- Published on
Magic, betrayal, and love in vaudeville.
Advert from Picture Play Magazine (October 1929)
Date of Release: September 21, 1929
Studio: Paramount
Director: Lothar Mendes
Screenplay: E. Lloyd Sheldon, Richard H. Digges Jr.
Music: Lou Davis, J. Fred Coots, Sam Coslow, Larry Spier
Leading Actors: Charles "Buddy" Rogers (Carlee Thorpe), Nancy Carroll (Claire Jernigan), June Collyer (Hilda Schmittlap), Regis Toomey (Eric Schmittlap), Knute Erickson (Mr. Jacob Schmittlap), Kay Francis (Zelda Paxton), Eugenie Besserer (Mrs. Jacob Schmittlap), Maude Turner Gordon (Queen of Dalmatia), William Austin (Mr. Z), Emilie Melville (Mother Fay), Frances Raymond (Mrs. Y), Catherine Wallace (Mrs. Z), J. E. Nash (Mr. X), William McLaughlin (Mr. Y), Eddie Kane (Gus Bloomberg), Michael Visaroff (Equerry), Paul Lucas (Count Fortuny), Richard Cramer (Magus), Bessie Lyle (Consuelo), Col. G. L. McDonnell (Jarman), Lillian Roth (Herself, a singer), Harriet Spiker (Midget), Anna Magruder (Fat lady), Albert Wolfe (Giant)
Studio: Paramount
Director: Lothar Mendes
Screenplay: E. Lloyd Sheldon, Richard H. Digges Jr.
Music: Lou Davis, J. Fred Coots, Sam Coslow, Larry Spier
Leading Actors: Charles "Buddy" Rogers (Carlee Thorpe), Nancy Carroll (Claire Jernigan), June Collyer (Hilda Schmittlap), Regis Toomey (Eric Schmittlap), Knute Erickson (Mr. Jacob Schmittlap), Kay Francis (Zelda Paxton), Eugenie Besserer (Mrs. Jacob Schmittlap), Maude Turner Gordon (Queen of Dalmatia), William Austin (Mr. Z), Emilie Melville (Mother Fay), Frances Raymond (Mrs. Y), Catherine Wallace (Mrs. Z), J. E. Nash (Mr. X), William McLaughlin (Mr. Y), Eddie Kane (Gus Bloomberg), Michael Visaroff (Equerry), Paul Lucas (Count Fortuny), Richard Cramer (Magus), Bessie Lyle (Consuelo), Col. G. L. McDonnell (Jarman), Lillian Roth (Herself, a singer), Harriet Spiker (Midget), Anna Magruder (Fat lady), Albert Wolfe (Giant)
Advert from The Film Daily (Sept 5, 1929)
Illusion told the story of Carlee (Buddy Rogers) and Claire (Nancy Carroll), who star together in a vaudeville magic act. Carlee abandons Claire for a wealthy society girl, Hilda (June Collyer). Claire is despondent and attempts to take her own life by sabotaging the act. She miraculously sustains only minor injuries, and is relieved to discover Carlee has tired of society life and has come back to her.
The story was based on Arthur Chesney Train’s novel Illusion, published in 1929. Chesney Train was a lawyer and novelist who was best known for writing legal thrillers. Several of his books were adapted for film and television plays, including his popular Mr. Ephraim stories.
Earlier in 1929, Charles “Buddy” Rogers and Nancy Carroll had been a hit in the charming musical Close Harmony. It was hoped bringing the duo back together would be a sure fire hit.
Theatre managers employed innovative tricks to promote Illusion. Window dressings and foyers had magic-themed displays, carnival and trick mirrors that on closer inspection changed into ads for the film. One enterprising theatre had cards printed with the letters “I L S O,” and when held up to a light, the card read “ILLUSION”.
The story was based on Arthur Chesney Train’s novel Illusion, published in 1929. Chesney Train was a lawyer and novelist who was best known for writing legal thrillers. Several of his books were adapted for film and television plays, including his popular Mr. Ephraim stories.
Earlier in 1929, Charles “Buddy” Rogers and Nancy Carroll had been a hit in the charming musical Close Harmony. It was hoped bringing the duo back together would be a sure fire hit.
Theatre managers employed innovative tricks to promote Illusion. Window dressings and foyers had magic-themed displays, carnival and trick mirrors that on closer inspection changed into ads for the film. One enterprising theatre had cards printed with the letters “I L S O,” and when held up to a light, the card read “ILLUSION”.
Trick card featured in Motion Picture News (October 12, 1929)
Radio was also employed as a publicity tool. To coincide with the film’s release, Paramount presented an hour-long radio broadcast through the Columbia Radio Chain. The broadcast featured live performances of theme songs from various Paramount films, including “When the Real Thing Comes Your Way” from Illusion. The song was performed by Buddy Rogers.
The Paramount Theatre in New York staged a live show called Believe It Or Not as an “atmospheric prologue” to the feature. The two-act show included various magic acts, comedy, and music, and was described by The Film Daily (Sept 29, 1929) as “one of the best stage shows that Paramount has uncovered.”
The reviews for Illusion were mixed. Director Lothar Mendes received the most criticism, with reviewers describing his work as lacking in skill and imagination. German-born Mendes worked as a director in Germany, England, and the United States. He directed thirty films in twenty years, including The Four Feathers (1929), Paramount on Parade (1930) and The Man Who Could Work Miracles (1936). Mendes’ 1934 film Jew Süss (released in the USA under the title Power) aimed to show the anti-semitic roots of the Nazi Party. He was briefly married to leading lady Dorothy Mackaill, who appeared in another musical from 1929, The Great Divide.
Male lead Charles “Buddy” Rogers received less-than-glowing reviews. The critics blamed the poor script, and the fact that his character was “A heel” for leaving Claire in the first place.
The female leads fared better, particularly Nancy Carroll and June Collyer, and Kay Francis, with the critics stating they were well-suited to their rules.
Nancy Carroll started out on Broadway and moved with her husband and daughter to Hollywood. Carroll became a movie star, adored by the public and critics alike, and was particularly known for her comedies and movie musicals. She reportedly received the most fan mail of any movie star of her day. Her films include Sweetie (1929), Close Harmony (1929), The Dance of Life (1929), Follow Thru (1930), Child of Manhattan (1933), and There Goes My Heart (1938). Carroll also appeared on television throughout the 1950s.
June Collyer started out in silent film, and was named a WAMPAS Baby Star in 1928. She made a successful transition to talkies and appeared in over 30 films. She later appeared on television on the The Stu Erwin Show and Playhouse 90. Illusion (1929)
Kay Francis started out on Broadway before becoming a prominent Hollywood star, and one of the highest paid actors of her day. She appeared in seventy films including The Cocoanuts (1929), Illusion (1929), Paramount on Parade (1930), Trouble in Paradise (1932), Confession (1937) and Four Jills in a Jeep (1944).
The Paramount Theatre in New York staged a live show called Believe It Or Not as an “atmospheric prologue” to the feature. The two-act show included various magic acts, comedy, and music, and was described by The Film Daily (Sept 29, 1929) as “one of the best stage shows that Paramount has uncovered.”
The reviews for Illusion were mixed. Director Lothar Mendes received the most criticism, with reviewers describing his work as lacking in skill and imagination. German-born Mendes worked as a director in Germany, England, and the United States. He directed thirty films in twenty years, including The Four Feathers (1929), Paramount on Parade (1930) and The Man Who Could Work Miracles (1936). Mendes’ 1934 film Jew Süss (released in the USA under the title Power) aimed to show the anti-semitic roots of the Nazi Party. He was briefly married to leading lady Dorothy Mackaill, who appeared in another musical from 1929, The Great Divide.
Male lead Charles “Buddy” Rogers received less-than-glowing reviews. The critics blamed the poor script, and the fact that his character was “A heel” for leaving Claire in the first place.
The female leads fared better, particularly Nancy Carroll and June Collyer, and Kay Francis, with the critics stating they were well-suited to their rules.
Nancy Carroll started out on Broadway and moved with her husband and daughter to Hollywood. Carroll became a movie star, adored by the public and critics alike, and was particularly known for her comedies and movie musicals. She reportedly received the most fan mail of any movie star of her day. Her films include Sweetie (1929), Close Harmony (1929), The Dance of Life (1929), Follow Thru (1930), Child of Manhattan (1933), and There Goes My Heart (1938). Carroll also appeared on television throughout the 1950s.
June Collyer started out in silent film, and was named a WAMPAS Baby Star in 1928. She made a successful transition to talkies and appeared in over 30 films. She later appeared on television on the The Stu Erwin Show and Playhouse 90. Illusion (1929)
Kay Francis started out on Broadway before becoming a prominent Hollywood star, and one of the highest paid actors of her day. She appeared in seventy films including The Cocoanuts (1929), Illusion (1929), Paramount on Parade (1930), Trouble in Paradise (1932), Confession (1937) and Four Jills in a Jeep (1944).
Charles "Buddy" Rogers as featured in Picture Play Magazine (December 1929)
Illusion is notable for the unusually high number of older women in its cast. Illusion boasts not just one motherly/older female character, but four – Emilie Melville, Maude Turner Gordon, Eugenie Besserer, and Frances Raymond.
At age 78, Emilie Melville is, thus far, the oldest female actor of the movie musical project. She was an early Broadway performer and appeared in two films, the early silent The White Sister (1915) and Illusion. The John Hopkins University holds in its collection a piece of sheet music entitled “The Emilie Melville Polka.” Published in 1866, when Melville would have been fifteen years old, it is not clear if the song was named for her. According to IMDb, Melville was the daughter of show business parents, so it is possible there was a connection.
Next in age was Maude Turner Gordon, who was 61 when she appeared in Illusion. She performed in 15 Broadway shows, and over 80 films, though following the advent of sound, most of her roles were small or uncredited. Her film credits include Sally (1929), The Floradora Girl (1930) and Living on Velvet (1935).
A month younger than Gordon was Eugenie Besserer. Besserer had a successful career as a stage actor and appeared in her first film in 1910 at the age of 42. She played Aunt Em in an early short The Wizard of Oz (available to watch at the Internet Archive). Besserer appeared in almost 200 silent shorts and films. Her first talkie was The Jazz Singer (1927), where she played Al Jolson’s mother in a beautiful, if somewhat disjointed, performance. She continued to appear in films until her death in 1934.
A year behind Gordon and Besserer was Frances Raymond. She was a silent film actress and although she continued to appear in film following the advent of talkies, it was usually in small or uncredited roles.
By the numbers, Illusion did well at the box office. The numbers may have been deceptive however, as one theatre manager reported in Exhibitors Herald World (June 26, 1930) that the film had “more walkouts… than on any of 15 pictures.”
For the purposes of seeing several female show business veterans in action, it’s a shame Illusion hasn’t been made available for general distribution. A research copy is held at the UCLA Film and Television Archive.
At age 78, Emilie Melville is, thus far, the oldest female actor of the movie musical project. She was an early Broadway performer and appeared in two films, the early silent The White Sister (1915) and Illusion. The John Hopkins University holds in its collection a piece of sheet music entitled “The Emilie Melville Polka.” Published in 1866, when Melville would have been fifteen years old, it is not clear if the song was named for her. According to IMDb, Melville was the daughter of show business parents, so it is possible there was a connection.
Next in age was Maude Turner Gordon, who was 61 when she appeared in Illusion. She performed in 15 Broadway shows, and over 80 films, though following the advent of sound, most of her roles were small or uncredited. Her film credits include Sally (1929), The Floradora Girl (1930) and Living on Velvet (1935).
A month younger than Gordon was Eugenie Besserer. Besserer had a successful career as a stage actor and appeared in her first film in 1910 at the age of 42. She played Aunt Em in an early short The Wizard of Oz (available to watch at the Internet Archive). Besserer appeared in almost 200 silent shorts and films. Her first talkie was The Jazz Singer (1927), where she played Al Jolson’s mother in a beautiful, if somewhat disjointed, performance. She continued to appear in films until her death in 1934.
A year behind Gordon and Besserer was Frances Raymond. She was a silent film actress and although she continued to appear in film following the advent of talkies, it was usually in small or uncredited roles.
By the numbers, Illusion did well at the box office. The numbers may have been deceptive however, as one theatre manager reported in Exhibitors Herald World (June 26, 1930) that the film had “more walkouts… than on any of 15 pictures.”
For the purposes of seeing several female show business veterans in action, it’s a shame Illusion hasn’t been made available for general distribution. A research copy is held at the UCLA Film and Television Archive.
- Published on
Joan Crawford's first talkie!
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Date of Release: Nov 23, 1929
Studio: MGM
Director: Jack Conway
Screenplay: Sylvia Thalberg, Frank Butler, Willard Mack, Lucille Newmark
Music: Louis Alter, Nacio Herb Brown, Arthur Freed, Joe Goodwin
Leading Actors: Joan Crawford, Robert Montgomery, Ernest Torrence, Holmes Herbert, John Miljan, Gwen Lee, Edward Nugent, Don Terry, Gertrude Astor, Milton Fahrney, Lloyd Ingraham, Grace Cunard, Wilson Benge
Untamed is most famous for being Joan Crawford’s first talking picture. After starting out as a dancer on Broadway, Crawford was signed by MGM. She went on to become one of the most famous, and highly paid, screen actors of her day. She appeared in over 80 films, and was nominated three times for an Academy Award for Best Actress, winning for Mildred Pierce (1945). Despite a tumultuous personal life, Crawford triumphed on the screen and is remembered as one of Hollywood's greatest actors.
Untamed tells the story of Bingo (Crawford), a young woman raised as a wild child in the jungle “somewhere below the equator in South America.” She inherits a fortune after her father is killed, and is encouraged by her kindly guardians, Ben and Howard (Ernest Torrence and Holmes Herbert), to move to New York to be "civilized". Aboard the ship, Bingo falls in love with a penniless man, Andy (Robert Montgomery). He refuses to live off her money, and leaves the ship with another woman, Marjory (Gwen Lee). A year later, Bingo is cultured and tamed. She organizes for Andy to get a job in South America, and all ends happily.
Despite solid performances from the cast, Untamed is a terrible movie. The NY Times criticized the unrealistic settings, trite dialogue, “unnecessary” length of the film, and the “unessential” melodies. Variety stated that despite a strong opening at the box office, Untamed was “not a particularly noteworthy feature.” Even with a remastered edition released by Warner Bros available on DVD, Untamed remains lackluster.
The score was written by a group of men who would go on to become some Hollywood’s most influential artists and producers — Louis Alter, Arthur Freed, Joe Goodwin, and Nacio Herb Brown. Sadly, their skills are not evident here. The light and jaunty overture (reminiscent of “Tiptoe Through the Tulips”), sets the tone for this fluffy and insubstantial film.
In the opening scene, we see Bingo sitting amidst a group of musicians strumming a guitar and singing an utterly woeful ballad, “Chant of the Jungle.” The music does nothing to enhance the ridiculous “jungle” setting, and is made even more laughable by the mismatched lyrics and choreography. One of the musicians has an unfortunate and distracting habit of staring straight into the camera.
The music does not improve after the opening number. Once on board a ship bound for New York, we are introduced to the song “Something Wonderful.” Played on a record player, the use of music not created by on-screen musicians is rare during this period, and is a tiny glimmer of director Jack Conway’s future potential (he went on to direct many hit films, including A Tale of Two Cities (1935) and Libeled Lady (1936)). The innovation stops there and “Something Wonderful” is later reprised four more times, with little effect.
There are many moments in Untamed that had the right intentions, but their execution fails. This is particularly true of the fight scene half-way through the film. Whilst at a lavish party at Uncle Ben’s house in New York, a fight is announced between Bingo’s would-be lover Andy, and another guest. The party guests are instructed to enjoy the fight “quietly,” so as not to anger Uncle Ben (Ernest Torrence). While the announcement is humorous, the fight is poorly choreographed and strangely filmed. It looks like a scene from a silent film, and is a lost opportunity for a comedic scene.
Untamed suffers from a lackluster script and poor pacing. The screenplay was written by a team of writers who went on to great success, (including Frank Butler who was twice nominated for Best Screenplay Oscars, and won for Going My Way in 1944), but, like their musical counterparts, their talents are not evident here.
Unusually, there are two women in the screenwriting team - Sylvia Thalberg and Lucille Newmark. Despite penning sixteen films, there is scant information available about Thalberg — apart from the fact that she was the sister of producer Irving Thalberg (an MGM producer who was instrumental in the film company’s success). Lucille Newmark had a short career in Hollywood, and there is also currently very little information about her career.
The representation of women in Untamed is infuriating. The film’s premise tells us that a woman can only be gutsy and independent because she has been raised as a “wild child” of the jungle. Crawford is wonderful, and it is easy to see why she became such a huge star. She is immensely watchable, and shines despite the awful material. The other women in the film, played by Gwen Lee, Gertrude Astor, and Grace Cunard, are jealous, conniving gals who exist only to be wined and dined by the men.
Apart from seeing an early Crawford performance, the best part of Untamed is the costume design. The party scenes, with stunning dresses by Adrian, are particularly lovely to watch. Adrian worked as head of wardrobe at MGM for over twenty years, and ran a successful couture business with stores on both coasts.
Most of the cast and crew went on to great success in Hollywood, though with the exception of the music team, not in musicals. Untamed is a film that makes you say, “well, they had to start somewhere!”
Studio: MGM
Director: Jack Conway
Screenplay: Sylvia Thalberg, Frank Butler, Willard Mack, Lucille Newmark
Music: Louis Alter, Nacio Herb Brown, Arthur Freed, Joe Goodwin
Leading Actors: Joan Crawford, Robert Montgomery, Ernest Torrence, Holmes Herbert, John Miljan, Gwen Lee, Edward Nugent, Don Terry, Gertrude Astor, Milton Fahrney, Lloyd Ingraham, Grace Cunard, Wilson Benge
Untamed is most famous for being Joan Crawford’s first talking picture. After starting out as a dancer on Broadway, Crawford was signed by MGM. She went on to become one of the most famous, and highly paid, screen actors of her day. She appeared in over 80 films, and was nominated three times for an Academy Award for Best Actress, winning for Mildred Pierce (1945). Despite a tumultuous personal life, Crawford triumphed on the screen and is remembered as one of Hollywood's greatest actors.
Untamed tells the story of Bingo (Crawford), a young woman raised as a wild child in the jungle “somewhere below the equator in South America.” She inherits a fortune after her father is killed, and is encouraged by her kindly guardians, Ben and Howard (Ernest Torrence and Holmes Herbert), to move to New York to be "civilized". Aboard the ship, Bingo falls in love with a penniless man, Andy (Robert Montgomery). He refuses to live off her money, and leaves the ship with another woman, Marjory (Gwen Lee). A year later, Bingo is cultured and tamed. She organizes for Andy to get a job in South America, and all ends happily.
Despite solid performances from the cast, Untamed is a terrible movie. The NY Times criticized the unrealistic settings, trite dialogue, “unnecessary” length of the film, and the “unessential” melodies. Variety stated that despite a strong opening at the box office, Untamed was “not a particularly noteworthy feature.” Even with a remastered edition released by Warner Bros available on DVD, Untamed remains lackluster.
The score was written by a group of men who would go on to become some Hollywood’s most influential artists and producers — Louis Alter, Arthur Freed, Joe Goodwin, and Nacio Herb Brown. Sadly, their skills are not evident here. The light and jaunty overture (reminiscent of “Tiptoe Through the Tulips”), sets the tone for this fluffy and insubstantial film.
In the opening scene, we see Bingo sitting amidst a group of musicians strumming a guitar and singing an utterly woeful ballad, “Chant of the Jungle.” The music does nothing to enhance the ridiculous “jungle” setting, and is made even more laughable by the mismatched lyrics and choreography. One of the musicians has an unfortunate and distracting habit of staring straight into the camera.
The music does not improve after the opening number. Once on board a ship bound for New York, we are introduced to the song “Something Wonderful.” Played on a record player, the use of music not created by on-screen musicians is rare during this period, and is a tiny glimmer of director Jack Conway’s future potential (he went on to direct many hit films, including A Tale of Two Cities (1935) and Libeled Lady (1936)). The innovation stops there and “Something Wonderful” is later reprised four more times, with little effect.
There are many moments in Untamed that had the right intentions, but their execution fails. This is particularly true of the fight scene half-way through the film. Whilst at a lavish party at Uncle Ben’s house in New York, a fight is announced between Bingo’s would-be lover Andy, and another guest. The party guests are instructed to enjoy the fight “quietly,” so as not to anger Uncle Ben (Ernest Torrence). While the announcement is humorous, the fight is poorly choreographed and strangely filmed. It looks like a scene from a silent film, and is a lost opportunity for a comedic scene.
Untamed suffers from a lackluster script and poor pacing. The screenplay was written by a team of writers who went on to great success, (including Frank Butler who was twice nominated for Best Screenplay Oscars, and won for Going My Way in 1944), but, like their musical counterparts, their talents are not evident here.
Unusually, there are two women in the screenwriting team - Sylvia Thalberg and Lucille Newmark. Despite penning sixteen films, there is scant information available about Thalberg — apart from the fact that she was the sister of producer Irving Thalberg (an MGM producer who was instrumental in the film company’s success). Lucille Newmark had a short career in Hollywood, and there is also currently very little information about her career.
The representation of women in Untamed is infuriating. The film’s premise tells us that a woman can only be gutsy and independent because she has been raised as a “wild child” of the jungle. Crawford is wonderful, and it is easy to see why she became such a huge star. She is immensely watchable, and shines despite the awful material. The other women in the film, played by Gwen Lee, Gertrude Astor, and Grace Cunard, are jealous, conniving gals who exist only to be wined and dined by the men.
Apart from seeing an early Crawford performance, the best part of Untamed is the costume design. The party scenes, with stunning dresses by Adrian, are particularly lovely to watch. Adrian worked as head of wardrobe at MGM for over twenty years, and ran a successful couture business with stores on both coasts.
Most of the cast and crew went on to great success in Hollywood, though with the exception of the music team, not in musicals. Untamed is a film that makes you say, “well, they had to start somewhere!”
- Published on
Pathé Exchange's first musical.
Motion Picture News (Nov 2, 1929)
Date of Release: Nov 23, 1929
Studio: Pathé Exchange
Director: Leo McCarey
Screenplay: Earl Baldwin, Walter De Leon, William Conselman
Composers: Robert Emmett Dolan, Walter O’Keefe
Leading Actors: Alan Hale (Walter), Kathryn Crawford (Mary), Walter O’Keefe (Sam), Josephine Dunn (Claire), Anita Garvin (Mable), Ilka Chase (Mrs. Floretta), Ernest Hillard (Eddie Graham), Harry Bowen (Whiffle), James Clemmons (Singe)
Studio: Pathé Exchange
Director: Leo McCarey
Screenplay: Earl Baldwin, Walter De Leon, William Conselman
Composers: Robert Emmett Dolan, Walter O’Keefe
Leading Actors: Alan Hale (Walter), Kathryn Crawford (Mary), Walter O’Keefe (Sam), Josephine Dunn (Claire), Anita Garvin (Mable), Ilka Chase (Mrs. Floretta), Ernest Hillard (Eddie Graham), Harry Bowen (Whiffle), James Clemmons (Singe)
Red Hot Rhythm was Pathé's first film to be made on the west coast, and their first musical. The film was a backstage comedy that followed the trials and tribulations of songwriter Walter (Alan Hale) and his muse and girlfriend, nightclub singer Mary (Kathryn Crawford).
Pathé Exchange started out as the American distributor for the French company Pathé Frères. The AFI Catalog lists 70 films made by Pathé Exchange between 1915 and 1931, while IMDB lists over 500. IMDb lists Red Hot Rhythm as having being been distributed by Pathé, not produced by them, so it may be other entries on the IMDb list are also incorrect.
According to historian Richard Lewis Ward, despite being an important studio player during the silent era Pathé has mostly been omitted from the historical record on this period. Ward’s new book, When the Cock Crows: A History of the Pathé Exchange is due out in June 2016 and may do something to address this gap.
Director Leo McCarey was a prominent writer, producer and director. With over 100 credits to his name McCarey is famous for directing screwball comedies of the 1930s, including Duck Soup starring the Marx Brothers. He won three Academy Awards, Best Director and Best Writing (Original Story) for Going My Way (1944), and Best Director for The Awful Truth (1937).
Red Hot Rhythm opened to solid reviews. Motion Picture (March 1930) described it as “the best of the season,” and claimed “A hundred to one you leave the theatre whistling.” Motion Picture News (Oct 19, 1929) stated “Although it has plenty of laughs and clever wise-cracks, there is a humanness in story development that makes the picture most enjoyable.” Photoplay (Jan 1930) was less complimentary, calling the story “uneven,” however the reviewer enjoyed the dance numbers and Technicolor sequences.
Red Hot Rhythm was not actually filmed in Technicolor, but Multicolor. Both technologies created a two-tone red and green colored effect, though Multicolor only required one lens where Technicolor required two. Multicolor was bought out by Cinecolor in 1933.
The cast received positive notices for their performances, particularly Katheryn Crawford. After starting out on the stage, Crawford became a film actress. Despite a short career that really only last a few years, Crawford appeared in 18 films including Red Hot Rhythm (1929), Safety in Numbers (1930), and Emma (1932).
Alan Hale also received good notices. He was a dancer and classically trained singer who performed on stage and screen. Hale appeared in over 200 films, often playing character roles. He is best remembered for playing Little John in several Robin Hood movies. Hale was married to Gretchen Hartman. Their son, Alan Hale Jr, is best remembered as the Skipper from Gilligan’s Island.
Pathé Exchange started out as the American distributor for the French company Pathé Frères. The AFI Catalog lists 70 films made by Pathé Exchange between 1915 and 1931, while IMDB lists over 500. IMDb lists Red Hot Rhythm as having being been distributed by Pathé, not produced by them, so it may be other entries on the IMDb list are also incorrect.
According to historian Richard Lewis Ward, despite being an important studio player during the silent era Pathé has mostly been omitted from the historical record on this period. Ward’s new book, When the Cock Crows: A History of the Pathé Exchange is due out in June 2016 and may do something to address this gap.
Director Leo McCarey was a prominent writer, producer and director. With over 100 credits to his name McCarey is famous for directing screwball comedies of the 1930s, including Duck Soup starring the Marx Brothers. He won three Academy Awards, Best Director and Best Writing (Original Story) for Going My Way (1944), and Best Director for The Awful Truth (1937).
Red Hot Rhythm opened to solid reviews. Motion Picture (March 1930) described it as “the best of the season,” and claimed “A hundred to one you leave the theatre whistling.” Motion Picture News (Oct 19, 1929) stated “Although it has plenty of laughs and clever wise-cracks, there is a humanness in story development that makes the picture most enjoyable.” Photoplay (Jan 1930) was less complimentary, calling the story “uneven,” however the reviewer enjoyed the dance numbers and Technicolor sequences.
Red Hot Rhythm was not actually filmed in Technicolor, but Multicolor. Both technologies created a two-tone red and green colored effect, though Multicolor only required one lens where Technicolor required two. Multicolor was bought out by Cinecolor in 1933.
The cast received positive notices for their performances, particularly Katheryn Crawford. After starting out on the stage, Crawford became a film actress. Despite a short career that really only last a few years, Crawford appeared in 18 films including Red Hot Rhythm (1929), Safety in Numbers (1930), and Emma (1932).
Alan Hale also received good notices. He was a dancer and classically trained singer who performed on stage and screen. Hale appeared in over 200 films, often playing character roles. He is best remembered for playing Little John in several Robin Hood movies. Hale was married to Gretchen Hartman. Their son, Alan Hale Jr, is best remembered as the Skipper from Gilligan’s Island.
A silent version of Red Hot Rhythm was also released. Apart from a few surviving fragments, the film is now considered lost.
- Published on
A jazz-infused star vehicle for Ted Lewis.
Publicity shot from 'Exhibitors Herald World' (Nov 2, 1929)
Date of Release: 19 Oct 1929
Studio: Warner Bros
Director: Archie Mayo
Screenplay: James A. Starr, Joseph Jackson, De Leon Anthony
Composers: The Original Dixieland Jazz Band, Harry Akst, Grant Clarke, W. C. Handy,
Ted Lewis
Choreography: Larry Ceballos
Leading Actors: Ted Lewis (Ted Todd), Alice Day (Gail Wilson), Ann Pennington (Lena Schmitt), Lawrence Grant (Victor Molnár), Julia Swayne Gordon (Mrs. Molnár), Otto Hoffman (Landlord), Purnell Pratt (Stage manager)
Is Everybody Happy? was a star vehicle for Ted Lewis. Lewis was a popular composer, performer, and band leader who appeared on Broadway in revues and musical comedies throughout the 1920s. His well-known songs include “When My Baby Smiles at Me,” and “Me and My Shadow.”
The film told the story of a Hungarian immigrant, Ted (Ted Lewis), who left Hungary to seek his fame in America. Once in New York, Ted trades his violin for a saxophone and, with the help of pretty girl Gail (Alice Day), lands a job in a club. When Ted’s father finds out Ted is playing jazz music, he is promptly disowned. Of course, Ted becomes a success. He wins the girl, and Ted and his father are happily reunited on Christmas Day.
Although Is Everybody Happy? did well at the box office, the critics were not happy. Variety (Nov 1929) claimed it was a lesser replica of The Singing Fool. The reviewer thought the photography was average, and the sound worse. The Film Daily (Jan 1930) called the story “flat and uninteresting” and Motion Picture News (Nov 9, 1929) stated, rather condescendingly, the film would only play well “out of town where they are not so sophisticated.”
The clear highlight of Is Everybody Happy? was the music. The Film Daily described it as a “sheer delight” and Motion Picture News stated “Red hot jazz played by the orchestra is the redeeming feature of this.” The jazzy score featured the songs "Wouldn't It Be Wonderful?" "I'm the Medicine Man for the Blues," "New Orleans," "Samoa," "In the Land of Jazz," "Start the Band," "St. Louis Blues," and "Tiger Rag."
“Tiger Rag” was composed, and performed, by The Original Dixieland Jazz Band. The group is described on Red Hot Jazz as “the White guys who copied African-American music, and called it their own.” The first group to record jazz music, the band was a popular club act in New York for a brief period. The New Grove Dictionary of Jazz states that “No member of the Original Dixieland Jazz Band was particularly talented as an improviser, and the group’s phrasing was rhythmically stilted.” The group disbanded in the early 1930s.
“St. Louis Blues” was composed by “Father of the Blues” W. C. Handy. A composer, musician, and music publisher, Handy was instrumental in popularizing blues music. His song “Memphis Blues” is considered to be one of the first blues songs ever published. Handy grew up in Alabama, and later worked in various locations in the south including St. Louis and Mississippi. After moving to New York, Handy gained a prominent following as a performer and publisher. He published an autobiography, Father of the Blues in 1941. An excellent biography can be found at the Memphis Music Hall of Fame.
The other songs were penned by Warner’s studio composers Harry Akst and Grant Clarke. Akst was a prolific and highly regarded composer and pianist. After working as an accompanist and composer in vaudeville and on Broadway, he joined the multitudes of musicians thriving in Hollywood. Grant Clarke was a successful lyricist who wrote for many big names on Broadway including Fanny Brice and Al Jolson.
While most of the actors had been successful stage actors and silent film stars, their careers faded following the early years of sound.
A biopic about Ted Lewis, also titled Is Everybody Happy, was released in 1943.
Is Everybody Happy? is considered a lost film, though the sound reels are held at the UCLA Film and Television Archive.
Studio: Warner Bros
Director: Archie Mayo
Screenplay: James A. Starr, Joseph Jackson, De Leon Anthony
Composers: The Original Dixieland Jazz Band, Harry Akst, Grant Clarke, W. C. Handy,
Ted Lewis
Choreography: Larry Ceballos
Leading Actors: Ted Lewis (Ted Todd), Alice Day (Gail Wilson), Ann Pennington (Lena Schmitt), Lawrence Grant (Victor Molnár), Julia Swayne Gordon (Mrs. Molnár), Otto Hoffman (Landlord), Purnell Pratt (Stage manager)
Is Everybody Happy? was a star vehicle for Ted Lewis. Lewis was a popular composer, performer, and band leader who appeared on Broadway in revues and musical comedies throughout the 1920s. His well-known songs include “When My Baby Smiles at Me,” and “Me and My Shadow.”
The film told the story of a Hungarian immigrant, Ted (Ted Lewis), who left Hungary to seek his fame in America. Once in New York, Ted trades his violin for a saxophone and, with the help of pretty girl Gail (Alice Day), lands a job in a club. When Ted’s father finds out Ted is playing jazz music, he is promptly disowned. Of course, Ted becomes a success. He wins the girl, and Ted and his father are happily reunited on Christmas Day.
Although Is Everybody Happy? did well at the box office, the critics were not happy. Variety (Nov 1929) claimed it was a lesser replica of The Singing Fool. The reviewer thought the photography was average, and the sound worse. The Film Daily (Jan 1930) called the story “flat and uninteresting” and Motion Picture News (Nov 9, 1929) stated, rather condescendingly, the film would only play well “out of town where they are not so sophisticated.”
The clear highlight of Is Everybody Happy? was the music. The Film Daily described it as a “sheer delight” and Motion Picture News stated “Red hot jazz played by the orchestra is the redeeming feature of this.” The jazzy score featured the songs "Wouldn't It Be Wonderful?" "I'm the Medicine Man for the Blues," "New Orleans," "Samoa," "In the Land of Jazz," "Start the Band," "St. Louis Blues," and "Tiger Rag."
“Tiger Rag” was composed, and performed, by The Original Dixieland Jazz Band. The group is described on Red Hot Jazz as “the White guys who copied African-American music, and called it their own.” The first group to record jazz music, the band was a popular club act in New York for a brief period. The New Grove Dictionary of Jazz states that “No member of the Original Dixieland Jazz Band was particularly talented as an improviser, and the group’s phrasing was rhythmically stilted.” The group disbanded in the early 1930s.
“St. Louis Blues” was composed by “Father of the Blues” W. C. Handy. A composer, musician, and music publisher, Handy was instrumental in popularizing blues music. His song “Memphis Blues” is considered to be one of the first blues songs ever published. Handy grew up in Alabama, and later worked in various locations in the south including St. Louis and Mississippi. After moving to New York, Handy gained a prominent following as a performer and publisher. He published an autobiography, Father of the Blues in 1941. An excellent biography can be found at the Memphis Music Hall of Fame.
The other songs were penned by Warner’s studio composers Harry Akst and Grant Clarke. Akst was a prolific and highly regarded composer and pianist. After working as an accompanist and composer in vaudeville and on Broadway, he joined the multitudes of musicians thriving in Hollywood. Grant Clarke was a successful lyricist who wrote for many big names on Broadway including Fanny Brice and Al Jolson.
While most of the actors had been successful stage actors and silent film stars, their careers faded following the early years of sound.
A biopic about Ted Lewis, also titled Is Everybody Happy, was released in 1943.
Is Everybody Happy? is considered a lost film, though the sound reels are held at the UCLA Film and Television Archive.
- Published on
Warner Bros’ first contribution to the revue style musical.
Advert in Picture Play (Feb 1930)
Date of Release: Nov 20, 1929
Studio: Warner Bros
Director: John G. Adolfi
Screenplay: Frank Fay, J. Keirn Brennan
Composers: Al Bryan, Rube Bloom, Perry Bradford, J. Keirn Brennan, Nacio Herb Brown, Joe Burke, Michael H. Cleary, Al Dubin, Gus Edwards, Arthur Freed, Joe Goodwin, M. K. Jerome, Jimmy Johnson, Sam Lewis, Herb Magidson, Ray Perkins, Jean Schwartz, Bernie Seaman, Marvin Smolev, Ed Ward, Ned Washington, Joe Young
Musical Director: Louis Silvers
Choreographer: Larry Ceballos, Jack Haskell
Leading Actors: Frank Fay (Master of ceremonies), William Courtenay (The minister), H. B. Warner (The victim), Hobart Bosworth (The Executioner), Marian Nixon, Sally O'Neil, Myrna Loy, Alice Day, Patsy Ruth Miller (Florodora Sextette), Ben Turpin (Waiter), Heinie Conklin (Ice man), Lupino Lane (Street cleaner), Lee Moran (Plumber), Bert Roach (Father), Lloyd Hamilton (Hansom cabby), Noah Beery, Tully Marshall, Wheeler Oakman, Bull Montana, Kalla Pasha, Anders Randolf, Philo McCullough, Otto Matiesen, Jack Curtis (Pirates), Johnny Arthur (Hero), Julanne Johnston, Carmel Myers, Ruth Clifford, Sally Eilers, Viola Dana, Shirley Mason, Ethlyne Clair, Frances Lee, Julanne Johnston (Ladies), Douglas Fairbanks Jr. (Ambrose), Chester Conklin (Traffic cop), Grant Withers, William Collier Jr., Jack Mulhall, Chester Morris, William Bakewell (Boys), Lois Wilson, Gertrude Olmstead, Pauline Garon, Edna Murphy, Jaqueline Logan (Girls), Monte Blue (Condemned man), Albert Gran, Noah Beery, Tully Marshall, (Soldiers), Armida, John Barrymore, Richard Barthelmess, Sally Blan, Irene Bordini, Anthony Bushell, Marion Byron, Georges Carpentier, James Clemmons, Betty Compton, Dolores Costello, Helene Costello, Marceline Day, Louise Fazenda, Alexander Gray, Beatrice Lillie, Winnie Lightner, Hariette Lake, Lila Lee, Ted Lewis, Nick Lucas, Molly O'Day, Rin-Tin-Tin, E. J. Radcliffe, Sid Silvers, Sojin, Lola Vendrill, Ada Mae Vaughn, Alberta Vaughn, Ted Williams Adagio Dancers, Alice White, Loretta Young
Studio: Warner Bros
Director: John G. Adolfi
Screenplay: Frank Fay, J. Keirn Brennan
Composers: Al Bryan, Rube Bloom, Perry Bradford, J. Keirn Brennan, Nacio Herb Brown, Joe Burke, Michael H. Cleary, Al Dubin, Gus Edwards, Arthur Freed, Joe Goodwin, M. K. Jerome, Jimmy Johnson, Sam Lewis, Herb Magidson, Ray Perkins, Jean Schwartz, Bernie Seaman, Marvin Smolev, Ed Ward, Ned Washington, Joe Young
Musical Director: Louis Silvers
Choreographer: Larry Ceballos, Jack Haskell
Leading Actors: Frank Fay (Master of ceremonies), William Courtenay (The minister), H. B. Warner (The victim), Hobart Bosworth (The Executioner), Marian Nixon, Sally O'Neil, Myrna Loy, Alice Day, Patsy Ruth Miller (Florodora Sextette), Ben Turpin (Waiter), Heinie Conklin (Ice man), Lupino Lane (Street cleaner), Lee Moran (Plumber), Bert Roach (Father), Lloyd Hamilton (Hansom cabby), Noah Beery, Tully Marshall, Wheeler Oakman, Bull Montana, Kalla Pasha, Anders Randolf, Philo McCullough, Otto Matiesen, Jack Curtis (Pirates), Johnny Arthur (Hero), Julanne Johnston, Carmel Myers, Ruth Clifford, Sally Eilers, Viola Dana, Shirley Mason, Ethlyne Clair, Frances Lee, Julanne Johnston (Ladies), Douglas Fairbanks Jr. (Ambrose), Chester Conklin (Traffic cop), Grant Withers, William Collier Jr., Jack Mulhall, Chester Morris, William Bakewell (Boys), Lois Wilson, Gertrude Olmstead, Pauline Garon, Edna Murphy, Jaqueline Logan (Girls), Monte Blue (Condemned man), Albert Gran, Noah Beery, Tully Marshall, (Soldiers), Armida, John Barrymore, Richard Barthelmess, Sally Blan, Irene Bordini, Anthony Bushell, Marion Byron, Georges Carpentier, James Clemmons, Betty Compton, Dolores Costello, Helene Costello, Marceline Day, Louise Fazenda, Alexander Gray, Beatrice Lillie, Winnie Lightner, Hariette Lake, Lila Lee, Ted Lewis, Nick Lucas, Molly O'Day, Rin-Tin-Tin, E. J. Radcliffe, Sid Silvers, Sojin, Lola Vendrill, Ada Mae Vaughn, Alberta Vaughn, Ted Williams Adagio Dancers, Alice White, Loretta Young
Film Daily (Dec 16, 1929)
By the end of 1929, every studio had released a revue style musical film featuring lavish production numbers performed by the studio’s roll call of stars; MGM’s The Hollywood Revue of 1929, Fox’s Movietone Follies, Paramount’s Paramount on Parade and Warner Bros’ The Show of Shows.
The Show of Shows was the largest of the revues, and featured 77 stars and hundreds of dancing girls (some sources say up to 1000). The studio built excitement for the film with frequent “COMING SOON” notices advertising prominent stars and announcing the addition of new cast members.
The Show of Shows was the largest of the revues, and featured 77 stars and hundreds of dancing girls (some sources say up to 1000). The studio built excitement for the film with frequent “COMING SOON” notices advertising prominent stars and announcing the addition of new cast members.
PUBLICITY
Theatre managers went all out with publicity stunts. In San Diego, the Plaza Theatre printed “trick heralds” of a woman sitting in a bathtub. When the bathtub flap was pulled down, it revealed, instead of a naked woman, advertising copy for the film.
Colorado Springs installed a small bathtub and shower curtain in the foyer, complete with a life-size cutout of actress Winnie Lightner standing in the tub. The sign read “Singin’ in the shower is like singin’ in the rain, but you haven’t heard anything until you hear my comedy song hit ‘Singin' in the Bathtub’”
The Paramount Theatre in Atlanta, Georgia had a store window dressed to look like a bathroom, featuring a real bathtub with an actual girl singing in it. When the girl wasn’t on display, Victor records played hit songs from the show. According to Motion Picture News, the display drew crowds of over 50,000 people and the police had to be called in to re-direct traffic.
In October 1929, many theatres were still being wired for sound. For many people, Show of Shows was the first talkie they saw, and heard.
Theatre managers went all out with publicity stunts. In San Diego, the Plaza Theatre printed “trick heralds” of a woman sitting in a bathtub. When the bathtub flap was pulled down, it revealed, instead of a naked woman, advertising copy for the film.
Colorado Springs installed a small bathtub and shower curtain in the foyer, complete with a life-size cutout of actress Winnie Lightner standing in the tub. The sign read “Singin’ in the shower is like singin’ in the rain, but you haven’t heard anything until you hear my comedy song hit ‘Singin' in the Bathtub’”
The Paramount Theatre in Atlanta, Georgia had a store window dressed to look like a bathroom, featuring a real bathtub with an actual girl singing in it. When the girl wasn’t on display, Victor records played hit songs from the show. According to Motion Picture News, the display drew crowds of over 50,000 people and the police had to be called in to re-direct traffic.
In October 1929, many theatres were still being wired for sound. For many people, Show of Shows was the first talkie they saw, and heard.
Motion Picture News, Feb 1930
Motion Picture News, March 1930
OPENING AND RECEPTION
Opening night was a buzzy and exciting affair. Film Daily (Nov 19, 1929) reported the Winter Garden theatre in New York erected a sign “155 feet in length and 33 feet in height” to accommodate pictures of the 40 top-billed performers in 3ft stars on the marquis, and an unprecedented 18 lamps were used to light the exterior of the theatre.
The Show of Shows opened to rave reviews and did very well at the box office. The Film Daily (Nov 21, 1929) called it “a modern, sophisticated, tuneful, fast moving musical cocktail.” The Educational Screen (Jan 1930) described it as an “Elaborate spectacle, all in gorgeous color,” and Picture Play (Feb 1930) stated it was “The most gorgeous and varied and interesting of all the revues.”
Opening night was a buzzy and exciting affair. Film Daily (Nov 19, 1929) reported the Winter Garden theatre in New York erected a sign “155 feet in length and 33 feet in height” to accommodate pictures of the 40 top-billed performers in 3ft stars on the marquis, and an unprecedented 18 lamps were used to light the exterior of the theatre.
The Show of Shows opened to rave reviews and did very well at the box office. The Film Daily (Nov 21, 1929) called it “a modern, sophisticated, tuneful, fast moving musical cocktail.” The Educational Screen (Jan 1930) described it as an “Elaborate spectacle, all in gorgeous color,” and Picture Play (Feb 1930) stated it was “The most gorgeous and varied and interesting of all the revues.”
Motion Picture News, March 1930
The Show of Shows
Despite the absence of a plot, and the painful race and gender politics, The Show of Shows is one of the most entertaining musicals of 1929. The conceit is that we are watching a live stage show, presented in a revue format. Frank Fay acts as the Master of Ceremonies, performing short bits between comedy sketches, large production numbers, and solo songs.
Following the overture and credits, the film opens with a French revolution style execution. H.B Warner’s head is cut off at the guillotine, obscured from view by the attending soldiers, and cheering crowds. Hobart Bosworth announces, “On with the show of shows!”
The camera immediately cuts to a large stage, most of which is covered with a staircase that spans the stage’s width. It is soon filled with over 100 soldiers for “The Military March.” The soldiers march up and down the stairs, creating geometric formations with their bodies, and their black-and-white capes forming different patterns. The number is beautifully choreographed, and highlights choreographer Larry Caballos’ innovative skill and vision. Just when you think they couldn’t possibly fit any more people on the stage, a drum corps appears complete with twirling batons.
Frank Fay appears in front of the curtain in dressed in military garb. His patter is amusing, if not somewhat dated today, and the theme of Fay offering to perform and being interrupted by the "show" behind him recurs throughout the film. Fay was an immensely influential vaudeville star and comic. He was one of the first comedians to perform his act sans props, and as such is often cited as the first stand up comic. Although praised for his quick wit and unrelenting pace on stage, Fay was also famous for his intolerant and derisive racism and fascist affiliations.
“The Floradora Sextette” features film stars Marian Nixon, Sally O'Neil, Myrna Loy, Alice Day, and Patsy Ruth Miller. Despite their individual abilities, the number does not showcase the talents of the women. They are dressed identically, and sing in unison, wondering “what has become of the Floradora Boys?” They are soon replaced by the six Floradora Boys; Ben Turpin, Heinie Conklin, Lupino Lane, Lee Moran, Bert Roach and Lloyd Hamilton. In contrast to the women, the men are dressed in unique costumes. Each actor has a solo verse, designed to highlight his comic abilities.
Notorious for playing villains and sidekicks, Noah Beery, Tully Marshall, Wheeler Oakman, Bull Montana, Kalla Pasha, Anders Randolf, Philo McCullough, Otto Matiesen, and Jack Curtis appear as pirates for “Motion Picture Pirates.”A cheesy Gilbert and Sullivan type number, the men sing and swagger aboard a large ship. The "wenches" are summoned, and the women enter crying and screaming before singing a song about being leading ladies in distress. Johnny Arthur, “the hero” enters and promises to save the women and “protect the rear”. The women faun over the hero and exit. The hero is promptly tossed overboard, and a catch of "strange fish" is announced.
The "strange fish" are in fact a well-dressed band “from the land of jazz, rhythm and melody.” They are led by Ted Lewis, a well-known stage and screen composer and performer. The captain declares if he likes the band, they’ll live, if not, they’ll die. A somewhat flat number about jazz musicians being akin to pirates follows. The jazzy music is enough to save the band and Ted Lewis leads a spirited rendition of “Lady Luck.”
Despite the absence of a plot, and the painful race and gender politics, The Show of Shows is one of the most entertaining musicals of 1929. The conceit is that we are watching a live stage show, presented in a revue format. Frank Fay acts as the Master of Ceremonies, performing short bits between comedy sketches, large production numbers, and solo songs.
Following the overture and credits, the film opens with a French revolution style execution. H.B Warner’s head is cut off at the guillotine, obscured from view by the attending soldiers, and cheering crowds. Hobart Bosworth announces, “On with the show of shows!”
The camera immediately cuts to a large stage, most of which is covered with a staircase that spans the stage’s width. It is soon filled with over 100 soldiers for “The Military March.” The soldiers march up and down the stairs, creating geometric formations with their bodies, and their black-and-white capes forming different patterns. The number is beautifully choreographed, and highlights choreographer Larry Caballos’ innovative skill and vision. Just when you think they couldn’t possibly fit any more people on the stage, a drum corps appears complete with twirling batons.
Frank Fay appears in front of the curtain in dressed in military garb. His patter is amusing, if not somewhat dated today, and the theme of Fay offering to perform and being interrupted by the "show" behind him recurs throughout the film. Fay was an immensely influential vaudeville star and comic. He was one of the first comedians to perform his act sans props, and as such is often cited as the first stand up comic. Although praised for his quick wit and unrelenting pace on stage, Fay was also famous for his intolerant and derisive racism and fascist affiliations.
“The Floradora Sextette” features film stars Marian Nixon, Sally O'Neil, Myrna Loy, Alice Day, and Patsy Ruth Miller. Despite their individual abilities, the number does not showcase the talents of the women. They are dressed identically, and sing in unison, wondering “what has become of the Floradora Boys?” They are soon replaced by the six Floradora Boys; Ben Turpin, Heinie Conklin, Lupino Lane, Lee Moran, Bert Roach and Lloyd Hamilton. In contrast to the women, the men are dressed in unique costumes. Each actor has a solo verse, designed to highlight his comic abilities.
Notorious for playing villains and sidekicks, Noah Beery, Tully Marshall, Wheeler Oakman, Bull Montana, Kalla Pasha, Anders Randolf, Philo McCullough, Otto Matiesen, and Jack Curtis appear as pirates for “Motion Picture Pirates.”A cheesy Gilbert and Sullivan type number, the men sing and swagger aboard a large ship. The "wenches" are summoned, and the women enter crying and screaming before singing a song about being leading ladies in distress. Johnny Arthur, “the hero” enters and promises to save the women and “protect the rear”. The women faun over the hero and exit. The hero is promptly tossed overboard, and a catch of "strange fish" is announced.
The "strange fish" are in fact a well-dressed band “from the land of jazz, rhythm and melody.” They are led by Ted Lewis, a well-known stage and screen composer and performer. The captain declares if he likes the band, they’ll live, if not, they’ll die. A somewhat flat number about jazz musicians being akin to pirates follows. The jazzy music is enough to save the band and Ted Lewis leads a spirited rendition of “Lady Luck.”
Against a Parisian backdrop, Georges Carpentier sings “If I Could Love Again,” accompanied by Alice White, Patsy Miller, and the chorus girls sporting pretty parasols. The number leads into an extended dance routine, featuring some interesting choreography shot from above. The highlight of the number comes at the end of the song, when the backdrop disappears and the chorus girls climb the black wall at the rear of the stage. The visual effect is quite impressive and must look incredible on a big screen.
"Pingo-Pongo," a solo comedy number, is performed with panache by Winnie Lightner. Famous for her brassy voice and “risqué” performances, Winnie Lightner started out on the stage in vaudeville and on Broadway. Her first film Gold Diggers of Broadway (1929) was a huge hit, and she went on to make five more musicals in quick succession. The appearance of a woman in a featured number, playing a role apart from that of the damsel, is refreshing.
Frank Fay drags a German Shepherd puppy onto the stage and is ready to launch into a song about the puppy when he is interrupted by Nick Lucas. Lucas was a highly successful jazz recording artist, and one of his signature songs was "Tiptoe Through the Tulips." Lucas sings “Lady Luck,” accompanying himself on guitar. At the end of the number, the camera cuts back to Frank Fay who is now sporting a long white beard. The puppy has grown into celebrity canine Rin-Tin-Tin. Rin-Tin-Tin was rescued as a puppy from France during the First World War and went on to appear in nearly 30 films.
In front of the curtain, Louise Fazenda, Beatrice Lillie, Frank Fay and Lloyd Hamilton recite poems one by one that eventually, when read together, create an amusing speech. Louise Fazenda was a highly successful actress who worked in both silent and talking pictures. She worked for MGM, Warner Bros, and Paramount, and was known for her funny character acting and “country bumpkin” characters. Canadian born Beatrice Lillie was a highly acclaimed comedienne and actress who performed in America and England. Her show, An Evening with Beatrice Lillie, won a Special Tony Award in 1953. Lloyd Hamilton started out as a stage actor and went onto become one of the most successful and well-regarded comedic actors of the silent era. Hamilton suffered from alcoholism and it took a toll on his career which declined into the late 1920s and early 1930s
“Meet My Sister” features eight pairs of sisters (seven of which were real-life siblings); Dolores and Helene Costello, Sally O’Neil and Molly Day, Alice and Marceline Day, Sally Blaine and Loretta Young, Armida and Lola Vendrill, Harriet and Marian Bryon, Alberta and Ada Mae Vaughn, and Viola Dana and Shirley Mason. Accompanied by the chorus girls, each set of sisters is dressed in a different national “costume.” While each sister-set has their own verse, complete with a dance break in the “style” of the nationality they are representing, the whole number is designed to highlight that Hollywood gals are attractive to men from any background. The song is catchy, but the lyrics often don't fit well with the melody. The final pair, Viola Dana and Shirly Mason dressed in Dutch outfits - complete with twirling windmills in the background - end their verse with a kiss.
"Pingo-Pongo," a solo comedy number, is performed with panache by Winnie Lightner. Famous for her brassy voice and “risqué” performances, Winnie Lightner started out on the stage in vaudeville and on Broadway. Her first film Gold Diggers of Broadway (1929) was a huge hit, and she went on to make five more musicals in quick succession. The appearance of a woman in a featured number, playing a role apart from that of the damsel, is refreshing.
Frank Fay drags a German Shepherd puppy onto the stage and is ready to launch into a song about the puppy when he is interrupted by Nick Lucas. Lucas was a highly successful jazz recording artist, and one of his signature songs was "Tiptoe Through the Tulips." Lucas sings “Lady Luck,” accompanying himself on guitar. At the end of the number, the camera cuts back to Frank Fay who is now sporting a long white beard. The puppy has grown into celebrity canine Rin-Tin-Tin. Rin-Tin-Tin was rescued as a puppy from France during the First World War and went on to appear in nearly 30 films.
In front of the curtain, Louise Fazenda, Beatrice Lillie, Frank Fay and Lloyd Hamilton recite poems one by one that eventually, when read together, create an amusing speech. Louise Fazenda was a highly successful actress who worked in both silent and talking pictures. She worked for MGM, Warner Bros, and Paramount, and was known for her funny character acting and “country bumpkin” characters. Canadian born Beatrice Lillie was a highly acclaimed comedienne and actress who performed in America and England. Her show, An Evening with Beatrice Lillie, won a Special Tony Award in 1953. Lloyd Hamilton started out as a stage actor and went onto become one of the most successful and well-regarded comedic actors of the silent era. Hamilton suffered from alcoholism and it took a toll on his career which declined into the late 1920s and early 1930s
“Meet My Sister” features eight pairs of sisters (seven of which were real-life siblings); Dolores and Helene Costello, Sally O’Neil and Molly Day, Alice and Marceline Day, Sally Blaine and Loretta Young, Armida and Lola Vendrill, Harriet and Marian Bryon, Alberta and Ada Mae Vaughn, and Viola Dana and Shirley Mason. Accompanied by the chorus girls, each set of sisters is dressed in a different national “costume.” While each sister-set has their own verse, complete with a dance break in the “style” of the nationality they are representing, the whole number is designed to highlight that Hollywood gals are attractive to men from any background. The song is catchy, but the lyrics often don't fit well with the melody. The final pair, Viola Dana and Shirly Mason dressed in Dutch outfits - complete with twirling windmills in the background - end their verse with a kiss.
Winnie Lightner returns for “Singin’ in the Bathtub,” joined by a chorus of tap dancing men in drag. The dance break features tubby elderly white men dressed in old-fashioned bathers. The number ends with wrestler Bull Montana dressed in top hat and tails singing “You Were Meant for Me” to Lightner, and the boys dancing below. Italian-born Bull Montana started out as a professional wrestler and after some encouragement from Douglas Fairbanks, went onto become a Hollywood actor, appearing in over 90 films. The number is silly and fun, and its easy to see why it was selling point of the film. The song went on to become a best-seller.
Irene Bordoni stands in front of a piano, dressed in stunning black ball gown with strange white accents, and sings “Just an Hour of Love.” Her performance is lovely, though the song is forgettable. Bordoni started out a stage actress in Paris and went on to become a successful Broadway performer. She famously introduced several Cole Porter songs, including “Let’s Do It (Let’s Fall in Love).”
Irene Bordoni stands in front of a piano, dressed in stunning black ball gown with strange white accents, and sings “Just an Hour of Love.” Her performance is lovely, though the song is forgettable. Bordoni started out a stage actress in Paris and went on to become a successful Broadway performer. She famously introduced several Cole Porter songs, including “Let’s Do It (Let’s Fall in Love).”
Nick Lucas and Myrna Loy lead the visually spectacular, the horribly dated and racist, “Li-Po-Li." Loy’s dancing is decidedly average, though Lucas’ voice sounds excellent. The number ends again with an ever-increasing number of chorus girls climbing up and down frames at the rear of the stage, Lucas and Myrna watching on. In my Warner Bros dvd copy, this is the only number in Technicolor. Watch the clip above, and look out for the descending black genie set piece!
Frank Fay and Sid Silvers do an amusing bit about Al Jolson not being present in the film. Silvers does a decent Al Jolson impersonation, and it's a relief that he doesn't perform in blackface. Silvers started out in vaudeville and went on to become a prominent comedian and writer. The Show of Shows marked his screen debut.
“On a bicycle built for two” performed by William Blakewell, Chester Conklin, Douglas Fairbanks Jr., Pauline Garon, Jacqueline Logan, Chester Morris, Jack Mulhal, Edna Murphy, Gertrude Olmstead, Ann Sothern, Lois Wilson, and Grant Withers contains some fun choreography and moving set pieces.
Fay and Silvers return for “Why Should I,” which is capped by a cameo appearance by giant John Aasen.
Frank Fay and Sid Silvers do an amusing bit about Al Jolson not being present in the film. Silvers does a decent Al Jolson impersonation, and it's a relief that he doesn't perform in blackface. Silvers started out in vaudeville and went on to become a prominent comedian and writer. The Show of Shows marked his screen debut.
“On a bicycle built for two” performed by William Blakewell, Chester Conklin, Douglas Fairbanks Jr., Pauline Garon, Jacqueline Logan, Chester Morris, Jack Mulhal, Edna Murphy, Gertrude Olmstead, Ann Sothern, Lois Wilson, and Grant Withers contains some fun choreography and moving set pieces.
Fay and Silvers return for “Why Should I,” which is capped by a cameo appearance by giant John Aasen.
The infamous “Black and White Ballet” is truly a highlight, with beautiful costumes and clever choreography. The ending however is unsatisfying, with an unnamed chorus member calling a strike because the costumes are ankle length instead of knee length.
Harry Akst appears at the piano and Fay finally gets his big number, “Your Love is All That I Crave.”
Atop a pile of dead bodies, John Barrymore delivers Richard’s soliloquy from Shakespeare’s Henry VI. The soliloquy is, for the most part, shot with Barrymore’s chest and head filling the frame. It is a captivating performance.
Harry Akst appears at the piano and Fay finally gets his big number, “Your Love is All That I Crave.”
Atop a pile of dead bodies, John Barrymore delivers Richard’s soliloquy from Shakespeare’s Henry VI. The soliloquy is, for the most part, shot with Barrymore’s chest and head filling the frame. It is a captivating performance.
The lavish 10 minute finale, a medley of instrumental versions of songs from the film and book-ended by “Lady Luck”opens with two women hanging like rods in front of the curtain. The curtain opens to reveal two large chandeliers with women suspended around the lights as decorations. The number features hundreds of chorus girls and various dance soloists performing energetic routines and acrobatic tricks. Several African American dancers are featured, and it is a shame they are not credited as their tap dancing is a real highlight.
MUSIC
The film’s score was composed by Warner Bros’ immensely talented staff of contract writers. Most were Jewish men who started out in vaudeville or Tin Pan Alley and had headed west following the advent of talkies. The vast majority of the music team went onto prominent careers as film songwriters, and their songs are still remembered today.
Rare exceptions to the white and Jewish profile were two African American musicians, Perry Bradford and Jimmy Johnson. Perry Bradford was a multi-talented musician, songwriter, and producer. He was instrumental in creating the first recordings of African American bands and music, and in bringing blues and jazz to New York. Bradford’s compositions include “That Thing Called Love,” “Crazy Blues,” “You Can’t Keep a Good Man Down,” and “Keep a Knockin’.”
Jimmy Johnson, or James Price Johnson, was a highly influential African American pianist and composer who is credited for leading the transition from ragtime to jazz. He wrote popular songs, symphonies, and full length scores, and his work was used on stage and screen. His well-known songs include “The Charleston,” “If I Could Be With You (One Hour Tonight),” and “Old Fashioned Love.” Johnson taught Fats Waller, whom he also later collaborated with. He was inducted into the Songwriters Hall of Fame in 1970.
The film’s score was composed by Warner Bros’ immensely talented staff of contract writers. Most were Jewish men who started out in vaudeville or Tin Pan Alley and had headed west following the advent of talkies. The vast majority of the music team went onto prominent careers as film songwriters, and their songs are still remembered today.
Rare exceptions to the white and Jewish profile were two African American musicians, Perry Bradford and Jimmy Johnson. Perry Bradford was a multi-talented musician, songwriter, and producer. He was instrumental in creating the first recordings of African American bands and music, and in bringing blues and jazz to New York. Bradford’s compositions include “That Thing Called Love,” “Crazy Blues,” “You Can’t Keep a Good Man Down,” and “Keep a Knockin’.”
Jimmy Johnson, or James Price Johnson, was a highly influential African American pianist and composer who is credited for leading the transition from ragtime to jazz. He wrote popular songs, symphonies, and full length scores, and his work was used on stage and screen. His well-known songs include “The Charleston,” “If I Could Be With You (One Hour Tonight),” and “Old Fashioned Love.” Johnson taught Fats Waller, whom he also later collaborated with. He was inducted into the Songwriters Hall of Fame in 1970.
Film Daily (Nov 19, 1929)
AFTER THE SHOW
The Show of Shows highlights the dominance of white stars, and the secondary role of women. Of the 77 named stars to appear in the film, all are white. Although the film features "A Chinese Fantasy," the number is resplendent with dated stereotypes and cultural appropriation. The only Asian actor to appear in the film is actually Japanese, silent film star Sojin. He is dressed in a stereotyped costume of a Chinese farmer, and never speaks.
Apart from Winnie Lightner and Irene Bordoni, who are able to demonstrate individual skills and unique characters, women in The Show of Shows are interchangeable, white, and slim. Women exist only as silly objects for men -- highlighted by the finale, where women are literally ornamental, and part of the furniture.
The Show of Shows highlights the dominance of white stars, and the secondary role of women. Of the 77 named stars to appear in the film, all are white. Although the film features "A Chinese Fantasy," the number is resplendent with dated stereotypes and cultural appropriation. The only Asian actor to appear in the film is actually Japanese, silent film star Sojin. He is dressed in a stereotyped costume of a Chinese farmer, and never speaks.
Apart from Winnie Lightner and Irene Bordoni, who are able to demonstrate individual skills and unique characters, women in The Show of Shows are interchangeable, white, and slim. Women exist only as silly objects for men -- highlighted by the finale, where women are literally ornamental, and part of the furniture.
Most of the actors did not fare well following the advent of talkies. In the few years following The Show of Shows release, they faded into obscurity.
The Show of Shows is a fascinating contribution to the movie musical genre. An early part of Hollywood's rich tradition of borrowing from the stage, and an attempt to capture the magic of stage on film. The result is slightly clunky, visually spectacular, and, apart from the awful sexism and racism, a lot of fun.
Motion Picture News predicted in October 1929 that revue movies would now be an annual staple. By mid-1930 however, audiences had tired of revues and backstage musicals. Motion Picture printed letters to the editor complaining of the saturation of musicals. One reader wrote that he was concerned producers were seeking only to film stage shows instead of making movies. Ah, if only!!!
The Show of Shows is a fascinating contribution to the movie musical genre. An early part of Hollywood's rich tradition of borrowing from the stage, and an attempt to capture the magic of stage on film. The result is slightly clunky, visually spectacular, and, apart from the awful sexism and racism, a lot of fun.
Motion Picture News predicted in October 1929 that revue movies would now be an annual staple. By mid-1930 however, audiences had tired of revues and backstage musicals. Motion Picture printed letters to the editor complaining of the saturation of musicals. One reader wrote that he was concerned producers were seeking only to film stage shows instead of making movies. Ah, if only!!!
- Published on
Brief and beautiful.
Still from Exibitors Herald World (July 20, 1929)
Date of Release: April 17, 1929
Studio: Sono-Art Productions
Director: Fred Newmeyer
Screenplay: George J. Crone, Frances Agnew, Eddie Dowling
Music: Eddie Dowling, James F. Hanley, Jean Herbert, Andrew B. Sterling
Leading Actors: Eddie Dowling (Rainbow Ryan), Frankie Darrow (Billy Ryan), Sam Hardy (Doc Hardy), Lloyd Ingraham (Colonel Lane), Marian Nixon (Mary Lane), George Hayes (Bill)
Studio: Sono-Art Productions
Director: Fred Newmeyer
Screenplay: George J. Crone, Frances Agnew, Eddie Dowling
Music: Eddie Dowling, James F. Hanley, Jean Herbert, Andrew B. Sterling
Leading Actors: Eddie Dowling (Rainbow Ryan), Frankie Darrow (Billy Ryan), Sam Hardy (Doc Hardy), Lloyd Ingraham (Colonel Lane), Marian Nixon (Mary Lane), George Hayes (Bill)
The Rainbow Man is an unusual musical because it was produced by an independent studio, Sono-Art Productions. The company was in business from 1927 until 1933, and in that time produced 60 feature films, including the first Hollywood foreign language film, Sombras de Gloria (1930).The Rainbow Man was their first production.
The film was made at the Metropolitan Studios in Los Angeles, and as reported in The Film Daily (Feb 28, 1929), was one of the first to use the Western Electric sound-on-film process. Sound-on-film was more flexible than recording sound-on-disc, and allowed for better synchronization. The process also made it possible to film dialogue outside.
Another backstage tale, the plot centered around a circus performer, Rainbow Ryan (Eddie Dowling) who takes in the son, Billy (Frankie Darrow), of a fellow performer who tragically dies in an accident. The circus arrives in a small town, and Rainbow falls in love with Mary (Marian Nixon), the daughter of the grouchy hotel proprietor, Colonel Lane (Lloyd Ingram) – who of course hates circus folk. After an upset, Rainbow and Billy are ejected from the circus and end up in New York. Mary finds them, and reveals that her sister was in fact Billy’s mother. Colonel Lane shows up and takes Mary and Billy back home. Rainbow is re-employed by the circus, and ends up back in the small town. Seeing the error of his ways, the Colonel permits Mary and Rainbow to marry.
The film was made at the Metropolitan Studios in Los Angeles, and as reported in The Film Daily (Feb 28, 1929), was one of the first to use the Western Electric sound-on-film process. Sound-on-film was more flexible than recording sound-on-disc, and allowed for better synchronization. The process also made it possible to film dialogue outside.
Another backstage tale, the plot centered around a circus performer, Rainbow Ryan (Eddie Dowling) who takes in the son, Billy (Frankie Darrow), of a fellow performer who tragically dies in an accident. The circus arrives in a small town, and Rainbow falls in love with Mary (Marian Nixon), the daughter of the grouchy hotel proprietor, Colonel Lane (Lloyd Ingram) – who of course hates circus folk. After an upset, Rainbow and Billy are ejected from the circus and end up in New York. Mary finds them, and reveals that her sister was in fact Billy’s mother. Colonel Lane shows up and takes Mary and Billy back home. Rainbow is re-employed by the circus, and ends up back in the small town. Seeing the error of his ways, the Colonel permits Mary and Rainbow to marry.
Originally slated to open at the George M. Cohan Theatre on April 11, The Rainbow Man officially opened at the Selwyn Theatre on April 16. The New York premier was a gala event attended by leading man Eddie Dowling, and the former New York Governor Al Smith (who was the Democratic presidential nominee in 1928).
The Film Daily (April 12, 1929) predicted The Rainbow Man would do extremely well, stating “It reeks of big money.” The prediction proved correct, and within days of the successful opening, Paramount announced it would be releasing the film. It was subsequently advertised as a Paramount production, and turned out to be a hot ticket for the studio.
The Film Daily (April 12, 1929) predicted The Rainbow Man would do extremely well, stating “It reeks of big money.” The prediction proved correct, and within days of the successful opening, Paramount announced it would be releasing the film. It was subsequently advertised as a Paramount production, and turned out to be a hot ticket for the studio.
Advertisement in Exhibitors Herald World (April 27, 1929)
Warmly received by audiences and critics alike, it became the first independent film to charge top price, $2, for tickets. As reported in Motion Picture News (April 27, 1929), the film grossed $14,000 across nine performances. Its closest rival, Show Boat grossed $11,000 in eight – however this may have been affected by audiences demanding their money back after they realized they hadn’t paid to see the live stage show!
For the most part, the critics thoroughly enjoyed The Rainbow Man. It even received a glowing rating from the hard-to-please Education Screen. Picture Play Magazine’s review stated “Just a wow – that’s all.” Although Photoplay gave the film a negative review, a reader later wrote “Your criticism of The Rainbow Man is both unjust and ridiculous. The picture is well acted and very entertaining, without one dull moment… To me The Rainbow Man was a real treat.”
While most found the story to be saccharine, the consensus was that it had been well done. The Film Daily (April 14, 1929) stated “here is proof that it is not so much what you do as how you do it. The dialogue is clever, clean and entertaining…[and] directorial touches and treatment some of the best.” The film was described by several critics as charming, human, and touching.
Very few reviews made mention of the music, though the Hollywood Filmograph (June 22, 1929) described the songs as “pleasing,” and The Film Daily (April 14, 1929) stated that the songs had “sure-fire appeal.” The songs included "Little Pal," "Rainbow Man," "Sleepy Valley," and "Tambourine Tune," and were composed by James F. Hanley (who wrote “Zing Went the Strings of My Heart), Jean Herbert, Andrew B. Sterling (who wrote “Meet Me in St. Louis, Louis”), and leading man Eddie Dowling.
Most musicals during this period featured a theme song. The theme song was often repeated several times in the film (usually without variation), and used heavily in promotions. It would be played on the radio, and sheet music was made available for purchase. Unusually, The Rainbow Man did not have one.
For the most part, the critics thoroughly enjoyed The Rainbow Man. It even received a glowing rating from the hard-to-please Education Screen. Picture Play Magazine’s review stated “Just a wow – that’s all.” Although Photoplay gave the film a negative review, a reader later wrote “Your criticism of The Rainbow Man is both unjust and ridiculous. The picture is well acted and very entertaining, without one dull moment… To me The Rainbow Man was a real treat.”
While most found the story to be saccharine, the consensus was that it had been well done. The Film Daily (April 14, 1929) stated “here is proof that it is not so much what you do as how you do it. The dialogue is clever, clean and entertaining…[and] directorial touches and treatment some of the best.” The film was described by several critics as charming, human, and touching.
Very few reviews made mention of the music, though the Hollywood Filmograph (June 22, 1929) described the songs as “pleasing,” and The Film Daily (April 14, 1929) stated that the songs had “sure-fire appeal.” The songs included "Little Pal," "Rainbow Man," "Sleepy Valley," and "Tambourine Tune," and were composed by James F. Hanley (who wrote “Zing Went the Strings of My Heart), Jean Herbert, Andrew B. Sterling (who wrote “Meet Me in St. Louis, Louis”), and leading man Eddie Dowling.
Most musicals during this period featured a theme song. The theme song was often repeated several times in the film (usually without variation), and used heavily in promotions. It would be played on the radio, and sheet music was made available for purchase. Unusually, The Rainbow Man did not have one.
Frankie Darrow was the critics' favorite. Still from Photoplay (July 1929)
Without question, the unintended star of the film was child actor Frankie Darrow. The Film Daily described him as an “amazing youngster,” and claimed that “young Frankie gives Dowling a close race for first honors.” Motion Picture News called him a “marvel” and Hollywood Filmograph stated “his acting is amazingly expert.”
Born into a circus family, Frankie Darrow (also known as Frankie Darro) started performing at a very young age. As a child actor, he made appearances in many silent films, particularly westerns. He went on to appear in over 150 films and television shows in a career that spanned nearly fifty years. An online biography states Darrow was the male equivalent of Shirley Temple, minus the singing and dancing, but with the same level of charm and lovability. He had a brief romance and engagement with Virginia Gumm, sister to Frances Ethel Gumm – later known as Judy Garland.
Born into a circus family, Frankie Darrow (also known as Frankie Darro) started performing at a very young age. As a child actor, he made appearances in many silent films, particularly westerns. He went on to appear in over 150 films and television shows in a career that spanned nearly fifty years. An online biography states Darrow was the male equivalent of Shirley Temple, minus the singing and dancing, but with the same level of charm and lovability. He had a brief romance and engagement with Virginia Gumm, sister to Frances Ethel Gumm – later known as Judy Garland.
Eddie Dowling and Marian Nixon, Screenland (July 1929)
Eddie Dowling and Marian Nixon also received positive reviews. Picture Play Magazine described Dowling’s performance as unlike anything else audiences had seen or heard – “To me he is far more sympathetic and appealing that the several singing actors who have preceded him… His acting is natural, his singing is “sweet and low” and, oh! What tears there are in his voice!”
Eddie Dowling was an incredibly influential and multi-talented performer who appeared in over thirty Broadway shows. Throughout his forty year career he wrote, composed, directed, and produced for stage and screen. Interestingly, Dowling was one of a few actors filmed for Home Talkie Productions, a short-lived company that produced talkie shorts for home use in 1929! Yep, home theatres were a thing (at least, they were attempting to be a thing) in 1929. MIND. BLOWN. Check out the fascinating history here!
Marian Nixon was praised for her good looks, lovely voice, and charming personality.
The Rainbow Man was her first talkie, and the critics agreed she was well-suited to the medium. One of the few actresses fortunate to survive the transition to talkies, Nixon appeared in seventy-three films in just fifteen years. Other film credits include Say it With Songs (1929), The Show of Shows (1929), Rebecca of Sunnybrook Farm (1932) and Captain Calamity (1936).
The Rainbow Man didn’t do as well in smaller towns and regional centers, and was even described in some trade publications as flop. This may have been attributable to the fact that Eddie Dowling was not as well-known outside of New York.
Thanks to its general success, Sono-Art produced quickly produced two more musicals, Blaze O’Glory (1929) and The Great Gabbo (1929). Neither was particularly successful, and Sono-Art focused on westerns and documentaries.
Given the fact it was a rare independent film, had no theme song playing on the radio, and its leading actor was a stage star not well-known to moviegoers, The Rainbow Man did surprisingly well at the box office, and is often cited as an important early musical film.
It seems The Rainbow Man shone brightly for a brief moment, and then faded away. It is now considered lost.
Eddie Dowling was an incredibly influential and multi-talented performer who appeared in over thirty Broadway shows. Throughout his forty year career he wrote, composed, directed, and produced for stage and screen. Interestingly, Dowling was one of a few actors filmed for Home Talkie Productions, a short-lived company that produced talkie shorts for home use in 1929! Yep, home theatres were a thing (at least, they were attempting to be a thing) in 1929. MIND. BLOWN. Check out the fascinating history here!
Marian Nixon was praised for her good looks, lovely voice, and charming personality.
The Rainbow Man was her first talkie, and the critics agreed she was well-suited to the medium. One of the few actresses fortunate to survive the transition to talkies, Nixon appeared in seventy-three films in just fifteen years. Other film credits include Say it With Songs (1929), The Show of Shows (1929), Rebecca of Sunnybrook Farm (1932) and Captain Calamity (1936).
The Rainbow Man didn’t do as well in smaller towns and regional centers, and was even described in some trade publications as flop. This may have been attributable to the fact that Eddie Dowling was not as well-known outside of New York.
Thanks to its general success, Sono-Art produced quickly produced two more musicals, Blaze O’Glory (1929) and The Great Gabbo (1929). Neither was particularly successful, and Sono-Art focused on westerns and documentaries.
Given the fact it was a rare independent film, had no theme song playing on the radio, and its leading actor was a stage star not well-known to moviegoers, The Rainbow Man did surprisingly well at the box office, and is often cited as an important early musical film.
It seems The Rainbow Man shone brightly for a brief moment, and then faded away. It is now considered lost.
- Published on
Nineteenth century drama-western-musical set in New Mexico. Sounds fun, no?
A still from Motion Picture magazine (April, 1929)
Date of Release: Feb 23, 1929
Studio: Paramount
Director: Victor Fleming
Screenplay: John Farrow, Keene Thompson, Julian Johnson
Music: Al Bryan, Richard Whiting, Harry Warren
Leading Actors: Gary Cooper (Sam Lash), Lupe Velez (Lola Salazar), Louis Wolheim (Gullion), Constantine Romanoff (Rube Thatcher), Michael Vavitch (Don Solomon Salazar), Ann Brody (Duenna), Russ Colombo (Ambrosia Guiterrez), Augustina Lopez (Louisa), George Rigas (Black Wolf)
If I was granted one film to be restored in all its talking and singing glory from 1929, this would be it. A nineteenth century drama-western-musical set in New Mexico, directed by the guy who later directed The Wizard of Oz and Gone with the Wind (1939), Victor Fleming, and written by the guy who penned Around the World in Eighty Days (1956), John Farrow. The lead actors were a real-life couple in the middle of a tempestuous love affair, Gary Cooper and Lupe Velez. The film contained “the most masculine of choruses,” histrionic singing, chest heaving acrobatics, and plenty of risqué-as-possible “love making.” Drama, Spanish-style music, beautiful scenery, period costumes, nudity… The Wolf Song had it all.
Set in the 1840s, The Wolf Song told the story of Sam Lash (Gary Cooper), a Kentuckian rancher who falls in love with Lola Salazar (Lupe Velez), the beautiful daughter of a Spanish aristocrat. The pair quickly marries but the pull of the frontier is too much for the rugged Sam, who abandons his wife for the wilderness. Sam realizes he can’t live without Lola, and on the way back to her is shot by “Indians”. Desperate to be with his love, Sam drags himself all the way to Lola’s doorstep, and she takes him into her loving embrace.
The film was based on Harvey Fergusson’s novel Wolf Song, originally published in 1927. The novel was a best-seller and is now considered to be one of the most important works of “mountain man fiction.” Little was reportedly changed from the book, though New West states that the film switches Lola for Sam in a nude bathing scene.
According to film historian John Howard Reed, The Wolf Song started production as a silent film, and, part-way through, the decision was made to add synchronized sound and songs. Both a silent and talkie version was released.
Studio: Paramount
Director: Victor Fleming
Screenplay: John Farrow, Keene Thompson, Julian Johnson
Music: Al Bryan, Richard Whiting, Harry Warren
Leading Actors: Gary Cooper (Sam Lash), Lupe Velez (Lola Salazar), Louis Wolheim (Gullion), Constantine Romanoff (Rube Thatcher), Michael Vavitch (Don Solomon Salazar), Ann Brody (Duenna), Russ Colombo (Ambrosia Guiterrez), Augustina Lopez (Louisa), George Rigas (Black Wolf)
If I was granted one film to be restored in all its talking and singing glory from 1929, this would be it. A nineteenth century drama-western-musical set in New Mexico, directed by the guy who later directed The Wizard of Oz and Gone with the Wind (1939), Victor Fleming, and written by the guy who penned Around the World in Eighty Days (1956), John Farrow. The lead actors were a real-life couple in the middle of a tempestuous love affair, Gary Cooper and Lupe Velez. The film contained “the most masculine of choruses,” histrionic singing, chest heaving acrobatics, and plenty of risqué-as-possible “love making.” Drama, Spanish-style music, beautiful scenery, period costumes, nudity… The Wolf Song had it all.
Set in the 1840s, The Wolf Song told the story of Sam Lash (Gary Cooper), a Kentuckian rancher who falls in love with Lola Salazar (Lupe Velez), the beautiful daughter of a Spanish aristocrat. The pair quickly marries but the pull of the frontier is too much for the rugged Sam, who abandons his wife for the wilderness. Sam realizes he can’t live without Lola, and on the way back to her is shot by “Indians”. Desperate to be with his love, Sam drags himself all the way to Lola’s doorstep, and she takes him into her loving embrace.
The film was based on Harvey Fergusson’s novel Wolf Song, originally published in 1927. The novel was a best-seller and is now considered to be one of the most important works of “mountain man fiction.” Little was reportedly changed from the book, though New West states that the film switches Lola for Sam in a nude bathing scene.
According to film historian John Howard Reed, The Wolf Song started production as a silent film, and, part-way through, the decision was made to add synchronized sound and songs. Both a silent and talkie version was released.
Real-life lovers Gary Cooper and Lupe Velez in Screenland magazine (May 1929)
The Wolf Song opened at the Embassy Theatre in New York and played to average houses for about a month, a short run by 1929 standards. According to Motion Picture News (March 9, 1929), the box office was affected by rain and snow storms which hit the city during the run. It had better houses around the country, but not by much.
Not only did audiences stay away, the critics absolutely loathed it. They panned the direction, story, acting, and, above all, Lupe Velez’s chest-heaving singing. Cine-Mundial put it most succinctly, stating The Wolf Song was “una mala pelicula” (a bad movie). The prudish Educational Screen (April 1929) described The Wolf Song as “thoroughly unwholesome, with love-making and sex-suggestion made as strong as censors or decency could permit.”
Victor Fleming was harshly criticized for his direction. Mordaunt Hall wrote in the New York Times that Fleming
Not only did audiences stay away, the critics absolutely loathed it. They panned the direction, story, acting, and, above all, Lupe Velez’s chest-heaving singing. Cine-Mundial put it most succinctly, stating The Wolf Song was “una mala pelicula” (a bad movie). The prudish Educational Screen (April 1929) described The Wolf Song as “thoroughly unwholesome, with love-making and sex-suggestion made as strong as censors or decency could permit.”
Victor Fleming was harshly criticized for his direction. Mordaunt Hall wrote in the New York Times that Fleming
endeavors to stress his points by having the players turn their heads or make other movements in an unnaturally slow manner…[He] is also guilty of that indiscretion of prolonging a violent kiss until it becomes more absurd than passionate…"
As mentioned earlier, Fleming went on to become a highly prominent Hollywood director. Adored by women, emulated by men, Fleming was by all accounts incredibly charismatic, and staunchly conservative. A wonderful Guardian article, “Why we should give a damn about Victor Fleming” explains why Fleming is not a household name, despite having directed two of the most well-known films of the twentieth century. He directed some 48 films including Treasure Island (1934), The Wizard of Oz (1939), Gone with the Wind (1939), Dr. Jeckyll and Mr. Hyde (1941) and Joan of Arc (1948). A biography by Michael Sragow, Victor Fleming: An American Movie Master, was published in 2009.
The screenplay, by John Farrow, was deemed unbelievable and ridiculous (despite being lifted directly from the novel). Australian born John Farrow was a prominent writer and director who eventually worked for Paramount and Warner Bros. He was a two-time Academy Award nominee, the first time for Best Director for Wake Island (1942), and the second for Best Writing, Best Screenplay for Around the World in Eighty Days (1956). Farrow was the father of actress Mia Farrow. A fun bit of trivia for my Sydney readers – Farrow went to Newtown Public High School!
The other credited writers, Keene Thompson and Julian Johnson, were screenwriters who saw at the peak of their careers during the silent era.
The screenplay, by John Farrow, was deemed unbelievable and ridiculous (despite being lifted directly from the novel). Australian born John Farrow was a prominent writer and director who eventually worked for Paramount and Warner Bros. He was a two-time Academy Award nominee, the first time for Best Director for Wake Island (1942), and the second for Best Writing, Best Screenplay for Around the World in Eighty Days (1956). Farrow was the father of actress Mia Farrow. A fun bit of trivia for my Sydney readers – Farrow went to Newtown Public High School!
The other credited writers, Keene Thompson and Julian Johnson, were screenwriters who saw at the peak of their careers during the silent era.
Gary Cooper in Screenland (May 1929)
Stars Gary Cooper and Lupe Velez had a real-life love affair which biographer Michelle Vogel described as “long, passionate, tumultuous, and exceedingly complicated." Their chemistry on screen was evident, and the couple toured together to promote the film.
Gary Cooper was a silent film actor who made a successful transition to talkies. His performance in The Wolf Song was rated as average – it wasn’t terrible, but it wasn’t one for the history books either. Already a huge star in 1929, Cooper would go on to greater success. His career spanned over forty years, and he was nominated five times for an Academy Award for Best Actor in a Leading Role, winning twice for Sergeant York (1941) and High Noon (1952). He was also granted an Honorary Academy Award in 1961 for his contribution to the industry. Cooper appeared in over 100 films, including Paramount on Parade (1930), Mr. Deeds Goes to Town (1936) and High Noon (1952).
Gary Cooper was a silent film actor who made a successful transition to talkies. His performance in The Wolf Song was rated as average – it wasn’t terrible, but it wasn’t one for the history books either. Already a huge star in 1929, Cooper would go on to greater success. His career spanned over forty years, and he was nominated five times for an Academy Award for Best Actor in a Leading Role, winning twice for Sergeant York (1941) and High Noon (1952). He was also granted an Honorary Academy Award in 1961 for his contribution to the industry. Cooper appeared in over 100 films, including Paramount on Parade (1930), Mr. Deeds Goes to Town (1936) and High Noon (1952).
Lupe Velez dressed in gowns designed by Edith Head.
right: Motion Picture (March 1929) left: Motion Picture Classic (April 1929)
right: Motion Picture (March 1929) left: Motion Picture Classic (April 1929)
Cooper’s co-star Lupe Velez was not so fortunate. She appeared in over forty films, often playing fiery Latina characters. Despite the awful stereotyping of Velez as “the little Mexican,” or the “Mexican spitfire,” she was noted for her versatility and skills as a comedic actress. Velez tragically committed suicide at age 36.
With a few exceptions, Velez was not well received in The Wolf Song. The Film Daily and New York Times both stated that whenever Lola sang, the film dragged or came to a complete stop. The critics thought Velez was attractive, but relentlessly mocked her singing. Frequent mention was made of her “respiratory acrobatics” and the fact that she sang between her teeth. One or two critics were kinder, stating Velez was beautiful and charming, with a “pleasantly surprising” voice. The Exhibitors Herald World (March 23, 1929) described her as "a robust comedienne, [and] a gal with a lot of zip and uh-huh…”
Velez's stunning costumes were designed by Edith Head. As quoted in Jay Jorgensen’s book Edith Head: The Fifty-Year Career of Hollywood’s Greatest Costume Designers, the wedding dress in The Wolf Song so large one critic lamented, “if there hadn’t been so much dress, there could have been more scene.” Edith Head worked on over 1000 (yes 1000!) films and was one of the most highly regarded costume designers in Hollywood. She was nominated thirty-five times for an Academy Award, winning for The Heiress (1949), Samson and Delilah (1949), All About Eve (1961), A Place in the Sun (1951), Roman Holiday (1953), Sabrina (1954), The Facts of Life (1960), and The Sting (1974).
Several reviewers gave positive notices to bad guy Louis Wolheim. Russian-born Wolheim started out as a mechanical engineer, and thanks to a connection with Lionel Barrymore, went on to work as an actor on stage and screen. Famous for having a rough-looking face, owing to a badly broken nose from an old football injury, he often played thugs and rogue characters. Wolheim appeared in over fifty films including All Quiet on the Western Front (1930), and The Sin Ship (1931).
“Singing Romeo” Russ Colombo (sometimes spelt Columbo) also appeared in The Wolf Song. Colombo was a child prodigy, excelling as a violinist and singer. Along with several film appearances, he toured with Gus Arnheim and his Ambassadors, and hosted his own radio show. He was killed at the age of 26 in a tragic gun accident, and the family kept it secret from his mother until she died ten years later. A sad and touching biography can be found here. A YouTube video containing three minutes of sound from reel 2 claims that Colombo provided the singing voice for Gary Cooper. There is no evidence to support this claim, and given that Colombo was a named character in the film, also unlikely.
With a few exceptions, Velez was not well received in The Wolf Song. The Film Daily and New York Times both stated that whenever Lola sang, the film dragged or came to a complete stop. The critics thought Velez was attractive, but relentlessly mocked her singing. Frequent mention was made of her “respiratory acrobatics” and the fact that she sang between her teeth. One or two critics were kinder, stating Velez was beautiful and charming, with a “pleasantly surprising” voice. The Exhibitors Herald World (March 23, 1929) described her as "a robust comedienne, [and] a gal with a lot of zip and uh-huh…”
Velez's stunning costumes were designed by Edith Head. As quoted in Jay Jorgensen’s book Edith Head: The Fifty-Year Career of Hollywood’s Greatest Costume Designers, the wedding dress in The Wolf Song so large one critic lamented, “if there hadn’t been so much dress, there could have been more scene.” Edith Head worked on over 1000 (yes 1000!) films and was one of the most highly regarded costume designers in Hollywood. She was nominated thirty-five times for an Academy Award, winning for The Heiress (1949), Samson and Delilah (1949), All About Eve (1961), A Place in the Sun (1951), Roman Holiday (1953), Sabrina (1954), The Facts of Life (1960), and The Sting (1974).
Several reviewers gave positive notices to bad guy Louis Wolheim. Russian-born Wolheim started out as a mechanical engineer, and thanks to a connection with Lionel Barrymore, went on to work as an actor on stage and screen. Famous for having a rough-looking face, owing to a badly broken nose from an old football injury, he often played thugs and rogue characters. Wolheim appeared in over fifty films including All Quiet on the Western Front (1930), and The Sin Ship (1931).
“Singing Romeo” Russ Colombo (sometimes spelt Columbo) also appeared in The Wolf Song. Colombo was a child prodigy, excelling as a violinist and singer. Along with several film appearances, he toured with Gus Arnheim and his Ambassadors, and hosted his own radio show. He was killed at the age of 26 in a tragic gun accident, and the family kept it secret from his mother until she died ten years later. A sad and touching biography can be found here. A YouTube video containing three minutes of sound from reel 2 claims that Colombo provided the singing voice for Gary Cooper. There is no evidence to support this claim, and given that Colombo was a named character in the film, also unlikely.
The scenery received universal praise (Screenland, Feb 1929)
The only aspect of The Wolf Song to receive universal praise was the scenery, with the critics describing it as picturesque and beautifully shot.
Apart from Velez’s singing, few critics made mention of the music. The score contained three songs, "Wolf Song," “Yo Te Amo Means I Love You," and the theme song "Mi amado." “Wolf Song” opened the film and was sung by a male chorus, which was described by Motion Picture (April 1929) as "the most masculine of choruses." The frequent repetition of the theme song led Variety (Feb 27, 1929) to believe “the theme song made the feature a great trailer for the number.”
The score was composed by three of Paramount’s leading staff writers, Al Bryan, Richard Whiting, and Harry Warren. The three men were incredibly prolific and between them wrote thousands of songs – many of which are well-known today including “Oui, Oui, Marie,” “Hooray for Hollywood.” “That’s Amore,” “Chattanooga Choo Choo,” and “42nd Street.”
It appears the sound version of The Wolf Song has been lost, though a near-complete recording of the score has been made available on Nitrateville. The silent version has been screened at a couple of film festivals, including Cinefest 31 in Syracuse and Film Forum in New York City.
Hopefully it won’t be long before the complete sound version is re-discovered, restored, and made available for our viewing pleasure! It seems just too awful(ly brilliant?!) to miss!
Apart from Velez’s singing, few critics made mention of the music. The score contained three songs, "Wolf Song," “Yo Te Amo Means I Love You," and the theme song "Mi amado." “Wolf Song” opened the film and was sung by a male chorus, which was described by Motion Picture (April 1929) as "the most masculine of choruses." The frequent repetition of the theme song led Variety (Feb 27, 1929) to believe “the theme song made the feature a great trailer for the number.”
The score was composed by three of Paramount’s leading staff writers, Al Bryan, Richard Whiting, and Harry Warren. The three men were incredibly prolific and between them wrote thousands of songs – many of which are well-known today including “Oui, Oui, Marie,” “Hooray for Hollywood.” “That’s Amore,” “Chattanooga Choo Choo,” and “42nd Street.”
It appears the sound version of The Wolf Song has been lost, though a near-complete recording of the score has been made available on Nitrateville. The silent version has been screened at a couple of film festivals, including Cinefest 31 in Syracuse and Film Forum in New York City.
Hopefully it won’t be long before the complete sound version is re-discovered, restored, and made available for our viewing pleasure! It seems just too awful(ly brilliant?!) to miss!
- Published on
No smiles or luck of the Irish for Colleen Moore with this monumental flop.
Motion Picture News, June 1929
Date of Release: July 23, 1929
Studio: First National
Director: William A. Seiter
Screenplay: Tom J. Geraghty
Composers: Ray Perkins, Herman Ruby, Norman Spencer
Choreography: Larry Ceballos, Walter Wills, Carl McBride
Leading Actors: Colleen Moore (Kathleen O'Connor), James Hall (Rory O'More), Robert Homans (Shamus O'Connor), Claude Gillingwater (Michael O'Connor), Tom O'Brien ("Black Barney" O'Toole), Robert E. O'Connor (Sir Timothy Tyrone), Aggie Herring (Grandmother O'More), Betty Francisco (Frankie West), Julianne Johnston (Goldie De Vere), Edward Earle (George Prescott), Fred Kelsey (County fair manager), Barney Gilmore (His assistant), Charles McHugh (His assistant), Madame Bosocki (Fortune-teller), George Hayes (Taxi driver), Anne Schaefer (Landlady), John Beck (Sir Timothy's butler), Oscar Apfel (Max North), Otto Lederer (Izzy Levi), William Strauss (Moe Levi), Dave Thursby (Scotch barker), Dan Crimmins (The Trouble-maker)
Studio: First National
Director: William A. Seiter
Screenplay: Tom J. Geraghty
Composers: Ray Perkins, Herman Ruby, Norman Spencer
Choreography: Larry Ceballos, Walter Wills, Carl McBride
Leading Actors: Colleen Moore (Kathleen O'Connor), James Hall (Rory O'More), Robert Homans (Shamus O'Connor), Claude Gillingwater (Michael O'Connor), Tom O'Brien ("Black Barney" O'Toole), Robert E. O'Connor (Sir Timothy Tyrone), Aggie Herring (Grandmother O'More), Betty Francisco (Frankie West), Julianne Johnston (Goldie De Vere), Edward Earle (George Prescott), Fred Kelsey (County fair manager), Barney Gilmore (His assistant), Charles McHugh (His assistant), Madame Bosocki (Fortune-teller), George Hayes (Taxi driver), Anne Schaefer (Landlady), John Beck (Sir Timothy's butler), Oscar Apfel (Max North), Otto Lederer (Izzy Levi), William Strauss (Moe Levi), Dave Thursby (Scotch barker), Dan Crimmins (The Trouble-maker)
Motion Picture News (July 1929)
Smiling Irish Eyes was the first talkie of silent film star Colleen Moore. Heralded as one of the first screen flapper girls, and an early wearer of the bob haircut, Moore was an immensely popular silent film star noted for her versatility. She had started acting in film at just age 15, and appeared in over fifty silent films. There was much excitement for Moore’s first talkie and all the advertising featured images of Moore inviting the audience to come and see, and hear, her speaking and singing.
Apart from the usual print advertisements, various publicity stunts were employed to promote the film. As reported in Motion Picture News (Oct 19, 1929), the Broadway Theatre in Springfield, Massachusetts, created a “ballyhoo” with a “one hundred year old Irish jaunting car with mule” that toured the streets for four days carrying two people in traditional Irish costumes accompanied by a live pig. Meanwhile, the Algoma Theatre in Sualte St. Marie, Ontario, offered free tickets to any girl named Colleen.
Motion Picture News (July 27, 1929)
How anyone, with piece of box office material as valuable as the personality and following of this star, could permit so utterly a poor picture to be released is beyond comprehension. Not only is Miss Moore seen to disadvantage, but the story, the dialog, direction and support are all bad.”
Not even Colleen’s and pigs could help Smiling Irish Eyes. It was a total flop at the box office, and the critics gave scathing reviews. The Film Daily (July 28, 1929) berated the tired script and The Educational Screen (Oct 1929) called it “very sentimental old-fashioned stuff.”Variety (July 31, 1929) stated “it is pretty poor stuff, thoroughly obvious from the first reel on.”
Variety was highly critical of William Seiter’s direction. After starting out as an actor in silent comedies, Seiter finally hit his stride in the 1930s. His credits include Sons of the Desert (1933) featuring Laurel and Hardy, Roberta (1935) with Irene Dunne, Ginger Rogers, and Fred Astaire, and Dimples and Stowaway (1936) starring Shirley Temple.
Colleen Moore did not enjoy the same success. The critics were divided over her performance in Smiling Irish Eyes – either hailing it as one of her greatest performances, or, more frequently, her worst. Motion Picture News (July 27, 1929) wrote,
Variety was highly critical of William Seiter’s direction. After starting out as an actor in silent comedies, Seiter finally hit his stride in the 1930s. His credits include Sons of the Desert (1933) featuring Laurel and Hardy, Roberta (1935) with Irene Dunne, Ginger Rogers, and Fred Astaire, and Dimples and Stowaway (1936) starring Shirley Temple.
Colleen Moore did not enjoy the same success. The critics were divided over her performance in Smiling Irish Eyes – either hailing it as one of her greatest performances, or, more frequently, her worst. Motion Picture News (July 27, 1929) wrote,
Screenland, August 1929
Moore only made a few more films following Smiling Irish Eyes, and her star quickly faded. For the most part, the rest of the cast also faded into obscurity in the years following. Although many had been prominent silent stars and continued to perform, their roles were often small or uncredited.
Smiling Irish Eyes featured four songs, "A Wee Bit o' Love," "Then I'll Ride Home With You," "Old Killarney Fair," and the theme song “Smiling Irish Eyes." The score was composed by Ray Perkins, Herman Ruby, and Norman Spencer. Perkins served as head of music at Warner Bros and First National, and Norman Spencer went on to contribute scores to animated films, including the early Looney Tunes cartoons. The sheet music for the theme song was a best-seller, though the critics agreed the music was not memorable or noteworthy.
Although released in July, production of Smiling Irish Eyes had wrapped up a full six months before, in January. As Variety noted in July 1929, the industry had changed at a rapid pace in that time. Less than a year old, Smiling Irish Eyes was already a relic of the difficult transition period from silent to talkies. Perhaps if it had been released earlier, it would have fared better. As Sir Timothy laments in the film, “Contented? Don’t you know that an Irishman is never contented, except when he’s discontented.”
Smiling Irish Eyes featured four songs, "A Wee Bit o' Love," "Then I'll Ride Home With You," "Old Killarney Fair," and the theme song “Smiling Irish Eyes." The score was composed by Ray Perkins, Herman Ruby, and Norman Spencer. Perkins served as head of music at Warner Bros and First National, and Norman Spencer went on to contribute scores to animated films, including the early Looney Tunes cartoons. The sheet music for the theme song was a best-seller, though the critics agreed the music was not memorable or noteworthy.
Although released in July, production of Smiling Irish Eyes had wrapped up a full six months before, in January. As Variety noted in July 1929, the industry had changed at a rapid pace in that time. Less than a year old, Smiling Irish Eyes was already a relic of the difficult transition period from silent to talkies. Perhaps if it had been released earlier, it would have fared better. As Sir Timothy laments in the film, “Contented? Don’t you know that an Irishman is never contented, except when he’s discontented.”
Although the sound reels are held at the UCLA Film and Television Archive, Smiling Irish Eyes is considered a lost film.
Happy St. Patrick’s Day!
Happy St. Patrick’s Day!
- Published on
“An Irish romance”
Exhibitors Herald World (July 6, 1929)
Date of Release: Aug 17, 1929
Studio: Pathé
Director: Kenneth Webb
Screenplay: Gene Markey
Music: Sammy Stept, Bud Green
Leading Actors: Morton Downey (Michael O'More), Betty Lawford (Lady Mary Cardigan), Colin Keith-Johnston (Capt. Brian Fitzroy), Halliwell Hobbes (Earl of Balkerry), J. M. Kerrigan (Connors), Edward McNamara (Tim O'More), Richard Taber (Paddy), Edward O'Connor (Rafferty), Mary Murray (Kate), Mackenzie Ward (Cyril), Louis Sorin (Abe Feinberg), Sonia Karlov (Lulu Bellew), Tyrrell Davis (Potts), Elizabeth Murray (Landlady)
Advertised as “All-singing, all-talking sensation. New, original, and fascinating,” Lucky in Love was another Irish-themed musical featuring Morton “Irish Nightingale” Downey. Having also appeared in Syncopation and Mother’s Boy, the film marked Downey’s third screen appearance. Often referred to as the tenor with the “golden voice,” Downey was listed as “a face to watch” in the November 1929 edition of Photoplay. Later in his career he hosted radio programs, and television shows. He was married to fellow actor Barbara Bennett, and was the father of television personality Morton Downey Jr.
The other leads were for the most part English-born stage and screen actors who went on to varying degrees of success following the introduction of talkies. Leading lady Betty Lawford was a stage and screen actress for over twenty years. Her Broadway credits included King Henry IV, Part I (1926), and The Women (1936).
Studio: Pathé
Director: Kenneth Webb
Screenplay: Gene Markey
Music: Sammy Stept, Bud Green
Leading Actors: Morton Downey (Michael O'More), Betty Lawford (Lady Mary Cardigan), Colin Keith-Johnston (Capt. Brian Fitzroy), Halliwell Hobbes (Earl of Balkerry), J. M. Kerrigan (Connors), Edward McNamara (Tim O'More), Richard Taber (Paddy), Edward O'Connor (Rafferty), Mary Murray (Kate), Mackenzie Ward (Cyril), Louis Sorin (Abe Feinberg), Sonia Karlov (Lulu Bellew), Tyrrell Davis (Potts), Elizabeth Murray (Landlady)
Advertised as “All-singing, all-talking sensation. New, original, and fascinating,” Lucky in Love was another Irish-themed musical featuring Morton “Irish Nightingale” Downey. Having also appeared in Syncopation and Mother’s Boy, the film marked Downey’s third screen appearance. Often referred to as the tenor with the “golden voice,” Downey was listed as “a face to watch” in the November 1929 edition of Photoplay. Later in his career he hosted radio programs, and television shows. He was married to fellow actor Barbara Bennett, and was the father of television personality Morton Downey Jr.
The other leads were for the most part English-born stage and screen actors who went on to varying degrees of success following the introduction of talkies. Leading lady Betty Lawford was a stage and screen actress for over twenty years. Her Broadway credits included King Henry IV, Part I (1926), and The Women (1936).
Outside the Colony Theatre, Exhibitors Herald World (Jan 11, 1930)
Pathe used a multi-prong attack to advertise Lucky in Love around the country. Various businesses displayed posters, ads were placed in newspapers, the theme song “Love is a Dreamer” was played on high rotation on the radio, and the sheet music and Victor records were made available for purchase. In the trade magazines, the film was rarely advertised alone and was part of Pathe’s campaign to bolster the name of the studio using the tag line, “While others make pictures, PATHE makes RECORDS.”
Lucky in Love told the story of an Irish farm boy, Michael (Morton Downey) who falls in love with the Earl’s daughter, Lady Mary (Betty Lawford). After punching his rival, Michael flees to America where he eventually makes his fortune. He returns to Ireland, and marries Lady Mary.
Most critics agreed the story was awful, but were divided in their opinions of the film. The Film Daily (Dec 15, 1929) thought Downey wasn’t a great actor, but that his charm and singing helped “to overcome many of the film’s shortcomings.” Exhibitors Herald World and Motion Picture News both praised Downey’s singing, stating he had one of the finest voices heard on screen, while The New York Times called his performance “deplorable.”
When it came to the quality of the sound, the New York Times felt it was “badly recorded,” while Harrison’s Reports claimed it to be some of the best they had ever heard. Motion Picture News agreed that the sound was well done, but suggested that sound engineers “test the pulse of the public” before using “foreign” sound effects – such as an Irish locomotive horn – which were not recognizable to American audiences.
Lucky in Love told the story of an Irish farm boy, Michael (Morton Downey) who falls in love with the Earl’s daughter, Lady Mary (Betty Lawford). After punching his rival, Michael flees to America where he eventually makes his fortune. He returns to Ireland, and marries Lady Mary.
Most critics agreed the story was awful, but were divided in their opinions of the film. The Film Daily (Dec 15, 1929) thought Downey wasn’t a great actor, but that his charm and singing helped “to overcome many of the film’s shortcomings.” Exhibitors Herald World and Motion Picture News both praised Downey’s singing, stating he had one of the finest voices heard on screen, while The New York Times called his performance “deplorable.”
When it came to the quality of the sound, the New York Times felt it was “badly recorded,” while Harrison’s Reports claimed it to be some of the best they had ever heard. Motion Picture News agreed that the sound was well done, but suggested that sound engineers “test the pulse of the public” before using “foreign” sound effects – such as an Irish locomotive horn – which were not recognizable to American audiences.
Record promotions, Exhibitors Herald World (Jan 11, 1930)
While the sound effects and “Irish lingo” were unfamiliar and therefore deemed “too foreign,” audiences were certainly intimate with the theme song, “Love is a Dreamer.” The song was used heavily to promote the film, and was repeated at least four or five times throughout the film itself. Motion Picture News (Sept 14, 1929) reported that the audience applauded “heartily” after the first rendition, but had grown bored of it by the fifth.
The music was composed by the prolific duo Sammy Stept and Bud Green, who had also worked on Syncopation and Mother’s Boy. In addition to the oft-repeated theme song, the film included "For the Likes o' You and Me" and "When They Sing the 'Wearing of the Green' in Syncopated Time.”
Russian born Sammy Stept, also known as Sam Stept, was a highly prolific composer and jazz pianist. He wrote hundreds of songs, including “Don’t Sit Under the Apple Tree (With Anyone Else But Me),” “Johnny Get Your Gun,” and “I’ll Always Be in Love With You”. His songs appeared on stage and in film, and have been covered by artists from a wide range of genres including The Andrews Sisters, the Beatles, Eartha Kitt, Frank Sinatra, and many more.
Austrian born Bud Green was also an immensely successful writer who started out in vaudeville, and made his way west in the 1920s to become a staff writer in Hollywood. He wrote hundreds of songs, including “Sentimental Journey,” Oh, Boy, What a Girl,” and “Alabamy Bound.” He was inducted into the Songwriters Hall of Fame in 1975.
Overall, the critics either loved or hated Lucky in Love. Even those that enjoyed it were divided as to whether it would play well to a wide audience, and several reviewers condescendingly suggested the film would only play well in smaller towns. Despite the mixed reviews, it proved to be a solid earner for Pathe and continued to be screened until February 1930.
The New York Times reviewer wrote that “Lucky in Love promises to take a prime position in any list of vapid films.” Be that as it may, it has now joined the long list of vanished films. It is considered lost, though according to the Vitaphone Project two of eight reels have been located.
The music was composed by the prolific duo Sammy Stept and Bud Green, who had also worked on Syncopation and Mother’s Boy. In addition to the oft-repeated theme song, the film included "For the Likes o' You and Me" and "When They Sing the 'Wearing of the Green' in Syncopated Time.”
Russian born Sammy Stept, also known as Sam Stept, was a highly prolific composer and jazz pianist. He wrote hundreds of songs, including “Don’t Sit Under the Apple Tree (With Anyone Else But Me),” “Johnny Get Your Gun,” and “I’ll Always Be in Love With You”. His songs appeared on stage and in film, and have been covered by artists from a wide range of genres including The Andrews Sisters, the Beatles, Eartha Kitt, Frank Sinatra, and many more.
Austrian born Bud Green was also an immensely successful writer who started out in vaudeville, and made his way west in the 1920s to become a staff writer in Hollywood. He wrote hundreds of songs, including “Sentimental Journey,” Oh, Boy, What a Girl,” and “Alabamy Bound.” He was inducted into the Songwriters Hall of Fame in 1975.
Overall, the critics either loved or hated Lucky in Love. Even those that enjoyed it were divided as to whether it would play well to a wide audience, and several reviewers condescendingly suggested the film would only play well in smaller towns. Despite the mixed reviews, it proved to be a solid earner for Pathe and continued to be screened until February 1930.
The New York Times reviewer wrote that “Lucky in Love promises to take a prime position in any list of vapid films.” Be that as it may, it has now joined the long list of vanished films. It is considered lost, though according to the Vitaphone Project two of eight reels have been located.
- Published on
One of the biggest flops of 1929.
Movie still from "Melody Lane" as featured in Screenland, October 1929
Date of Release: July 15,1929
Studio: Universal
Director: Robert F. Hill
Screenplay: J. G. Hawks, Robert F. Hill
Music: Charles E. King, Eddie Leonard, Grace Stern, Jack Stern
Leading Actors: Eddie Leonard (Des Dupree), Josephine Dunn (Dolores Dupree), Rose Coe (Constance Dupree), George E. Stone (Danny Kay), Huntley Gordon (Juan Rinaldi), Jane La Verne (Constance Dupree), Blanche Carter (Nurse), Jake Kern (Orchestra leader), Monte Carter (Stage manager)
Melody Lane was based on the play The Understander by Jo Swerling (who later wrote the book for Guys and Dolls, and additional scenes for It’s a Wonderful Life). The film was meant to be a star vehicle for Eddie Leonard and was one of the biggest flops of 1929.
The film did not go quietly. At the Capitol Theatre in Miami, manager Harold A. Kopplin organized for a drum and bugle corps to play down the street. Universal provided free tickets to hundreds of children in New York City through the Motion Picture Producers and Distributors of America. Eddie Leonard, accompanied by back-up dancers and musicians, made personal appearances at the Globe Theatre. Still, Melody Lane bombed at the box office. Even with reduced price tickets, audiences stayed away and Melody Lane closed within two weeks of opening.
Melody Lane was universally panned by the critics. Cine-Mundial (October 1929) described the film as boring and The Educational Screen (October 1929) called it a “very ordinary story.”
The reviewers resoundingly hated Eddie Leonard’s performance, claiming that he looked uncomfortable and inexperienced in front of the camera. The script told an almost identical story to The Singing Fool, and the critics agreed that Al Jolson did it far better. They panned Leonard's acting, and several reviews mentioned that the “superannuated” star was too old for the role.
Studio: Universal
Director: Robert F. Hill
Screenplay: J. G. Hawks, Robert F. Hill
Music: Charles E. King, Eddie Leonard, Grace Stern, Jack Stern
Leading Actors: Eddie Leonard (Des Dupree), Josephine Dunn (Dolores Dupree), Rose Coe (Constance Dupree), George E. Stone (Danny Kay), Huntley Gordon (Juan Rinaldi), Jane La Verne (Constance Dupree), Blanche Carter (Nurse), Jake Kern (Orchestra leader), Monte Carter (Stage manager)
Melody Lane was based on the play The Understander by Jo Swerling (who later wrote the book for Guys and Dolls, and additional scenes for It’s a Wonderful Life). The film was meant to be a star vehicle for Eddie Leonard and was one of the biggest flops of 1929.
The film did not go quietly. At the Capitol Theatre in Miami, manager Harold A. Kopplin organized for a drum and bugle corps to play down the street. Universal provided free tickets to hundreds of children in New York City through the Motion Picture Producers and Distributors of America. Eddie Leonard, accompanied by back-up dancers and musicians, made personal appearances at the Globe Theatre. Still, Melody Lane bombed at the box office. Even with reduced price tickets, audiences stayed away and Melody Lane closed within two weeks of opening.
Melody Lane was universally panned by the critics. Cine-Mundial (October 1929) described the film as boring and The Educational Screen (October 1929) called it a “very ordinary story.”
The reviewers resoundingly hated Eddie Leonard’s performance, claiming that he looked uncomfortable and inexperienced in front of the camera. The script told an almost identical story to The Singing Fool, and the critics agreed that Al Jolson did it far better. They panned Leonard's acting, and several reviews mentioned that the “superannuated” star was too old for the role.
Drum and bugle corps at the Capitol Theatre, Miami - Motion Picture News, Sept 28, 1929
Josephine Dunn and Georgie Stone received more favorable reviews, but even they could not escape the awful predictability of the script and poor direction. Josephine Dunn started performing on Broadway at 15, and two years later was cast in her first film. She went on to appear in over forty films including The Singing Fool (1928), Red Hot Rhythm (1929), Madonna of the Streets (1930), and One Hour with You (1932).
Polish-born George E. Stone started out in silent film and went on to appear in over 150 films and television shows. His credits include Little Caesar (1931), Cimarron (1931), 42nd Street (1933), Miracle on 34th Street (1947), Guys and Dolls (1955) and Some Like it Hot (1959).
Melody Lane featured several songs, most of which were from Eddie Leonard’s act, including “Ida Sweet as Apple Cider,” “Roly Boly Eyes,” “Beautiful,” “Didn’t It Rain,” “I’m On My Way,” “Sugar Cane Around My Door,” “The Song of the Islands,” and the film’s theme song “Lovable.” The majority of critics didn’t bother to mention the music, though Picture Play Magazine (October 1929) stated Eddie Leonard’s songs “illustrate the public taste of long ago, and his sedate stepping is also a reminder of the time when jazz was unheard of.”
Variety (July 17, 1929) made mention of the implausibility of an orchestra suddenly start accompanying a singer out of nowhere, even if the orchestra is visible on screen. The reviewer stated that in other films where this “theatrical license” has succeeded, the actor’s “personality or story were dominant.” It is fascinating to see how the central conceit of musicals as we know them – characters bursting out into song and dance – took a while to catch on. For this reason, I’m curious to see if Melody Lane really was as awful as the critics claimed it to be, or, if perhaps it was too modern for its day.
Either way, Eddie Leonard was clearly not destined to be a star of the silver screen. He had been a prominent vaudeville and early Broadway composer and performer, famous for his black face minstrel performances. Leonard only appeared in one more feature film, If I Had My Way (1940), as a minor character.
As for Melody Lane, the film is considered lost, though one reel survives at the UCLA Film and Television Archive.
Polish-born George E. Stone started out in silent film and went on to appear in over 150 films and television shows. His credits include Little Caesar (1931), Cimarron (1931), 42nd Street (1933), Miracle on 34th Street (1947), Guys and Dolls (1955) and Some Like it Hot (1959).
Melody Lane featured several songs, most of which were from Eddie Leonard’s act, including “Ida Sweet as Apple Cider,” “Roly Boly Eyes,” “Beautiful,” “Didn’t It Rain,” “I’m On My Way,” “Sugar Cane Around My Door,” “The Song of the Islands,” and the film’s theme song “Lovable.” The majority of critics didn’t bother to mention the music, though Picture Play Magazine (October 1929) stated Eddie Leonard’s songs “illustrate the public taste of long ago, and his sedate stepping is also a reminder of the time when jazz was unheard of.”
Variety (July 17, 1929) made mention of the implausibility of an orchestra suddenly start accompanying a singer out of nowhere, even if the orchestra is visible on screen. The reviewer stated that in other films where this “theatrical license” has succeeded, the actor’s “personality or story were dominant.” It is fascinating to see how the central conceit of musicals as we know them – characters bursting out into song and dance – took a while to catch on. For this reason, I’m curious to see if Melody Lane really was as awful as the critics claimed it to be, or, if perhaps it was too modern for its day.
Either way, Eddie Leonard was clearly not destined to be a star of the silver screen. He had been a prominent vaudeville and early Broadway composer and performer, famous for his black face minstrel performances. Leonard only appeared in one more feature film, If I Had My Way (1940), as a minor character.
As for Melody Lane, the film is considered lost, though one reel survives at the UCLA Film and Television Archive.