- Published on
Alice White’s forgotten third talkie.
Image from the Woolworths Museum
Date of Release: Oct 27, 1929
Studio: First National
Director: William Beaudine
Screenplay: Adele Comandini, Richard Weil, Edward Ludwig
Music: George W. Meyer, Al Bryan, M.K. Jerome
Leading Actors: Alice White (Pat King), Charles Delaney (Bill Harrigan), Wheeler Oakman (Lawrence Mayfield), Ben Hall (Jerry Donnelly), Rita Flynn (Tille Hart), Gladden James (Dowling), Bert Moorhouse (Dave), Patricia Caron (Cleo), William Orlamond (Pa Donnelly), Milla Davenport (Ma Donnelly)
Following on from Show Girl (1928) and Broadway Babies (1929), The Girl from Woolworth’s was Alice White’s third talkie.
This film is a strange anomaly in my research in that there is very little information available about it. It only receives a footnote mention in Richard Barrios’ in A Song in the Dark, which states that the film was re-shot with Mervyn LeRoy directing, as the “first version…turned out poorly.”
It is conceivable Mervyn LeRoy assisted in the direction of The Girl from Woolworth's. He had directed Alice White in the earlier 1929 film Broadway Babies, and worked with her again on the popular 1930 film Show Girl in Hollywood.
The credited director, William Beaudine, started out as a silent film actor and went on to become one of the most prolific directors of his time. He directed over 300 films and films and television shows, working in the UK and America, and for most of the major studios. Although he gained a reputation for low-budget films, he was highly respected within the industry for his efficiency, and economical style of directing. He was the father of production manager and producer William Beaudine Jr.
It seems The Girl from Woolworth’s received a limited release, and little publicity, though it enjoyed strong box office sales.
The Woolworths Museum has limited information and some media, and describes the film was “a smash at the box office” in the USA and UK.
The Girl from Woolworth’s opened at the Strand in New York on October 27, 1929. The critics were divided in their response. Motion Picture News described the film as White’s “best work of her career,” and Evening World stated she “puts over her stuff surprisingly well.”
The Graphic meanwhile described White as “a course, untalented young woman,” and Mordaunt Hall in his review for the New York Times stated she was “vapid, ingenuous and camera conscious.”
The Billings Gazette found the film be well directed, “Human and direct and simple.” While Mordaunt Hall found it to be “far short of being a satisfactory presentation.” Hall was also critical of the stylish and beautiful costumes, which were incongruous with the characters' meager incomes.
Cecilia Ager of the Variety Women’s Page described the costumes in detail:
Studio: First National
Director: William Beaudine
Screenplay: Adele Comandini, Richard Weil, Edward Ludwig
Music: George W. Meyer, Al Bryan, M.K. Jerome
Leading Actors: Alice White (Pat King), Charles Delaney (Bill Harrigan), Wheeler Oakman (Lawrence Mayfield), Ben Hall (Jerry Donnelly), Rita Flynn (Tille Hart), Gladden James (Dowling), Bert Moorhouse (Dave), Patricia Caron (Cleo), William Orlamond (Pa Donnelly), Milla Davenport (Ma Donnelly)
Following on from Show Girl (1928) and Broadway Babies (1929), The Girl from Woolworth’s was Alice White’s third talkie.
This film is a strange anomaly in my research in that there is very little information available about it. It only receives a footnote mention in Richard Barrios’ in A Song in the Dark, which states that the film was re-shot with Mervyn LeRoy directing, as the “first version…turned out poorly.”
It is conceivable Mervyn LeRoy assisted in the direction of The Girl from Woolworth's. He had directed Alice White in the earlier 1929 film Broadway Babies, and worked with her again on the popular 1930 film Show Girl in Hollywood.
The credited director, William Beaudine, started out as a silent film actor and went on to become one of the most prolific directors of his time. He directed over 300 films and films and television shows, working in the UK and America, and for most of the major studios. Although he gained a reputation for low-budget films, he was highly respected within the industry for his efficiency, and economical style of directing. He was the father of production manager and producer William Beaudine Jr.
It seems The Girl from Woolworth’s received a limited release, and little publicity, though it enjoyed strong box office sales.
The Woolworths Museum has limited information and some media, and describes the film was “a smash at the box office” in the USA and UK.
The Girl from Woolworth’s opened at the Strand in New York on October 27, 1929. The critics were divided in their response. Motion Picture News described the film as White’s “best work of her career,” and Evening World stated she “puts over her stuff surprisingly well.”
The Graphic meanwhile described White as “a course, untalented young woman,” and Mordaunt Hall in his review for the New York Times stated she was “vapid, ingenuous and camera conscious.”
The Billings Gazette found the film be well directed, “Human and direct and simple.” While Mordaunt Hall found it to be “far short of being a satisfactory presentation.” Hall was also critical of the stylish and beautiful costumes, which were incongruous with the characters' meager incomes.
Cecilia Ager of the Variety Women’s Page described the costumes in detail:
…Alice White... is clothed in typical night-club costumes and very fetching, too. One-piece tights are appliqued with gold and sequins, with a high neck in front ending with an ostrich collar. Skirt in back is long ostrich plumes. Gold headdress embroidered with jewels. Standard, but worn better than standard. An evening dress doesn’t fare so well. So tight-fitting, it wrinkles a bit of tulle attached to the skirt merely looks skimp. There is a tulle flower on the shoulder.”
The Girl from Woolworth’s told the story of Pat King (Alice White), a singer at the Woolworth’s Demonstration Counter, who dreams of performing on Broadway. She meets and falls in love with Bill Harrigan (Charles Delaney). Harrigan works on the subway by day, and plays saxophone by night. Pat lands a chance to sing in a club, but the manager is only interested in one thing. After the manager makes his advances, Pat decides to quit being a career girl, and marries Harrigan.
The script was written by Adele Comandini, Richard Weil, and Edward Ludwig. There is little information about the three writers. Comandini wrote thirty screenplays and was nominated for an Academy Award for Best Writing for Three Smart Girls in 1936. Her other credits include Jane Eyre (1934), and Christmas in Connecticut (1945).
Actor Charles Delaney appeared predominantly in action and Western films, and his career spanned over five decades. The supporting cast were predominantly silent film actors who found their roles became increasingly diminished in the years following the introduction of talkies.
The music by George B. Meyer and Al Bryan can be heard on the Woolworths Museum site. George W. Meyer was a composer and lyricist who worked in Tin Pan Alley. His songs include “For Me and My Gal,” “Dixie Dreams,” and “Beautiful Annabelle Lee.” Al Bryan was a composer for stage and screen. He frequently collaborated with Fred Fisher, and some of his well-known songs include “Come Josephine in my Flying Machine,” the popular antiwar song “I Didn’t Raise My Boy to be a Soldier,” and “Oui, Oui, Marie.” Both composers were inducted into the Songwriters Hall of Fame in 1970.
Except for the trailer, which was found by the Vitaphone Project in 1997, The Girl from Woolworth’s is considered a lost film.
The script was written by Adele Comandini, Richard Weil, and Edward Ludwig. There is little information about the three writers. Comandini wrote thirty screenplays and was nominated for an Academy Award for Best Writing for Three Smart Girls in 1936. Her other credits include Jane Eyre (1934), and Christmas in Connecticut (1945).
Actor Charles Delaney appeared predominantly in action and Western films, and his career spanned over five decades. The supporting cast were predominantly silent film actors who found their roles became increasingly diminished in the years following the introduction of talkies.
The music by George B. Meyer and Al Bryan can be heard on the Woolworths Museum site. George W. Meyer was a composer and lyricist who worked in Tin Pan Alley. His songs include “For Me and My Gal,” “Dixie Dreams,” and “Beautiful Annabelle Lee.” Al Bryan was a composer for stage and screen. He frequently collaborated with Fred Fisher, and some of his well-known songs include “Come Josephine in my Flying Machine,” the popular antiwar song “I Didn’t Raise My Boy to be a Soldier,” and “Oui, Oui, Marie.” Both composers were inducted into the Songwriters Hall of Fame in 1970.
Except for the trailer, which was found by the Vitaphone Project in 1997, The Girl from Woolworth’s is considered a lost film.
- 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
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.
- Published on
A couple-swapping comedy featuring a concert pianist.
A still featured in Picture Play Magazine, October 1929
Date of Release: June 29, 1929
Studio: Paramount Famous Lasky Corp
Director: Victor Schertzinger
Screenplay: Louise Long, Melville Baker, Richard H. Digges Jr.
Music: Leo Robin, Victor Schertzinger
Leading Actors: Adolphe Menjou (Paul de Remy), Fay Compton (Marie de Remy), Miriam Seegar (Delphine Martin), John Miljan (Dr. Martin), Joan Standing (Miss Weller), Robert Wayne (Levisohn), Russ Powell (Joe), Billie Bennett (Jane), Jacques Vanaire (Valet)
Studio: Paramount Famous Lasky Corp
Director: Victor Schertzinger
Screenplay: Louise Long, Melville Baker, Richard H. Digges Jr.
Music: Leo Robin, Victor Schertzinger
Leading Actors: Adolphe Menjou (Paul de Remy), Fay Compton (Marie de Remy), Miriam Seegar (Delphine Martin), John Miljan (Dr. Martin), Joan Standing (Miss Weller), Robert Wayne (Levisohn), Russ Powell (Joe), Billie Bennett (Jane), Jacques Vanaire (Valet)
Fashions in Love was the film version of Hermann Bahr’s highly acclaimed play The Concert. The play opened on Broadway in 1910 and played 264 performances.
As described by Variety, the plot centered around a “temperamental musician, the idol of women who gets way with anything but depends on his wife for everything.” The pianist organizes a “private concert,” or weekend away, with his new girlfriend, only to discover his wife, and girlfriend’s husband, are along for the ride. To the surprise of the pianist, the jilted pair declare their love. Eventually all return happily to their spouses.
The storyline received mixed reviews, but the critics loved Fashions in Love. The Educational Screen (September 1929) called it “A worthy screening of the stage original,” while Motion Picture News stated, it “brings the laughs in good measure."
The reviewers unanimously agreed that Adolphe Manjou had triumphed in his first talkie. The Film Daily stated “Menjou scores a personal triumph, and comes through… with flying colors and lots to spare.” The Educational Screen and Picture Play Magazine both declared the performance to be one his best.
Menjou started out as an extra and went on to become a highly celebrated dapper leading man of silent and sound films. He appeared in nearly 150 films and in 1931 was nominated for an Academy Award (Best Actor in a Leading Role) for The Front Page (1931). His autobiography, It Took Nine Tailors, was published in 1948. Manjou's film credits include A Farewell to Arms (1932), Gold Diggers of 1935 (1935), The Goldwyn Follies (1938), and Pollyanna (1960).
The other leads, Fay Compton, Miriam Seegar, and John Miljan, generally received positive reviews. English-born Fay Compton came from a theatrical family and was herself a prominent stage and screen actress. She performed in both contemporary and classic plays and appeared in over 80 films and television shows. Compton’s screen credits include Strauss’ Great Waltz (1934), The Life and Adventures if Nicholas Nickleby (1947), Laughter in Paradise (1951), Othello (1952), various series featuring plays for television, and I Start Counting (1970).
English-born Miriam Seegar started out as a stage actress and appeared in 17 Hollywood films. She retired in 1933 after marriage. She was one of the last surviving silent film stars when she died at the age of 103 in 2011.
John Miljan was a highly prolific actor with a successful career playing villains. He appeared in over 200 films and television shows, and his credits include Innocents of Paris (1929), Untamed (1929), Devil-May-Care (1929), Show Girl in Hollywood (1930), The Ghost Walks (1934), and The Ten Commandments (1956).
Director Victor Schertzinger also received critical praise. He was a multi-talented and highly prolific musician, composer, director and writer. After an illustrious start as a child prodigy on the violin, Schertzinger went on to become an influential Hollywood player. Reportedly one of the first people to compose a score for film, he also wrote dozens of songs including “Tangerine,” “Dream Lover,” “Paris,” and “Marquita.” Schertzinger directed 90 films including Paramount on Parade (1930), The Mikado (1939), and Road to Zanzibar (1941).
Unusually for this period the leading script writer was a woman, Louise Long. She wrote 18 screenplays between 1926 and 1933, and appeared in three films. Unfortunately, there is scant information about her currently available.
The critics did not mention the music, except for the fact that it was poorly recorded. Fashions in Love featured two songs, “Delphine” and “I Still Believe in You” by Schertzinger and Leo Robin.
Fashions in Love opened to strong houses, but the numbers quickly dwindled.
Although not lost, the reels currently held at UCLA are significantly damaged and not watchable.
As described by Variety, the plot centered around a “temperamental musician, the idol of women who gets way with anything but depends on his wife for everything.” The pianist organizes a “private concert,” or weekend away, with his new girlfriend, only to discover his wife, and girlfriend’s husband, are along for the ride. To the surprise of the pianist, the jilted pair declare their love. Eventually all return happily to their spouses.
The storyline received mixed reviews, but the critics loved Fashions in Love. The Educational Screen (September 1929) called it “A worthy screening of the stage original,” while Motion Picture News stated, it “brings the laughs in good measure."
The reviewers unanimously agreed that Adolphe Manjou had triumphed in his first talkie. The Film Daily stated “Menjou scores a personal triumph, and comes through… with flying colors and lots to spare.” The Educational Screen and Picture Play Magazine both declared the performance to be one his best.
Menjou started out as an extra and went on to become a highly celebrated dapper leading man of silent and sound films. He appeared in nearly 150 films and in 1931 was nominated for an Academy Award (Best Actor in a Leading Role) for The Front Page (1931). His autobiography, It Took Nine Tailors, was published in 1948. Manjou's film credits include A Farewell to Arms (1932), Gold Diggers of 1935 (1935), The Goldwyn Follies (1938), and Pollyanna (1960).
The other leads, Fay Compton, Miriam Seegar, and John Miljan, generally received positive reviews. English-born Fay Compton came from a theatrical family and was herself a prominent stage and screen actress. She performed in both contemporary and classic plays and appeared in over 80 films and television shows. Compton’s screen credits include Strauss’ Great Waltz (1934), The Life and Adventures if Nicholas Nickleby (1947), Laughter in Paradise (1951), Othello (1952), various series featuring plays for television, and I Start Counting (1970).
English-born Miriam Seegar started out as a stage actress and appeared in 17 Hollywood films. She retired in 1933 after marriage. She was one of the last surviving silent film stars when she died at the age of 103 in 2011.
John Miljan was a highly prolific actor with a successful career playing villains. He appeared in over 200 films and television shows, and his credits include Innocents of Paris (1929), Untamed (1929), Devil-May-Care (1929), Show Girl in Hollywood (1930), The Ghost Walks (1934), and The Ten Commandments (1956).
Director Victor Schertzinger also received critical praise. He was a multi-talented and highly prolific musician, composer, director and writer. After an illustrious start as a child prodigy on the violin, Schertzinger went on to become an influential Hollywood player. Reportedly one of the first people to compose a score for film, he also wrote dozens of songs including “Tangerine,” “Dream Lover,” “Paris,” and “Marquita.” Schertzinger directed 90 films including Paramount on Parade (1930), The Mikado (1939), and Road to Zanzibar (1941).
Unusually for this period the leading script writer was a woman, Louise Long. She wrote 18 screenplays between 1926 and 1933, and appeared in three films. Unfortunately, there is scant information about her currently available.
The critics did not mention the music, except for the fact that it was poorly recorded. Fashions in Love featured two songs, “Delphine” and “I Still Believe in You” by Schertzinger and Leo Robin.
Fashions in Love opened to strong houses, but the numbers quickly dwindled.
Although not lost, the reels currently held at UCLA are significantly damaged and not watchable.
- Published on
A Warner Bros vehicle for "The Last of the Red Hot Mamas," Sophie Tucker.
Date of Release: June 4, 1929
Studio: Warner Bros
Director: Lloyd Bacon
Screenplay: C. Graham Baker, Leslie S. Barrows, Jack Yellen, DeLeon Anthony
Music : Milton Ager, Shelton Brooksword, Jack Yellen
Choreographer: Larry Ceballos
Leading Actors: Sophie Tucker (Sophie Leonard), Lila Lee (Beth), Audrey Ferris (Jean Gilmore), George Duryea (Freddie Gilmore), Mahlon Hamilton (Jim), John T. Murray (Cafe manager)
Honky Tonk tells the story of Sophie (Sophie Tucker) who works at a nightclub in order to pay for her daughter Beth (Lila Lee) to be educated overseas. Beth is oblivious to her mother’s vocation until, all grown up, she returns to America and falls in love with Freddie (George Duryea), who happens to be a patron at the club. Beth learns of Sophie’s scandalous employment, and vows to have nothing to do with her. Freddie convinces Beth that Sophie did it all for love, and all ends happily ever after, complete with a grandchild for the devoted Sophie.
The film was the screen debut of vaudeville star Sophie Tucker. Russian born Tucker grew up in Connecticut, and started out singing in restaurants and clubs, eventually touring in the south. Producers reportedly felt her “large size” would not be accepted by audiences, and so Tucker was required to perform in blackface. A chance performance without the blackface due to lost luggage wowed audiences, and from that point she was able to perform as herself. Tucker embraced her body size as part of her act and, combined with her sassy personality, became known as “The Last of the Red Hot Mamas.” She went on to become a huge star, performing around the world. A more detailed biography can be found here.
Studio: Warner Bros
Director: Lloyd Bacon
Screenplay: C. Graham Baker, Leslie S. Barrows, Jack Yellen, DeLeon Anthony
Music : Milton Ager, Shelton Brooksword, Jack Yellen
Choreographer: Larry Ceballos
Leading Actors: Sophie Tucker (Sophie Leonard), Lila Lee (Beth), Audrey Ferris (Jean Gilmore), George Duryea (Freddie Gilmore), Mahlon Hamilton (Jim), John T. Murray (Cafe manager)
Honky Tonk tells the story of Sophie (Sophie Tucker) who works at a nightclub in order to pay for her daughter Beth (Lila Lee) to be educated overseas. Beth is oblivious to her mother’s vocation until, all grown up, she returns to America and falls in love with Freddie (George Duryea), who happens to be a patron at the club. Beth learns of Sophie’s scandalous employment, and vows to have nothing to do with her. Freddie convinces Beth that Sophie did it all for love, and all ends happily ever after, complete with a grandchild for the devoted Sophie.
The film was the screen debut of vaudeville star Sophie Tucker. Russian born Tucker grew up in Connecticut, and started out singing in restaurants and clubs, eventually touring in the south. Producers reportedly felt her “large size” would not be accepted by audiences, and so Tucker was required to perform in blackface. A chance performance without the blackface due to lost luggage wowed audiences, and from that point she was able to perform as herself. Tucker embraced her body size as part of her act and, combined with her sassy personality, became known as “The Last of the Red Hot Mamas.” She went on to become a huge star, performing around the world. A more detailed biography can be found here.
Overall the film did well at the box office, but it was not a smash. In New York, Honky Tonk opened during one of the worst heat waves in forty years. The theatres were not yet equipped with air conditioning, and audiences stayed way from the movies. In Hollywood, the MGM Hollywood Revue of 1929 provided stiff competition, and reduced the ticket sales.
Variety (June 12, 1929) claimed that the lackluster script was a purposeful choice in order to give Tucker a “light load” for her first feature. The critics agreed that, although the script and dialogue were mediocre, Sophie Tucker and her supporting cast gave excellent performances.
The supporting cast were an impressive ensemble of well-established silent film stars. In the role of Sophie's daughter, Beth, Lila Lee was at the height of her fame in 1929. She had been a child star affectionately known as Cuddles, and due to her struggles with alcoholism her career declined in the 1930s. Despite her health troubles, Lee continued to act and appeared in B grade films and various television programs into the 1960s. She was the mother of James Kirkwood Jr., who wrote the book for A Chorus Line.
The cafe manager was played by Australian born John T. Murray, who appeared in nearly 100 Hollywood films. It would be fascinating to find out more about how and why this Melbournian ended up in Hollywood, and remained there for the rest of his life.
The highlight of Honky Tonk was the music, a vehicle for Tucker’s sassy, brassy vocals. Motion Picture News (June 8, 1929) reported that the songs “were greeted with cheers by the opening night audience.” The same reviewer gushed, “Sophie Tucker first, last and always… her songs and her inimitable manner of singing them.” Variety (June 12, 1929) wrote “Her singing voice aces and her speaking voice [is] far beyond expectation.” George Fenton, in his recently developed album review column in Photoplay (Dec 1929), described Tucker’s voice as “the voice with the smile of its own” and gave high praise to the “excellent” Victor recording.
The score featured some of Tucker’s most well-known hits, including "Some of These Days,” "I'm the Last of the Red-Hot Mammas," "I'm Doing What I'm Doing for Love," "He's a Good Man To Have Around," "I'm Feathering a Nest for a Little Bluebird," and "I Don't Want To Get Thin." The songs were composed by Milton Ager and Jack Yellen.
Variety (June 12, 1929) claimed that the lackluster script was a purposeful choice in order to give Tucker a “light load” for her first feature. The critics agreed that, although the script and dialogue were mediocre, Sophie Tucker and her supporting cast gave excellent performances.
The supporting cast were an impressive ensemble of well-established silent film stars. In the role of Sophie's daughter, Beth, Lila Lee was at the height of her fame in 1929. She had been a child star affectionately known as Cuddles, and due to her struggles with alcoholism her career declined in the 1930s. Despite her health troubles, Lee continued to act and appeared in B grade films and various television programs into the 1960s. She was the mother of James Kirkwood Jr., who wrote the book for A Chorus Line.
The cafe manager was played by Australian born John T. Murray, who appeared in nearly 100 Hollywood films. It would be fascinating to find out more about how and why this Melbournian ended up in Hollywood, and remained there for the rest of his life.
The highlight of Honky Tonk was the music, a vehicle for Tucker’s sassy, brassy vocals. Motion Picture News (June 8, 1929) reported that the songs “were greeted with cheers by the opening night audience.” The same reviewer gushed, “Sophie Tucker first, last and always… her songs and her inimitable manner of singing them.” Variety (June 12, 1929) wrote “Her singing voice aces and her speaking voice [is] far beyond expectation.” George Fenton, in his recently developed album review column in Photoplay (Dec 1929), described Tucker’s voice as “the voice with the smile of its own” and gave high praise to the “excellent” Victor recording.
The score featured some of Tucker’s most well-known hits, including "Some of These Days,” "I'm the Last of the Red-Hot Mammas," "I'm Doing What I'm Doing for Love," "He's a Good Man To Have Around," "I'm Feathering a Nest for a Little Bluebird," and "I Don't Want To Get Thin." The songs were composed by Milton Ager and Jack Yellen.
Milton Ager was a self-taught musician who started out in vaudeville and went on to become an incredibly influential and well-regarded composer. Some of his hits include “Happy Days are Here Again,” “Happy Feet,” “Vo-Do-De-O,” “Glad Rag Doll” and “Trust in Me.” He was inducted into the Songwriters Hall of Fame in 1979.
Polish born Jack Yellen started out as a reporter before becoming a songwriter on Broadway. Signed by Fox, Yellen went on to write over 200 hundred songs, many of which are still performed today. His hits include “Happy Days Are Here Again,” “Ain’t She Sweet,” and “My Yiddishe Momme.” Throughout the 1930s, Yellen also wrote screenplays. His credits include George White’s 1935 Scandals (1935), Ali Baba Goes to Town (1937), Little Miss Broadway (1938), and My Lucky Star (1938).
Although the film is considered lost, the soundtrack has survived. Thankfully there are still plenty of other recordings of Sophie Tucker in action. The clip below, recorded in 1928, showcases Tucker’s wonderful voice at the height of its strength.
Polish born Jack Yellen started out as a reporter before becoming a songwriter on Broadway. Signed by Fox, Yellen went on to write over 200 hundred songs, many of which are still performed today. His hits include “Happy Days Are Here Again,” “Ain’t She Sweet,” and “My Yiddishe Momme.” Throughout the 1930s, Yellen also wrote screenplays. His credits include George White’s 1935 Scandals (1935), Ali Baba Goes to Town (1937), Little Miss Broadway (1938), and My Lucky Star (1938).
Although the film is considered lost, the soundtrack has survived. Thankfully there are still plenty of other recordings of Sophie Tucker in action. The clip below, recorded in 1928, showcases Tucker’s wonderful voice at the height of its strength.