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Date of Release: Oct 5, 1929
Director: Roy Del Ruth
Studio: Warner Bros
Leading Actors: Winnie Lightner, Nick Lucas
Music: Joseph Burke and Al Dubin
Choreographer: Larry Ceballos
Gold Diggers of Broadway, based on the Broadway play of the same name, is a largely lost film. Two reels have survived and have been preserved on DVD (and now YouTube) as extras on Gold Diggers of 1937. The clips give a tantalizing glimpse at a slickly choreographed and beautiful film.
Another backstage comedy, the film did exceedingly well at the box office, becoming one of the top grossing films of its day. The film was well received by the critics, described by the NY Times Review as “extraordinarily pleasing entertainment.”
The film featured songs such as "Tiptoe Through the Tulips," which became a signature song for musician-star Nick Lucas, and "Painting the Clouds with Sunshine." Both songs went on to become huge hits, and have been featured in several other films and television shows.
Director Del Ruth went on to become one of the highest paid directors in Hollywood, and the director of many successful films featuring stars such as James Cagney, Bette Davis, and Eleanor Powell.
Watch the lavish finale of the film here.
Director: Roy Del Ruth
Studio: Warner Bros
Leading Actors: Winnie Lightner, Nick Lucas
Music: Joseph Burke and Al Dubin
Choreographer: Larry Ceballos
Gold Diggers of Broadway, based on the Broadway play of the same name, is a largely lost film. Two reels have survived and have been preserved on DVD (and now YouTube) as extras on Gold Diggers of 1937. The clips give a tantalizing glimpse at a slickly choreographed and beautiful film.
Another backstage comedy, the film did exceedingly well at the box office, becoming one of the top grossing films of its day. The film was well received by the critics, described by the NY Times Review as “extraordinarily pleasing entertainment.”
The film featured songs such as "Tiptoe Through the Tulips," which became a signature song for musician-star Nick Lucas, and "Painting the Clouds with Sunshine." Both songs went on to become huge hits, and have been featured in several other films and television shows.
Director Del Ruth went on to become one of the highest paid directors in Hollywood, and the director of many successful films featuring stars such as James Cagney, Bette Davis, and Eleanor Powell.
Watch the lavish finale of the film here.
- Published on
Date of Release: Sept 21, 1929
Director: Marcel Silver
Writer: Leopold Jacobson, based on an operetta by Straus
Music: Arthur Kay and Oscar Straus
Studio: Fox
Leading Actors: J. Harold Murray and Norma Terris
The next film on the list has been largely lost to time, with only a twelve minute fragment remaining at the UCLA archives. This is a shame, as the NY Times Review reported it the film having “the distinction of being the first screen translation of a superior type of musical composition that has not been presented in this country.”
One tantalizing frame has been posted on YouTube.
Director: Marcel Silver
Writer: Leopold Jacobson, based on an operetta by Straus
Music: Arthur Kay and Oscar Straus
Studio: Fox
Leading Actors: J. Harold Murray and Norma Terris
The next film on the list has been largely lost to time, with only a twelve minute fragment remaining at the UCLA archives. This is a shame, as the NY Times Review reported it the film having “the distinction of being the first screen translation of a superior type of musical composition that has not been presented in this country.”
One tantalizing frame has been posted on YouTube.
- Published on
In theory, we have no words, and no music, as this film is considered lost. The sadness.
Firstly, a few words. Two things I have learnt about this film: one, it is suggested that the film was made from off-cuts from Fox Movietone Follies of 1929 (also lost). Two, the film is John Wayne's first credited appearance. So much for progressing the history of the movie musical. And now for some music. Thanks to the wonderful Vitaphone Varieties blog, we have a tantilizing musical tidbit from the film, a rather sumptuous (if not ironically named) tune, "Too Wonderful for Words".
And that my friends, is all I have to say, or sing, about that!
Firstly, a few words. Two things I have learnt about this film: one, it is suggested that the film was made from off-cuts from Fox Movietone Follies of 1929 (also lost). Two, the film is John Wayne's first credited appearance. So much for progressing the history of the movie musical. And now for some music. Thanks to the wonderful Vitaphone Varieties blog, we have a tantilizing musical tidbit from the film, a rather sumptuous (if not ironically named) tune, "Too Wonderful for Words".
And that my friends, is all I have to say, or sing, about that!
- Published on
Chronologically speaking, I am skipping a few films by jumping to The Broadway Melody. In between I have missed Syncopation, Fox Movietone Follies of 1929, and Innocents of Paris. All these films are potentially lost, and in a recent book Hollywood Musicals Year by Year (3rd Edition), do not even receive a mention. This is the frustration of living on the wrong side of the planet to the movie archives, and the limits of historical research. Not everything is available online, and not everything is even preserved!
The Broadway Melody of 1929 marks a leap in the style of the movie musical. It is the first 100% sound movie musical, the first musical to win Best Picture at the Oscar’s, and it is considered the first movie musical to use an integrated score. The score contains now well-known pieces such as “You Were Meant For Me”, “Wedding of the Painted Doll”, and of course, the title song “Broadway Melody”. It was the first movie musical, and indeed first talkie, for MGM, and already we can see the slick style, gorgeous costumes, and memorable tunes which later make MGM the leading producer of movie musicals. It was advertised as the first “ALL TALKING! AL SINGNG! ALL DANCING!” film, and by all accounts, audiences flocked to see it and loved it.
As a modern day viewer, I loved watching this film. Like all the other films watched thus far, the story focuses around backstage drama and the desire to be on Broadway. We have divas, flamboyant costume designers, tempers, glitz and glamour, and plenty of humour. The performances are lively and spirited. Unlike its predecessors, The Broadway Melody is not a star vehicle, and each actor shines in their role. Bessie Love as the determined Hank is gorgeous, and she was deservedly nominated for an Oscar for Best Actress for her performance. Charles King, an established Vaudeville and Broadway actor, as Eddie is charming, and Jed Prouty as Uncle Jed is endearing.
Historians point out that this is the first film to use an integrated score, however this only occurs once in the film. Most musical numbers are performances within the story, such as Eddie performing his new number for Mr Zanfield, and the Broadway revues, and the front on camera shots, as though filming a Broadway stage, reflect this. Almost an hour into the proceedings Eddie and Queenie are in a heated conversation and Eddie bursts into the song “You Were Meant for Me”, sharing his feelings for Queenie. This use of integrated song works well, however stands out because it is the only number used in such a way in the film. With music by Nacio Herb Brown and lyrics by Arthur Freed, the other aforementioned tunes throughout the film are gorgeous. Arthur Freed will keep popping up as we travel down this yellow brick road of movie musical history, as the producer of many MGM movie musicals including The Wizard of Oz, Singin’ in the Rain, Easter Parade, Meet Me in St Louis and On the Town to name just a few.
Two musical numbers from the show within the show, the Zanfield Revue, “Wedding of the Painted Doll” (apparently originally filmed in two-tone technicolour, but this footage has since been destroyed or lost), and “The Boy Friend” appear to be inserted into the film simply for the sake of having some sparkly song and dance numbers. They are lavish and beautiful, but do not progress the plot or give us insight to the characters. The dance numbers feature plenty of chorus girls in short shorts and stunning costumes and it is escapist entertainment at its best. My favourite dance number is a short tap routine on pointe. There is something unpolished and raw about the filming of the routine, and the performance itself, and it is exciting and pleasing to watch.
The plot drags slightly, and at times feels a little unbelievable, but the story is touching and full of heart. A fun film, and one that I feel really sets the ball rolling for the movie musical genre. Exciting times ahead!
The Broadway Melody of 1929 marks a leap in the style of the movie musical. It is the first 100% sound movie musical, the first musical to win Best Picture at the Oscar’s, and it is considered the first movie musical to use an integrated score. The score contains now well-known pieces such as “You Were Meant For Me”, “Wedding of the Painted Doll”, and of course, the title song “Broadway Melody”. It was the first movie musical, and indeed first talkie, for MGM, and already we can see the slick style, gorgeous costumes, and memorable tunes which later make MGM the leading producer of movie musicals. It was advertised as the first “ALL TALKING! AL SINGNG! ALL DANCING!” film, and by all accounts, audiences flocked to see it and loved it.
As a modern day viewer, I loved watching this film. Like all the other films watched thus far, the story focuses around backstage drama and the desire to be on Broadway. We have divas, flamboyant costume designers, tempers, glitz and glamour, and plenty of humour. The performances are lively and spirited. Unlike its predecessors, The Broadway Melody is not a star vehicle, and each actor shines in their role. Bessie Love as the determined Hank is gorgeous, and she was deservedly nominated for an Oscar for Best Actress for her performance. Charles King, an established Vaudeville and Broadway actor, as Eddie is charming, and Jed Prouty as Uncle Jed is endearing.
Historians point out that this is the first film to use an integrated score, however this only occurs once in the film. Most musical numbers are performances within the story, such as Eddie performing his new number for Mr Zanfield, and the Broadway revues, and the front on camera shots, as though filming a Broadway stage, reflect this. Almost an hour into the proceedings Eddie and Queenie are in a heated conversation and Eddie bursts into the song “You Were Meant for Me”, sharing his feelings for Queenie. This use of integrated song works well, however stands out because it is the only number used in such a way in the film. With music by Nacio Herb Brown and lyrics by Arthur Freed, the other aforementioned tunes throughout the film are gorgeous. Arthur Freed will keep popping up as we travel down this yellow brick road of movie musical history, as the producer of many MGM movie musicals including The Wizard of Oz, Singin’ in the Rain, Easter Parade, Meet Me in St Louis and On the Town to name just a few.
Two musical numbers from the show within the show, the Zanfield Revue, “Wedding of the Painted Doll” (apparently originally filmed in two-tone technicolour, but this footage has since been destroyed or lost), and “The Boy Friend” appear to be inserted into the film simply for the sake of having some sparkly song and dance numbers. They are lavish and beautiful, but do not progress the plot or give us insight to the characters. The dance numbers feature plenty of chorus girls in short shorts and stunning costumes and it is escapist entertainment at its best. My favourite dance number is a short tap routine on pointe. There is something unpolished and raw about the filming of the routine, and the performance itself, and it is exciting and pleasing to watch.
The plot drags slightly, and at times feels a little unbelievable, but the story is touching and full of heart. A fun film, and one that I feel really sets the ball rolling for the movie musical genre. Exciting times ahead!
- Published on
The objective of archival policy in a democratic country cannot be the mere saving of paper; it must be nothing less than the enriching of the complete historical consciousness of the people as a whole...
— Robert C. Binkley, 1939
The thing about watching old movies is their availability. The next four films on the AFI List (Close Harmony, Syncopation, Fox Movietone Follies of 1929, and Innocents of Paris) are either lost entirely, or only available on "shrinking" film reels at the UCLA Film and TV Archives. As a history nerd, this worries me. It is a reminder of how fragile our tangible past really is. In this age of Google and YouTube, we presume that just about everything and anything is available on the interweb. Not so!
Coincidently, the UCLA Film and TV Archives held a symposium this week on this very topic: “Reimagining the Archives: Remapping and Remixing Traditional Models in the Digital Era”. Thanks to the magic of the interwebs in the modern day, I was able to track down some information on the symposium, and my inner history nerd was thrilled and delighted at what is going on in the land of digitising media, and making footage accessible. Rick Prelinger, a prominent archivist, (among many other titles) and founder of the Prelinger Archives (a collection of over 60,000 “ephemeral” films) in his Keynote Address for the symposiusm, discussed the relevance and role of archivists today. According to Prelinger, old collections are slowly but surely being digitised. He points to issues of physical space for housing old footage, costs in maintaining and digitising these old collections, and the traditional closed views of the archivists and their institutions as barriers to open and available moving footage archives. In Prelinger’s view, the archival process needs to be “Social. Public. Transparent. Collaborative and Decentralized.” Here, here! Speaking of the Symposium, I highly recommend having a look at this page of the symposium blog, which shows a very cool way in which technology, archives, and the general public can all interact.
With all the technology available today, it is exciting to think what can be done to preserve movie history. In terms of movie musical history, which in its early days also preserves on film pieces of vaudeville and early Broadway history, this is absolutely crucial!
Coming up next, some research into the next four films!
Coincidently, the UCLA Film and TV Archives held a symposium this week on this very topic: “Reimagining the Archives: Remapping and Remixing Traditional Models in the Digital Era”. Thanks to the magic of the interwebs in the modern day, I was able to track down some information on the symposium, and my inner history nerd was thrilled and delighted at what is going on in the land of digitising media, and making footage accessible. Rick Prelinger, a prominent archivist, (among many other titles) and founder of the Prelinger Archives (a collection of over 60,000 “ephemeral” films) in his Keynote Address for the symposiusm, discussed the relevance and role of archivists today. According to Prelinger, old collections are slowly but surely being digitised. He points to issues of physical space for housing old footage, costs in maintaining and digitising these old collections, and the traditional closed views of the archivists and their institutions as barriers to open and available moving footage archives. In Prelinger’s view, the archival process needs to be “Social. Public. Transparent. Collaborative and Decentralized.” Here, here! Speaking of the Symposium, I highly recommend having a look at this page of the symposium blog, which shows a very cool way in which technology, archives, and the general public can all interact.
With all the technology available today, it is exciting to think what can be done to preserve movie history. In terms of movie musical history, which in its early days also preserves on film pieces of vaudeville and early Broadway history, this is absolutely crucial!
Coming up next, some research into the next four films!