- Published on
Date of Release: Nov 2, 1929
Studio: Paramount
Director: Frank Tuttle
Music: Richard A. Whiting and George Marion Jr.
Choreographer: Earl Lindsay
Screenplay: Lloyd Corrigan and George Marion Jr.
Leading Actors: Nancy Carroll , Helen Kane, Stanley Smith, Jack Oakie, William Austin, Stuart Erwin, Wallace MacDonald, Charles Sellon, Aileen Manning
Inspired by the Broadway college football musical smash Good News, Sweetie was one of three “college film musicals” released in 1929. Deftly directed by Frank Tuttle, Paramount’s second talkie offering is a fun film that, except for some dated racist references, holds up well over time.
Aspiring actress Barbara Pelham, (Nancy Carroll), inherits an entire all-boys college, Pelham. Her “sweeter than sweet”, Biff Bentley, (Stanley Smith), is Pelham’s football captain. Jilted by her sweetheart, Barbara arrives at the school seeking revenge, and hijinks ensue, complete with singing and dancing. The story also follows the trials and tribulations of the tomboyish Helen Fry, (Helen Kane) who attends the neighboring Miss Twill’s School for Girls, Barbara’s act partner Tap-Tap Thompson (Jack Oakie), and the unfortunate less-than-bright football jock Axel (Stuart Erwin).
Nancy Carroll was already a highly popular stage and screen actress with several hits under her belt by the time she filmed Sweetie. I enjoyed Carroll’s earlier performance in Close Harmony, and her performance here is just as charming. The screen time, and most of the songs, however, go to co-star Helen Kane. Kane was the model for Betty Boop, (she was not compensated for the use of her image), and Sweetie was released at the height of her popularity. It’s easy to see why Kane was so adored. She’s mischievous and fun, and, despite her squeaky voice, her character makes from a welcome change from the swooning silly ladies of earlier films.
Although going on to become well regarded and prolific actors, the lead men pale next to the exuberance of the women. Charles Sellon’s performance as the bumbling, well-meaning professor, Dr Oglethrope, is interesting, if bizarre. As evidenced in the first moments of the film, where he walks over and through a hedge, much of the comedy is overdone or overplayed.
At times the plot is utterly ridiculous, but throughout the script are some moments of excellent comedy and visual story-telling. Particularly noteworthy is the tongue-in-cheek commentary about the roles of women. The film opens on a beautifully shot group of young ladies learning to pour tea. The composition of the scene, although set in a garden, is intensely theatrical and visually appealing.
The world of the polite lady is shattered by the appearance of Helen Fry, a gun-popping, tree-climbing, boy-crazy lass who cannot maintain “good posture”, and has “no honor." Her wiles are amusingly showcased in the number “I Think You’ll Like It”, sung to Axel as she surreptitiously undresses him by pulling the thread on his shirt.
Upon Barbara’s arrival at Pelham, Dr. Oglethrope introduces the boys to their new headmistress - “A woman’s place is in the home, therefore let’s make it feel like home and all shall be well.” Barbara, “who will and does speak for herself,” responds with a hilarious speech about how history is positively littered with examples of women thriving in environments where they surrounded by men, such as Joan of Arc, and for that lady, “everything was quite nice”. The audience knows full well that everything was not quite nice at all for Joan of Arc, and we at once understand that Barbara is doomed as headmistress of Pelham, and impressed that she there at all.
The music, by George Marion Jr. and Richard A. Whiting, in Sweetie is terrific, and its frequent and cohesive use throughout the film make it stand out from the other films I have watched thus far. Richard A. Whiting is famous for songs such as “Hooray for Hollywood” and “On the Good Ship Lollipop,” and 1929 was his first year in Hollywood.
The music has an overarching peppy and fun tone that matches the film’s content, and the arrangements are just wonderful. Early in the film we are treated to an a cappella performance of Pelham’s spirit song “Bear Down Pelham”, sung by the football team in the locker room. The song occurs mostly off-camera, providing accompaniment for Biff’s vision of his team’s triumph. A cappella does away with the painful convention during this period to explain the presence of musicians, and fits in with the playful nature of the film.
Unfortunately, a band must appear at some point, and we are forced to sit through an unnecessarily long set-up to learn we are outside the band's rehearsal hall. Barbara is excited to see her sweetheart Biff, and what-d’ya-know, the band starts playing “her song!”. She sings “My Sweeter Than Sweet,” a saccharine ballad, describing her love for the wonderful Biff. The song is repeated, by different characters, and with varying arrangements (including a babershop quartet), to surprisingly good effect several times throughout the film.
“Alma Mammy” is an upbeat, problematic, song written to showcase the skills of Jack Oakie and parody the hugely famous Al Johnson. The first rendition is fine enough, complete with a throw-away “you ain’t heard nothin’ yet,” referencing Al Johnson's famous line from The Jazz Singer. When the song is reprised as a chorus number at the big game, all the men are wearing minstrel masks. I was confused and disturbed by the use of blackface when Al Johnson did it in The Jazz Singer, and it makes no more sense here. In the world of the film, African American people are completely absent, and there is no other reference to the minstrel tradition.
Sweetie’s choreography is attributed to “dance director” Earl Lindsay. We get a glimpse of a lovely tap number during rehearsals for Barbara and Tap-Tap’s show, complete with gorgeously designed costumes and proscenium arch. But the dancing is really featured in the lead up to the school dance with “The Prep Step”. The camera cuts between wide shots of the whole room (awkwardly, and inexplicably, framed by two ladders and later two pot plants), mid-shots of the couples dancing, and close ups of the tapping feet. The number is enhanced by the simple yet highly effective costumes, pretty light-colored uniform dresses and suits with black tap shoes. The costumes not only look great in black and white, but draw our attention to the dancers’ feet. The gorgeous dresses at the school dance are equally effective, and it is a shame the costume designer is not credited.
Apart from the glaring racism in “Alma Mammy,” Sweetie is a genuine light-hearted comedy with great music and dance. Unfortunately the restoration to DVD is not great, and the sound quality is often muddied by the whir of the film reel.
In researching this film, I was reminded that there is no such thing as a definitive movie musical list, or a clear definition of what actually constitutes a movie musical. Film historian Richard Barrios refers to three college musicals released in 1929 - Universal's College Love, MGM's So this is College, and Paramount's Sweetie. Depending on which source you look at, the first two films are often not classified as movie musicals.
I wrote to the AFI and asked them how they define the categories in their catalogue. Editor of the AFI Catalogue, Bob Birchard, states that categories are based on contemporary trade magazine classifications, and the cataloguer’s discretion.
So just what is a movie musical? I’ve been trying to answer this question for myself for a while, and it will have it’s own blog post very soon!
Studio: Paramount
Director: Frank Tuttle
Music: Richard A. Whiting and George Marion Jr.
Choreographer: Earl Lindsay
Screenplay: Lloyd Corrigan and George Marion Jr.
Leading Actors: Nancy Carroll , Helen Kane, Stanley Smith, Jack Oakie, William Austin, Stuart Erwin, Wallace MacDonald, Charles Sellon, Aileen Manning
Inspired by the Broadway college football musical smash Good News, Sweetie was one of three “college film musicals” released in 1929. Deftly directed by Frank Tuttle, Paramount’s second talkie offering is a fun film that, except for some dated racist references, holds up well over time.
Aspiring actress Barbara Pelham, (Nancy Carroll), inherits an entire all-boys college, Pelham. Her “sweeter than sweet”, Biff Bentley, (Stanley Smith), is Pelham’s football captain. Jilted by her sweetheart, Barbara arrives at the school seeking revenge, and hijinks ensue, complete with singing and dancing. The story also follows the trials and tribulations of the tomboyish Helen Fry, (Helen Kane) who attends the neighboring Miss Twill’s School for Girls, Barbara’s act partner Tap-Tap Thompson (Jack Oakie), and the unfortunate less-than-bright football jock Axel (Stuart Erwin).
Nancy Carroll was already a highly popular stage and screen actress with several hits under her belt by the time she filmed Sweetie. I enjoyed Carroll’s earlier performance in Close Harmony, and her performance here is just as charming. The screen time, and most of the songs, however, go to co-star Helen Kane. Kane was the model for Betty Boop, (she was not compensated for the use of her image), and Sweetie was released at the height of her popularity. It’s easy to see why Kane was so adored. She’s mischievous and fun, and, despite her squeaky voice, her character makes from a welcome change from the swooning silly ladies of earlier films.
Although going on to become well regarded and prolific actors, the lead men pale next to the exuberance of the women. Charles Sellon’s performance as the bumbling, well-meaning professor, Dr Oglethrope, is interesting, if bizarre. As evidenced in the first moments of the film, where he walks over and through a hedge, much of the comedy is overdone or overplayed.
At times the plot is utterly ridiculous, but throughout the script are some moments of excellent comedy and visual story-telling. Particularly noteworthy is the tongue-in-cheek commentary about the roles of women. The film opens on a beautifully shot group of young ladies learning to pour tea. The composition of the scene, although set in a garden, is intensely theatrical and visually appealing.
The world of the polite lady is shattered by the appearance of Helen Fry, a gun-popping, tree-climbing, boy-crazy lass who cannot maintain “good posture”, and has “no honor." Her wiles are amusingly showcased in the number “I Think You’ll Like It”, sung to Axel as she surreptitiously undresses him by pulling the thread on his shirt.
Upon Barbara’s arrival at Pelham, Dr. Oglethrope introduces the boys to their new headmistress - “A woman’s place is in the home, therefore let’s make it feel like home and all shall be well.” Barbara, “who will and does speak for herself,” responds with a hilarious speech about how history is positively littered with examples of women thriving in environments where they surrounded by men, such as Joan of Arc, and for that lady, “everything was quite nice”. The audience knows full well that everything was not quite nice at all for Joan of Arc, and we at once understand that Barbara is doomed as headmistress of Pelham, and impressed that she there at all.
The music, by George Marion Jr. and Richard A. Whiting, in Sweetie is terrific, and its frequent and cohesive use throughout the film make it stand out from the other films I have watched thus far. Richard A. Whiting is famous for songs such as “Hooray for Hollywood” and “On the Good Ship Lollipop,” and 1929 was his first year in Hollywood.
The music has an overarching peppy and fun tone that matches the film’s content, and the arrangements are just wonderful. Early in the film we are treated to an a cappella performance of Pelham’s spirit song “Bear Down Pelham”, sung by the football team in the locker room. The song occurs mostly off-camera, providing accompaniment for Biff’s vision of his team’s triumph. A cappella does away with the painful convention during this period to explain the presence of musicians, and fits in with the playful nature of the film.
Unfortunately, a band must appear at some point, and we are forced to sit through an unnecessarily long set-up to learn we are outside the band's rehearsal hall. Barbara is excited to see her sweetheart Biff, and what-d’ya-know, the band starts playing “her song!”. She sings “My Sweeter Than Sweet,” a saccharine ballad, describing her love for the wonderful Biff. The song is repeated, by different characters, and with varying arrangements (including a babershop quartet), to surprisingly good effect several times throughout the film.
“Alma Mammy” is an upbeat, problematic, song written to showcase the skills of Jack Oakie and parody the hugely famous Al Johnson. The first rendition is fine enough, complete with a throw-away “you ain’t heard nothin’ yet,” referencing Al Johnson's famous line from The Jazz Singer. When the song is reprised as a chorus number at the big game, all the men are wearing minstrel masks. I was confused and disturbed by the use of blackface when Al Johnson did it in The Jazz Singer, and it makes no more sense here. In the world of the film, African American people are completely absent, and there is no other reference to the minstrel tradition.
Sweetie’s choreography is attributed to “dance director” Earl Lindsay. We get a glimpse of a lovely tap number during rehearsals for Barbara and Tap-Tap’s show, complete with gorgeously designed costumes and proscenium arch. But the dancing is really featured in the lead up to the school dance with “The Prep Step”. The camera cuts between wide shots of the whole room (awkwardly, and inexplicably, framed by two ladders and later two pot plants), mid-shots of the couples dancing, and close ups of the tapping feet. The number is enhanced by the simple yet highly effective costumes, pretty light-colored uniform dresses and suits with black tap shoes. The costumes not only look great in black and white, but draw our attention to the dancers’ feet. The gorgeous dresses at the school dance are equally effective, and it is a shame the costume designer is not credited.
Apart from the glaring racism in “Alma Mammy,” Sweetie is a genuine light-hearted comedy with great music and dance. Unfortunately the restoration to DVD is not great, and the sound quality is often muddied by the whir of the film reel.
In researching this film, I was reminded that there is no such thing as a definitive movie musical list, or a clear definition of what actually constitutes a movie musical. Film historian Richard Barrios refers to three college musicals released in 1929 - Universal's College Love, MGM's So this is College, and Paramount's Sweetie. Depending on which source you look at, the first two films are often not classified as movie musicals.
I wrote to the AFI and asked them how they define the categories in their catalogue. Editor of the AFI Catalogue, Bob Birchard, states that categories are based on contemporary trade magazine classifications, and the cataloguer’s discretion.
So just what is a movie musical? I’ve been trying to answer this question for myself for a while, and it will have it’s own blog post very soon!
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