with DP singing a couple of songs. Hoofer RK does not wiggle an ankle. Lots of marching in formation, but it looks like real cadets on location. Nothing stylized about it. The only real musical number is the Hawaiian dancers plus DP singing Aloha Oe.

During the first half or so I thought this would make a good propaganda/recruitment film. Seemed strange since war was years away.

The show-within-a-show is an amateur production at West Point written by and starring DP's character. A woman becomes general and commands West Point. At the end, she is deposed and returned to her rightful place on the sidelines. Highly sexist. Could have been even more offensive, but contributes to my desire to grade this a 5.

Previously I rated it 6. But watching it immediately after The Gay Divorcee and expecting a real musical, I'd give it a 5. Perhaps if I'd cleansed my viewing palate in between, I'd have been more charitable. So I'll leave the 6 for now.

I'm getting the definite impression that First National is the B-unit of Warner.

First National (WB), dir. Borzage; 6-

The Gay Divorcee (1934); 8+

An American woman travels to England to seek a divorce from her absentee husband, where she meets - and falls for - a dashing performer.
(107 mins.) Released 1934-10-12
Director: Mark Sandrich
Stars: Fred Astaire, Ginger Rogers, Alice Brady, Edward Everett Horton
Dave Gould ... dance ensembles staged by
Hermes Pan ... assistant dance director (uncredited) / choreographer (uncredited)
Frank Warde ... doll dance director (uncredited)

comedy, musical, romance

originally posted 21 Oct 2017 16:16

First starring vehicle for F&G.
Erik Rhodes as GR's paid co-respondent. Alice Brady (mother in My Man Godfrey (1936)), EE Horton and Eric Blore to fill the comedy card. Choreography by FA (no credit in IMDb) and Hermes Pan (except ensembles). 

The plot is good, the characters are good, the dancing is great, the end satisfies. Definitely a desert island movie for me.

The scene menu of the dvd makes these easy to access:
- Don't Let It Bother You: song (scene 2), dance (scene 3) Fred solo dances for supper with EEH when wallets are absent. Saw a closeup of his dancing feet!
- A Needle In a Haystack: scene 5, Fred solo, sings and dances off his frustration of wanting to find GR. Is this the first time I've seen a dance, ALONE in a living room with no intended audience (valet is in and out)?
- Let's K-nock K-nees: scene 10, B Grable and EE Horton; she's SO disappointed when her attempted pickup fails!
- Night and Day: scene 15, Fred sings, F&G dance. He is seducing her, and she succumbs little by little. Wonderful!
- The Continental: song (scene 21) by F,G+2, dance (scene 22) F&G, ensemble (scene 23; I still don't like how they cut sequences and tack different ensembles together), finale (scene 24). Glorious.
- dancing departure (scene 28), F&G dance around her hotel room, including twice atop the breakfast table and chairs. This was replicated in the cartoon September in the Rain (1937), included as extra feature on Carefree (1938).

Really, this feels like the first of my musicals to express emotion and advance the story through dance.

RKO, dir. Sandrich; 8+

Kid Millions (1934); 6+

A musical comedy about a Brooklyn boy (Eddie Cantor) who inherits a fortune from his archaeologist father, but has to go to Egypt to claim it.
(90 mins.) Released 1934-11-10
Director: Roy Del Ruth
Stars: Eddie Cantor, Ann Sothern, Ethel Merman, George Murphy
Seymour Felix ... director: musical numbers

comedy, musical

originally posted 21 Oct 2017 04:02

Since BB is not credited here, why would I have bought this? Ann Sothern and Ethel Merman are 2 great reasons. But the lock is the Nicholas Brothers.

I Want to Be a Minstrel Man, sung by Harold Nicholas, was reused by composer Burton Lane in Royal Wedding (1951) as You're All the World to Me, where Astaire dances on the ceiling. 

Later in same chapter, both Nicholas Brothers dance to Mandy at 47:05 for 1.5 glorious minutes.

Ann Sothern gets 2 musical numbers and some acting. Ethel Merman sings 3 songs and is central to the plot.

Goldwyn, dir. Del Ruth & Pogany; 6+

The Merry Widow (1934); 7-

The small kingdom of Marshovia has a little problem. The main tax-payer, the wealthy widow Sonia (who pays 52% of the taxes) has left for Paris...
(99 mins.) Released 1934-10-11
Director: Ernst Lubitsch
Stars: Maurice Chevalier, Jeanette MacDonald, Edward Everett Horton, Marcel Vallée.
Albertina Rasch ... choreographer / dances directed by

comedy, musical, romance

originally posted 21 Oct 2017 01:01

Lubitsch + Chevalier + MacDonald, oh my! Now at MGM. Lyrics by Rodgers and Hart, to music by Franz Lehar. Set in 1885 in a small country between Austria-Hungary and Roumania (sic), with a similar plot to the operetta: the widow must marry inside her country so they don't lose her taxes, and that Danilo (MC) likes Maxim's. Otherwise, the story strays.

Enjoyable bits of dancing: the can-can (not Offenbach's music) with great skirts for the moves, a pseudo military number danced by women in mannish uniforms, and a manic waltz worthy of Madame Bovary (1949, also MGM, no dance credits in common).

This film has the scene Billy Wilder used to illustrate "The Lubitsch Touch" in an interview I can't cite: MC enters a woman's boudoir (we stay outside); her husband had just left. Husband realizes he hadn't donned his sword, so he returns, and comes back out with a sword. But the belt is too small to fit his waist (it is the lover's).

The MGM style of mis coming together, but I can't put my finger on what that means, and I can't credit anyone (except perhaps Lubitsch) for this. Thalberg produced some of the early stinkers on this list, and is dead in less than 2 years.  

It feels a bit long at 1:39.

MGM, dir. Lubitsch; 7-

Happiness Ahead (1934); 6

Society heiress Joan Bradford rebels against her mother's choice of a future husband by masquerading as a working class girl and dating a window washer.
(86 mins.) Released 1934-10-10
Director: Mervyn LeRoy
Stars: Dick Powell, Josephine Hutchinson, John Halliday, Frank McHugh

musical, comedy, romance

originally posted 19 Oct 2017 17:37

DP without the usual suspects. "Just" a singing musical, except for tiny bits of dancing and skating (just trick spinning). I have 19 of 34 of DP's soundtrack credits; most others are unavailable.

The female lead is acted by the future Mrs. Townsend in North by Northwest (1959).

First National (WB), dir. LeRoy; 6

Belle of the Nineties (1934); 6+

Ruby Carter, the American Beauty queen of the night club-sporting world, shifts her operations from St...
(73 mins.) Released 1934-09-21
Director: Leo McCarey
Stars: Mae West, Roger Pryor, Johnny Mack Brown, John Miljan

comedy, drama

originally posted 19 Oct 2017 13:59

MW plays a Liilain Russell-type, sings 4 songs in a 19th century music hall, but IMDb refuses to give this either Musical or Music genre. 

Ellington and some of his band members are visible during the Memphis Blues number, and one other. 

The music is good, the dialog VERY racy given that this was approved by the Breen office.

MW's costumes are extra gorgeous with lots of fur and jeweled trimmings.

Paramount, dir. McCarey; 6+

Dames (1934); 7+

A multimillionaire decides to boycott "filthy" forms of entertainment such as Broadway shows.
(91 mins.) Released 1934-08-16
Director: Ray Enright, Busby Berkeley
Stars: Joan Blondell, Dick Powell, Ruby Keeler, Zasu Pitts
Busby Berkeley ... numbers created and directed by

comedy, musical, romance

originally posted 19 Oct 2017 11:33

The usual backstage structure: Lots of struggle to get a show mounted, lots of rehearsal and conflict, then opening night and a blast of musical numbers. Character actors contribute well.

Scene 18: The Girl at the Ironing Board, Blondell as turn of century laundress. The rest of the show is in modern times; no idea how they are joined. 

Scene 19: I Only Have Eyes for You, replicator stuck on Ruby Keeler. Very cinema-only sequence of Powell+Keeler on streets, in subway, people disappearing from view. Then the chorines doing BB's psychedelic bidding. Glorious.

Scene 20: Dames. Now we're in the play, where they're discussing how to produce a successful play. A bit Meta. More BB magic, without Ruby, yet with some actual tapping too. Several shots are filmed in reverse to give formations precision. Beautiful.

Scene 21: Try to See It My Way. Blondell singing again (meh), interrupted early by planned assault.

Warner Bros, dir. Enright+Berkeley [+BB]; 7+

Hollywood Party (1934); 6+

Jimmy Durante is jungle star Schnarzan the Conqueror, but the public is tiring of his fake lions. So...
(68 mins.) Released 1934-05-24
Stars: Stan Laurel, Oliver Hardy, Jimmy Durante, Jack Pearl

animation, comedy, musical

originally posted 18 Oct 2017 09:29

Mickey Mouse in an MGM film??? Yup, but really only to introduce The Hot Choc-late Soldiers color cartoon embedded in (and created for) the film.

I like this, possibly because the music is better than most haphazard films like this (8 directors, not by design, and none credited on the final release). And the "it was all a dream" trope make SO much sense against the extravagant craziness. Probably because of the excessive quantity of chefs, this tastes more like Paramount meets Warner Bros than MGM.

I love the number Hello, spoofing Hello I Must Be Going from Animal Crackers (1930).

I'm very tempted to give this a 7.

MGM, dir. various; 6+

Murder at the Vanities (1934); 6

A homicide detective with an eye for the ladies investigating a murder in Earl Carroll's Vanities allows the music review to continue during the investigation.
(89 mins.) Released 1934-05-18
Director: Mitchell Leisen
Stars: Carl Brisson, Victor McLaglen, Jack Oakie, Kitty Carlisle

musical, mystery, romance

originally posted 18 Oct 2017 04:27

Unappealing music, repeated too long. Kitty Carlisle and male lead (Carl Brisson, who starred in a couple of Hitchcock's silents) are operetta-style singers, but Kitty's singing adds to A Night at the Opera (1935), so it's not her fault. (He's no Allan Jones.) 

The staging in scene 6, of Live and Love Tonight, with ostrich feather fans for the ocean, where the feathers have white tips (for the wave caps), again shows the lively nature of the feathers (as did Fashions of '34). They are more convincing as water than other fabric substitutes. 

At long last, in scene 11, Duke Ellington's Orchestra appears, jazzing up an otherwise painful rendition of Lizst's Second Hungarian Rhapsody, turning it into the Ebony Rhapsody. That's their only number. 

The murders are more interesting than the Vanities. Jack Oakie and Victor McLaglen are fun as stage manager and detective. SPOILER: Gail Patrick (private eye) gets murdered. Then the second lead (named Rita), who is blackmailing Eric (Carl Brisson) & family is fatally shot during a tommy gun mowdown of the Ellington band and all others on stage (with blanks, part of the show). Plenty of suspects.

Also intriguing: what does Toby Wing's Nancy want to say to Jack? 

Paramount, dir. Leisen; 6

We're Not Dressing (1934); 6-

Yacht owner is stranded on island with her socialite friends, a wacky husband and wife research team, and a singing sailor.
(74 mins.) Released 1934-04-25
Director: Norman Taurog
Stars: Bing Crosby, Carole Lombard, George Burns, Gracie Allen

comedy, musical

originally posted 18 Oct 2017 02:39

Bing, George & Gracie, Carole, and The Merm! Young Ray Milland is there, but don't blink. Leon Errol (you know his face.) The Merm has only 1 number + reprise, which she shares with L.Errol; what a waste. G&G crack their usual logic/jokes, but not too much. At first the movie felt like fun, but eventually the plot sours this Der Bingle music video. Carole Lombard's petulant rich girl is not worthy of Bing's love. If only she had fallen for grifter/golddigger Milland's "prince," and Bing had rescued her from THAT. Being shipwrecked most of the time means we get little pleasure from elegant sets or costumes.

Paramount, dir. Taurog; 6-

Stand Up and Cheer! (1934); 5-

President Franklin Roosevelt appoints a theatrical producer as the new Secretary of Amusement in order...
(68 mins.) Released 1934-04-19
Director: Hamilton MacFadden
Stars: Warner Baxter, Madge Evans, James Dunn, Sylvia Froos
Sammy Lee ... dances staged by

comedy, musical

originally posted 18 Oct 2017 02:02

Horrible. All this country needed to get out of the depression was a children's radio program, because if the children are happy, the families are happy, and then everyone has a job. I think I'd want to riot after seeing this in a theatre in '34.

"Aunt Jemima" is a white woman in mildly dark tropical makeup, not the woman who posed for the food label. Stepin Fetchit mumbles so badly we can't understand most of what he says, which is probably for the best (not Willie), because his kowtowing is painful to watch, even when he's in a room alone with a penguin who's talking-ish, claiming to be Jimmy Durante (the beak makes it kinda plausible). Looks like Lincoln Perry (Fetchit) might have banged his head when he dove/fell in the office aquarium, as if I needed another reason to wince. 

Shirley Temple is just 6 y.o. by a month when this premiered. She is a marvel as a tapper. So only watch her scene (maybe), and her one musical number, plus the acrobatic senators, namely scenes 9-12, and hit EJECT. It's easy to see why ST stood out as the best thing in this nails down the chalkboard of a movie (EIGHT writers?) This is not her first feature film, but apparently the one that really launched her. 

Broadway's Gone Hill Billy (scene 14) is also very insulting, as though country music swings and shimmies like that. In the Lariat Dance, I wonder if some of those ropes are actually hoops.

NB: DF Zanuck was at 20th Century Pictures from 1933-5, after his WB stint, and 20th didn't merge with Fox until 1935. Good news: director McFadden will not darken my screen again. This is the only title I have of his.

Fox Film Corp, dir. MacFadden; 5-