Star vehicle for the crooning heart throb Rudy Vallée. Date of Release: Dec 1, 1929 Studio: RKO Director: Marshall Neilan Screenplay: James Ashmore Creelman Music: Nat D. Ayer, Philip Bartholomae, Phil Boutelje, Ruby Cowan, Ernie Erdman, Clifford Grey, Louis Herscher, Edward Heyman, Gus Kahn, Billy Meyers, Harold Raymond, Elmer Schoebel, Nat Simon, Ken Smith, Rudy Vallée , Harry M. Woods, Leon Zimmerman Leading Actors: Rudy Vallée (Rudy Bronson), Sally Blane (Jean), Marie Dressler (Mrs. Whitehall), Charles Sellon (Officer Tuttle), Nella Walker (Mrs. Tod Hunter), Eddie Nugent (Sport), Danny O'Shea (Sam), Alan Roscoe (Manager), The Connecticut Yankees Described by Exhibitors Herald World (Sept 21, 1929) as “a showman of a high order,” Rudy Vallée was a talented and immensely popular musician who was one of the first heart throb crooners. In addition to leading his own band, the Connecticut Yankees — who were prominent fixtures on the New York circuit — Vallée worked on radio hosting a widely successful variety and music hour. The hit song “I’m Just a Vagabond Lover” was one of Rudy Vallée ’s signature tunes, and he frequently performed it by request. Such was the popularity of the song, it was also featured in Glorifying the American Girl. Throughout 1929, Rudy Vallée had appeared in several short films. The Vagabond Lover was his first feature length film. RKO announced in August 1929 that ground had been broken on a new studio in Hollywood, one of the largest in the world, and that The Vagabond Lover would be one of the first films made there. Exhibitors Herald World reported that RKO were investing a million dollars in the Spoor Stereoscopic Process. The new process “would permit shooting big stage shows in natural perspective, showing complete choruses, the full width of a 52 foot screen or even larger, and fully 30 feet high, with all the action of a stage production as naturally as it is seen in three dimensions behind the footlights.” Production commenced in September and the film premiered just two months later on November 26, 1929, at the Globe Theatre in New York. The premier was highly anticipated, and enjoyed a short but successful record-breaking run run at the Globe Theatre in New York. It then transferred to the Criterion Theatre. The Portland, Maine opening was also a grand affair. Vallée had grown up in five miles away in Westbrook, and as reported by Variety (Dec 5, 1929) half the city, including elected officials and prominent local business people, turned out to support their homegrown talent. The Vagabond Lover received mixed reviews. The Film Daily described the film as “a splendid first effort for Mr. Vallée and a winning addition to the RKO stable for the coming season,” but in the same edition also stated that Vallée and his supporting cast couldn’t act. Most critics panned the ridiculous story, and, while praising Vallée for his singing, repeatedly stated that his acting was not up to scratch. The Vagabond Lover is available online, and as the Variety critic noted: “One thing in the film’s favor is that it runs only 65 minutes.” I couldn’t agree more. Vallée is just awful as the romantic lead. He lacks any of the talent that the trade magazines repeatedly insisted he had, and any one of the Connecticut Yankees would have been more believable in his role. The story is trite and unbelievable, full of ridiculous set-ups that make way for Vallée and the Connecticut Yankees to perform their signature tunes. Sally Blane is boring as the ingenue who falls in love with Vallée. She stares adoringly at Vallée when he sings, and functions only to serve as his love interest. Blane was a child movie actor who went on to appear in nearly 100 films. Speaking of child actors, a highlight of The Vagabond Lover is four young girls singing “Georgie Porgie” during a dinner for the Orphans’ Benefit. Their performances are earnest and innocent, with frequent looks straight into camera. The girls are uncredited, though two of the girls are Dorothy Gray and Patti Brill. Gray was a child actor for a brief period, and Brill continued acting in small and uncredited roles into adulthood. The stand-out of The Vagabond Lover is Marie Dressler, who is hilarious as the wealthy aunt and patron Mrs. Whitehall. The critics praised her comedic skills and performance, and named her as the highlight and saving grace of the film. Almost verging on melodramatic, her determination to out-do Mrs. Tod Hunter, and her reaction to discovering Rudy Bronson is not all he seems, are excellent. Her characterization is spot on, and provides a perfect foil for her boringly sweet niece. We genuinely feel for Mrs. Whitehall, and celebrate in her triumphs.
After starting out in vaudeville, Dressler went on to become a well-regarded silent film actress. After a brief hiatus she successfully transitioned to talkies and became a rare commodity, a female Hollywood star over the age of 30. Despite the critics’ complains, and thanks to Vallée’s immense popularity, The Vagabond Lover did well at the box office. The film usually played to sold out houses around the country, and in several cities broke box office records. Vallée was signed to a contract with RKO, and went on to a successful film, television, and radio career, appearing in nearly sixty films and television shows. His roles shifted to that of the comedic sidekick, and he also often played himself. Vallée appeared in the original Broadway production of How to Succeed in Business Without Really Trying (1961), as well as the subsequent film version in 1967.
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