- Published on
Star vehicle for the crooning heart throb Rudy Vallée.
The Film Daily (Dec 11, 1929)
Date of Release: Dec 1, 1929
Studio: RKO
Director: Marshall Neilan
Screenplay: James Ashmore Creelman
Music: Nat D. Ayer, Philip Bartholomae, Phil Boutelje, Ruby Cowan, Ernie Erdman, Clifford Grey, Louis Herscher, Edward Heyman, Gus Kahn, Billy Meyers, Harold Raymond, Elmer Schoebel, Nat Simon, Ken Smith, Rudy Vallée , Harry M. Woods, Leon Zimmerman
Leading Actors: Rudy Vallée (Rudy Bronson), Sally Blane (Jean), Marie Dressler (Mrs. Whitehall), Charles Sellon (Officer Tuttle), Nella Walker (Mrs. Tod Hunter), Eddie Nugent (Sport), Danny O'Shea (Sam), Alan Roscoe (Manager), The Connecticut Yankees
Described by Exhibitors Herald World (Sept 21, 1929) as “a showman of a high order,” Rudy Vallée was a talented and immensely popular musician who was one of the first heart throb crooners. In addition to leading his own band, the Connecticut Yankees — who were prominent fixtures on the New York circuit — Vallée worked on radio hosting a widely successful variety and music hour.
The hit song “I’m Just a Vagabond Lover” was one of Rudy Vallée ’s signature tunes, and he frequently performed it by request. Such was the popularity of the song, it was also featured in Glorifying the American Girl.
Throughout 1929, Rudy Vallée had appeared in several short films. The Vagabond Lover was his first feature length film. RKO announced in August 1929 that ground had been broken on a new studio in Hollywood, one of the largest in the world, and that The Vagabond Lover would be one of the first films made there.
Exhibitors Herald World reported that RKO were investing a million dollars in the Spoor Stereoscopic Process. The new process “would permit shooting big stage shows in natural perspective, showing complete choruses, the full width of a 52 foot screen or even larger, and fully 30 feet high, with all the action of a stage production as naturally as it is seen in three dimensions behind the footlights.”
Production commenced in September and the film premiered just two months later on November 26, 1929, at the Globe Theatre in New York.
The premier was highly anticipated, and enjoyed a short but successful record-breaking run run at the Globe Theatre in New York. It then transferred to the Criterion Theatre.
The Portland, Maine opening was also a grand affair. Vallée had grown up in five miles away in Westbrook, and as reported by Variety (Dec 5, 1929) half the city, including elected officials and prominent local business people, turned out to support their homegrown talent.
The Vagabond Lover received mixed reviews. The Film Daily described the film as “a splendid first effort for Mr. Vallée and a winning addition to the RKO stable for the coming season,” but in the same edition also stated that Vallée and his supporting cast couldn’t act. Most critics panned the ridiculous story, and, while praising Vallée for his singing, repeatedly stated that his acting was not up to scratch.
The Vagabond Lover is available online, and as the Variety critic noted: “One thing in the film’s favor is that it runs only 65 minutes.” I couldn’t agree more.
Vallée is just awful as the romantic lead. He lacks any of the talent that the trade magazines repeatedly insisted he had, and any one of the Connecticut Yankees would have been more believable in his role.
Studio: RKO
Director: Marshall Neilan
Screenplay: James Ashmore Creelman
Music: Nat D. Ayer, Philip Bartholomae, Phil Boutelje, Ruby Cowan, Ernie Erdman, Clifford Grey, Louis Herscher, Edward Heyman, Gus Kahn, Billy Meyers, Harold Raymond, Elmer Schoebel, Nat Simon, Ken Smith, Rudy Vallée , Harry M. Woods, Leon Zimmerman
Leading Actors: Rudy Vallée (Rudy Bronson), Sally Blane (Jean), Marie Dressler (Mrs. Whitehall), Charles Sellon (Officer Tuttle), Nella Walker (Mrs. Tod Hunter), Eddie Nugent (Sport), Danny O'Shea (Sam), Alan Roscoe (Manager), The Connecticut Yankees
Described by Exhibitors Herald World (Sept 21, 1929) as “a showman of a high order,” Rudy Vallée was a talented and immensely popular musician who was one of the first heart throb crooners. In addition to leading his own band, the Connecticut Yankees — who were prominent fixtures on the New York circuit — Vallée worked on radio hosting a widely successful variety and music hour.
The hit song “I’m Just a Vagabond Lover” was one of Rudy Vallée ’s signature tunes, and he frequently performed it by request. Such was the popularity of the song, it was also featured in Glorifying the American Girl.
Throughout 1929, Rudy Vallée had appeared in several short films. The Vagabond Lover was his first feature length film. RKO announced in August 1929 that ground had been broken on a new studio in Hollywood, one of the largest in the world, and that The Vagabond Lover would be one of the first films made there.
Exhibitors Herald World reported that RKO were investing a million dollars in the Spoor Stereoscopic Process. The new process “would permit shooting big stage shows in natural perspective, showing complete choruses, the full width of a 52 foot screen or even larger, and fully 30 feet high, with all the action of a stage production as naturally as it is seen in three dimensions behind the footlights.”
Production commenced in September and the film premiered just two months later on November 26, 1929, at the Globe Theatre in New York.
The premier was highly anticipated, and enjoyed a short but successful record-breaking run run at the Globe Theatre in New York. It then transferred to the Criterion Theatre.
The Portland, Maine opening was also a grand affair. Vallée had grown up in five miles away in Westbrook, and as reported by Variety (Dec 5, 1929) half the city, including elected officials and prominent local business people, turned out to support their homegrown talent.
The Vagabond Lover received mixed reviews. The Film Daily described the film as “a splendid first effort for Mr. Vallée and a winning addition to the RKO stable for the coming season,” but in the same edition also stated that Vallée and his supporting cast couldn’t act. Most critics panned the ridiculous story, and, while praising Vallée for his singing, repeatedly stated that his acting was not up to scratch.
The Vagabond Lover is available online, and as the Variety critic noted: “One thing in the film’s favor is that it runs only 65 minutes.” I couldn’t agree more.
Vallée is just awful as the romantic lead. He lacks any of the talent that the trade magazines repeatedly insisted he had, and any one of the Connecticut Yankees would have been more believable in his role.
Sally Blane stares loving at Vallee
The story is trite and unbelievable, full of ridiculous set-ups that make way for Vallée and the Connecticut Yankees to perform their signature tunes.
Sally Blane is boring as the ingenue who falls in love with Vallée. She stares adoringly at Vallée when he sings, and functions only to serve as his love interest. Blane was a child movie actor who went on to appear in nearly 100 films.
Sally Blane is boring as the ingenue who falls in love with Vallée. She stares adoringly at Vallée when he sings, and functions only to serve as his love interest. Blane was a child movie actor who went on to appear in nearly 100 films.
Sweetness personified. Far left is Patti Brill, and far right is Dorothy Gray.
Speaking of child actors, a highlight of The Vagabond Lover is four young girls singing “Georgie Porgie” during a dinner for the Orphans’ Benefit. Their performances are earnest and innocent, with frequent looks straight into camera. The girls are uncredited, though two of the girls are Dorothy Gray and Patti Brill. Gray was a child actor for a brief period, and Brill continued acting in small and uncredited roles into adulthood.
Marie Dressler
The stand-out of The Vagabond Lover is Marie Dressler, who is hilarious as the wealthy aunt and patron Mrs. Whitehall. The critics praised her comedic skills and performance, and named her as the highlight and saving grace of the film. Almost verging on melodramatic, her determination to out-do Mrs. Tod Hunter, and her reaction to discovering Rudy Bronson is not all he seems, are excellent. Her characterization is spot on, and provides a perfect foil for her boringly sweet niece. We genuinely feel for Mrs. Whitehall, and celebrate in her triumphs.
After starting out in vaudeville, Dressler went on to become a well-regarded silent film actress. After a brief hiatus she successfully transitioned to talkies and became a rare commodity, a female Hollywood star over the age of 30.
Despite the critics’ complains, and thanks to Vallée’s immense popularity, The Vagabond Lover did well at the box office. The film usually played to sold out houses around the country, and in several cities broke box office records.
Vallée was signed to a contract with RKO, and went on to a successful film, television, and radio career, appearing in nearly sixty films and television shows. His roles shifted to that of the comedic sidekick, and he also often played himself. Vallée appeared in the original Broadway production of How to Succeed in Business Without Really Trying (1961), as well as the subsequent film version in 1967.
After starting out in vaudeville, Dressler went on to become a well-regarded silent film actress. After a brief hiatus she successfully transitioned to talkies and became a rare commodity, a female Hollywood star over the age of 30.
Despite the critics’ complains, and thanks to Vallée’s immense popularity, The Vagabond Lover did well at the box office. The film usually played to sold out houses around the country, and in several cities broke box office records.
Vallée was signed to a contract with RKO, and went on to a successful film, television, and radio career, appearing in nearly sixty films and television shows. His roles shifted to that of the comedic sidekick, and he also often played himself. Vallée appeared in the original Broadway production of How to Succeed in Business Without Really Trying (1961), as well as the subsequent film version in 1967.
- Published on
“A gay little trifle”
Date of Release: Nov 10, 1929
Studio: RKO
Director: Marshal Neilan
Screenplay: Thomas J. Geraghty, Louis Sarecky
Music: Sidney Clare, Oscar Levant
Choreographer: Pearl Eaton
Leading Actors: June Clyde (Peggy Reynolds), Arthur Lake (Bill), Sally Blane (Janet Reynolds), Allen Kearns (Roger), Albert Gran (Mr. Reynods), Nella Walker (Sophie Reynolds), Edmund Burns (Clinton Darrow), Dorothy Revier (Mrs. Lyons-King), Ann Pennington (Tootie), Lincoln Stedman (Pudgy), Lloyd Hamilton (Detective)
Tanned Legs is a quintessential early talkie and pre-code musical, fluffy on the surface but containing plenty of wonderful music, and a genuine heart at its center. The script it often slow, with painful scenes shot as though the actors are standing on a stage, though plenty of comic relief is provided through suggestive humor and fluffy dance numbers.
Although the opening title card informs the audience that the most important thing of the summer is the Annual Orphan’s Benefit, the story is entirely focused on Peggy’s desire to stop her parents’ flirtations outside of their marriage and bring the family back together. The Benefit provides a backdrop for singing and dancing, and an excuse to feature plenty of chorus girls with the whitest tanned legs you've ever seen.
Peggy (June Clyde) is being wooed by the sweet and attentive Bill (Arthur Lake), but she insists she is not interested in marriage until she sorts out her family. Her mother Sophie, played with great humor by Nella Walker, is having a summer fling with Roger (Allen Kearns). Meanwhile, her father Mr. Reynolds (Albert Gran) is flirting with Mrs. Lyons-King (Dorothy Revier). To top it all off, her sister Janet (Sally Blane) has engaged in a relationship with Mr. Darrow and regrettably written him salacious letters.
The scenes alternate between each of the couples, with tedious dialogue that is broken by the occasional witty jab, and song and dance number. When Peggy confronts her father for flirting, Mr. Reynolds claims that he and Mrs. Lyons-King were “just about to pop in the water for a dip.” Peggy replies, “You don’t need to go in the water, you’re already wet.”
Peggy is an interesting and frustrating character who is accurately described by Mordaunt Hall in the New York Times as “a complete nuisance, a Pollyanna, a little Miss Fixit and a “sweet young thing,” all rolled into one annoying role.” Although Peggy seems prudish with an obsessive desire to control the actions of her parents and sister, we learn that her actions come from a place of love.
Peggy is willing to sacrifice her own relationship with the devoted Bill to ensure her family stays together. She repeatedly tells Bill she is not ready to marry, finally stating “A girl has got a right not to get married until she wants to.” Even though Bill woos Peggy with the beautiful love song “With You – With Me,” she does not fall helplessly into his arms.
Furthermore, Peggy is willing to risk her reputation to help her family she is willing to risk her own reputation. She remains true to her purpose, and risks her own reputation to recover Janet’s letters.
In the process, Peggy reveals a scheme by Mr. Darrow and Mrs. Lyons-King to fleece the family of their money. Discovering what their youngest daughter and sister has done, and the potential sacrifice of her actions, the family realizes the error of their ways. The film closes with the fulfilment of Peggy’s desire for a cohesive family unit.
The highlight of Tanned Legs is the music, composed by prolific writers Sidney Clare and Oscar Levant. The opening number, “Come in the Water,” is light and silly and designed to show off the chorus girls’ legs. As suggested by the title, legs are a recurring visual theme throughout the film. Choreographed by Pearl Eaton, whose work in Rio Rita displayed some innovation, the dancing is quite repetitive. It served its purpose however, with the The Film Daily critic noting, “there are some bathing suit ensembles that don’t hurt the eyes at all,” and Hollywood Filmograph stating that the film was “easy to look at.”
“You’re Responsible,” performed by Janet and Roger preparing for the benefit, is a fun Cole Porter type song and dance about a couple’s love/hate relationship. Sally Blane, a former child star who had also appeared in The Show of Shows, and Allen Kearns, a well-known Canadian stage actor, are terrific performers. In this number however, they are slightly mismatched as Blane is a stronger singer and Kearns a better dancer.
“With You - With Me” is a beautiful love song, and occurs as an expression of Bill’s earnest love for Peggy. Breaking convention, the song is not part of a performance, or explained in any way. The ability of a character to break out into song without a convoluted set-up is incredibly refreshing. The song is later reprised by Peggy during the Orphan’s Benefit.
While The New York Times stated the film was “Filled with inanities,” and The Educational Screen called it “Cheap [and] unwholesome,” Tanned Legs received mostly positive reviews. Hollywood Filmograph stated, “Its chief purpose is to entertain and it accomplishes that with joyful ease.” Motion Picture News called the film “Good light entertainment,” and Variety affirmed it was “A gay little trifle.”
Audiences seemed to enjoy the film too, and the film played to strong houses around the country.
Studio: RKO
Director: Marshal Neilan
Screenplay: Thomas J. Geraghty, Louis Sarecky
Music: Sidney Clare, Oscar Levant
Choreographer: Pearl Eaton
Leading Actors: June Clyde (Peggy Reynolds), Arthur Lake (Bill), Sally Blane (Janet Reynolds), Allen Kearns (Roger), Albert Gran (Mr. Reynods), Nella Walker (Sophie Reynolds), Edmund Burns (Clinton Darrow), Dorothy Revier (Mrs. Lyons-King), Ann Pennington (Tootie), Lincoln Stedman (Pudgy), Lloyd Hamilton (Detective)
Tanned Legs is a quintessential early talkie and pre-code musical, fluffy on the surface but containing plenty of wonderful music, and a genuine heart at its center. The script it often slow, with painful scenes shot as though the actors are standing on a stage, though plenty of comic relief is provided through suggestive humor and fluffy dance numbers.
Although the opening title card informs the audience that the most important thing of the summer is the Annual Orphan’s Benefit, the story is entirely focused on Peggy’s desire to stop her parents’ flirtations outside of their marriage and bring the family back together. The Benefit provides a backdrop for singing and dancing, and an excuse to feature plenty of chorus girls with the whitest tanned legs you've ever seen.
Peggy (June Clyde) is being wooed by the sweet and attentive Bill (Arthur Lake), but she insists she is not interested in marriage until she sorts out her family. Her mother Sophie, played with great humor by Nella Walker, is having a summer fling with Roger (Allen Kearns). Meanwhile, her father Mr. Reynolds (Albert Gran) is flirting with Mrs. Lyons-King (Dorothy Revier). To top it all off, her sister Janet (Sally Blane) has engaged in a relationship with Mr. Darrow and regrettably written him salacious letters.
The scenes alternate between each of the couples, with tedious dialogue that is broken by the occasional witty jab, and song and dance number. When Peggy confronts her father for flirting, Mr. Reynolds claims that he and Mrs. Lyons-King were “just about to pop in the water for a dip.” Peggy replies, “You don’t need to go in the water, you’re already wet.”
Peggy is an interesting and frustrating character who is accurately described by Mordaunt Hall in the New York Times as “a complete nuisance, a Pollyanna, a little Miss Fixit and a “sweet young thing,” all rolled into one annoying role.” Although Peggy seems prudish with an obsessive desire to control the actions of her parents and sister, we learn that her actions come from a place of love.
Peggy is willing to sacrifice her own relationship with the devoted Bill to ensure her family stays together. She repeatedly tells Bill she is not ready to marry, finally stating “A girl has got a right not to get married until she wants to.” Even though Bill woos Peggy with the beautiful love song “With You – With Me,” she does not fall helplessly into his arms.
Furthermore, Peggy is willing to risk her reputation to help her family she is willing to risk her own reputation. She remains true to her purpose, and risks her own reputation to recover Janet’s letters.
In the process, Peggy reveals a scheme by Mr. Darrow and Mrs. Lyons-King to fleece the family of their money. Discovering what their youngest daughter and sister has done, and the potential sacrifice of her actions, the family realizes the error of their ways. The film closes with the fulfilment of Peggy’s desire for a cohesive family unit.
The highlight of Tanned Legs is the music, composed by prolific writers Sidney Clare and Oscar Levant. The opening number, “Come in the Water,” is light and silly and designed to show off the chorus girls’ legs. As suggested by the title, legs are a recurring visual theme throughout the film. Choreographed by Pearl Eaton, whose work in Rio Rita displayed some innovation, the dancing is quite repetitive. It served its purpose however, with the The Film Daily critic noting, “there are some bathing suit ensembles that don’t hurt the eyes at all,” and Hollywood Filmograph stating that the film was “easy to look at.”
“You’re Responsible,” performed by Janet and Roger preparing for the benefit, is a fun Cole Porter type song and dance about a couple’s love/hate relationship. Sally Blane, a former child star who had also appeared in The Show of Shows, and Allen Kearns, a well-known Canadian stage actor, are terrific performers. In this number however, they are slightly mismatched as Blane is a stronger singer and Kearns a better dancer.
“With You - With Me” is a beautiful love song, and occurs as an expression of Bill’s earnest love for Peggy. Breaking convention, the song is not part of a performance, or explained in any way. The ability of a character to break out into song without a convoluted set-up is incredibly refreshing. The song is later reprised by Peggy during the Orphan’s Benefit.
While The New York Times stated the film was “Filled with inanities,” and The Educational Screen called it “Cheap [and] unwholesome,” Tanned Legs received mostly positive reviews. Hollywood Filmograph stated, “Its chief purpose is to entertain and it accomplishes that with joyful ease.” Motion Picture News called the film “Good light entertainment,” and Variety affirmed it was “A gay little trifle.”
Audiences seemed to enjoy the film too, and the film played to strong houses around the country.
- Published on
RKO's first musical. Forget Frankie Vallie and the Four Seasons, this is Freddie and the Four Seasons. Freddie (Betty Compson) is a down-on-her-luck Hungarian violinist whose talent and beauty is admired by no less than the Prince of Hungary. Taken in by the Four Seasons after being found starving and at the prey of less scrupulous men, Freddie keeps house for the boys, and leads them to success.
Variety (July 17, 1929)
Date of Release: 21 August 1929
Studio: RKO
Director: Wesley Ruggles
Screenplay: Jane Murfin
Music: Sidney Clare and Oscar Levant
Choreographer: Pearl Eaton
Leading Actors: Betty Compson, John Harron, Ned Sparks, Jack Oakie, Guy Buccola, Joseph Cawthorn, Ivan Lebedeff, Eddie Kane, Doris Eaton and the Radio Pictures Beauty Chorus, Raymond Maurel and the Cimini Male Chorus, Gus Arnheim and His Cocoanut Grove Ambassadors
Street Girl was the first film of newly formed Radio Pictures, a subsidiary of the Radio Corporation of America (RCA). Street Girl is listed in the AFI Catalogue as “romance with songs” despite being continually referenced in the trade magazines as an “all-singing, all-dancing, all-talking musical.”
RKO’s coordinated advertising efforts are evident, with plenty of full-page ads and write ups in the trade magazines.
Studio: RKO
Director: Wesley Ruggles
Screenplay: Jane Murfin
Music: Sidney Clare and Oscar Levant
Choreographer: Pearl Eaton
Leading Actors: Betty Compson, John Harron, Ned Sparks, Jack Oakie, Guy Buccola, Joseph Cawthorn, Ivan Lebedeff, Eddie Kane, Doris Eaton and the Radio Pictures Beauty Chorus, Raymond Maurel and the Cimini Male Chorus, Gus Arnheim and His Cocoanut Grove Ambassadors
Street Girl was the first film of newly formed Radio Pictures, a subsidiary of the Radio Corporation of America (RCA). Street Girl is listed in the AFI Catalogue as “romance with songs” despite being continually referenced in the trade magazines as an “all-singing, all-dancing, all-talking musical.”
RKO’s coordinated advertising efforts are evident, with plenty of full-page ads and write ups in the trade magazines.
Film Daily (Aug 1, 1929)
A regular light-hearted column in the Film Daily (July 30, 1929) reported that “The Noo Yawk deboo is at the Globe tonight. Looks like a verra auspicious premiere, too…” The Street Girl opening was indeed a large affair, with RCA and industry executives in attendance. Motion Picture News (Aug 10, 1929) even ran an article about Joseph I. Schnitzer, President of RKO, making a transatlantic telephone call to report on the opening with other RKO execs who were in Paris on business.
Street Girl opened to excellent houses, and it was one of the top grossing films to play at the Globe Theatre in 1929. The film played exceedingly well around the country, playing to sell out houses.
The critics also enjoyed Street Girl. Most found the story to be a little thin, but praised the film for its entertainment values, excellent performances, and strong direction by Wesley Ruggles. After starting out as an actor, Ruggles went on to become a prolific director, proving himself able in a variety of genres – notably musicals, romances, and westerns. He directed over 80 films over the course of his thirty year career including Honey (1930), Cimarron (1931), I’m No Angel (1933), Sing You Sinners (1938), and Somewhere I’ll Find You (1942).
Street Girl opened to excellent houses, and it was one of the top grossing films to play at the Globe Theatre in 1929. The film played exceedingly well around the country, playing to sell out houses.
The critics also enjoyed Street Girl. Most found the story to be a little thin, but praised the film for its entertainment values, excellent performances, and strong direction by Wesley Ruggles. After starting out as an actor, Ruggles went on to become a prolific director, proving himself able in a variety of genres – notably musicals, romances, and westerns. He directed over 80 films over the course of his thirty year career including Honey (1930), Cimarron (1931), I’m No Angel (1933), Sing You Sinners (1938), and Somewhere I’ll Find You (1942).
Picture Play, Nov 1929
Unusually the critics almost always gave name recognition to the female screenwriter, Jane Murfin, complimenting her dialogue writing. Murfin started out as an actor and, along with her writing partner and lifelong friend Jane Cowel, became a well-regarded playwright in New York. Early in their writing career, and to their later regret, Murfin and Cowl wrote under a male pseudonym, Allan Langon Martin.
In the early years of film, Murfin moved west and remained in Hollywood for over twenty years. According to the Women Film Pioneers Project, Murfin was incredibly business savvy and retained the rights to her stage plays, and later negotiated to retain the television rights too. Murfin was a founding member of the Screenwriters’ Guild, and wrote its original rules and guidelines. Some of her 60+ film credits include Street Girl (1929), Smilin’ Through (1932), Little Women (1933), Roberta (1935), The Women (1939), and Pride and Prejudice (1940). Fascinating biographies can be found here and here.
The film opens with the Four Seasons (John Harron, Ned Sparks, Jack Oakie, and Guy Buccola) playing at a crowded café, where the owner laments “Come for the band. The food is terrible.” The scene is lively and fun, with great use of sound.
The band head home and find a distressed Freddie on their doorstep – “Only three million dames in New York and he picked the one without a home.” Mike (John Harron) invites her in, and seeing the state of disarray the boys live in, Freddie offers to take care of things – “I darn! I darn all of you!”
Betty Compson as Freddie is charming and sweet. She was a popular and talented actress who appeared in over two hundred films. By the age of 16 she was touring as a violin soloist on the vaudeville circuit. After being spotted by a producer, Compson went into film and became a versatile silent film actress. During this time, at the peak of her fame, Compson ran her own production company. She spent some time performing in London and returned to the USA in time for the talkie revolution. Compson was nominated for Best Actress in the first Academy Awards for her role in The Barker (1928). She continued to perform in well-received films throughout 1930s, but the studios considered her “old” by the age of 40, and her roles diminished.
Freddie knows she is attractive, and uses this to her advantage in negotiating a salary for the band. It is not Freddie’s charm or musical skills that elevate the band’s fortunes however, but the fact that “everyone want to see the girl the prince kissed.” Mike’s jealousy and desire to control Freddie is also a driving factor of the plot.
As the band’s fortunes rise, so does the quality of the food in the establishments in which they are playing. At Mr Keppel’s restaurant, Mr Keppel (Joseph Cawthorn) is bumbling and sweet. He is contrasted by the tall and grim-faced, ever displeased Mr Happy (Ned Sparks).
Finally, Freddie and Mike make amends and thanks to the Prince of Hungary, they have their own club – Joyzelle’s. The club opening is resplendent. The Four Seasons are dressed in tails and top hats and Freddie wears a stunning sparkly flapper dress. The night is complete with a chorus of dancing girls. The scene is wonderfully filmed, with some innovative, if a little clunky, shots of the girls running toward the camera one by one. The scene is elevated by the club’s geometric patterns which pop on the screen.
The dancing was choreographed by Pearl Eaton. She was the third of seven siblings, most of whom had prominent careers in show business. Eaton started out as a dancer in the Ziegfeld Follies, where she also worked as a choreographer. After moving to Hollywood in 1928, Eaton became a choreographer for RKO. Her film credits include Street Girl (1929), Rio Rita (1929), Hit the Deck (1930), Love Comes Along (1930) and Dance, Girl, Dance (1933). Tragically, Eaton was later found murdered in her home, and the murder was never solved.
Street Girl closes with Freddie and the Four Seasons playing joyfully on stage. A sweet ending for a sweet film.
In the early years of film, Murfin moved west and remained in Hollywood for over twenty years. According to the Women Film Pioneers Project, Murfin was incredibly business savvy and retained the rights to her stage plays, and later negotiated to retain the television rights too. Murfin was a founding member of the Screenwriters’ Guild, and wrote its original rules and guidelines. Some of her 60+ film credits include Street Girl (1929), Smilin’ Through (1932), Little Women (1933), Roberta (1935), The Women (1939), and Pride and Prejudice (1940). Fascinating biographies can be found here and here.
The film opens with the Four Seasons (John Harron, Ned Sparks, Jack Oakie, and Guy Buccola) playing at a crowded café, where the owner laments “Come for the band. The food is terrible.” The scene is lively and fun, with great use of sound.
The band head home and find a distressed Freddie on their doorstep – “Only three million dames in New York and he picked the one without a home.” Mike (John Harron) invites her in, and seeing the state of disarray the boys live in, Freddie offers to take care of things – “I darn! I darn all of you!”
Betty Compson as Freddie is charming and sweet. She was a popular and talented actress who appeared in over two hundred films. By the age of 16 she was touring as a violin soloist on the vaudeville circuit. After being spotted by a producer, Compson went into film and became a versatile silent film actress. During this time, at the peak of her fame, Compson ran her own production company. She spent some time performing in London and returned to the USA in time for the talkie revolution. Compson was nominated for Best Actress in the first Academy Awards for her role in The Barker (1928). She continued to perform in well-received films throughout 1930s, but the studios considered her “old” by the age of 40, and her roles diminished.
Freddie knows she is attractive, and uses this to her advantage in negotiating a salary for the band. It is not Freddie’s charm or musical skills that elevate the band’s fortunes however, but the fact that “everyone want to see the girl the prince kissed.” Mike’s jealousy and desire to control Freddie is also a driving factor of the plot.
As the band’s fortunes rise, so does the quality of the food in the establishments in which they are playing. At Mr Keppel’s restaurant, Mr Keppel (Joseph Cawthorn) is bumbling and sweet. He is contrasted by the tall and grim-faced, ever displeased Mr Happy (Ned Sparks).
Finally, Freddie and Mike make amends and thanks to the Prince of Hungary, they have their own club – Joyzelle’s. The club opening is resplendent. The Four Seasons are dressed in tails and top hats and Freddie wears a stunning sparkly flapper dress. The night is complete with a chorus of dancing girls. The scene is wonderfully filmed, with some innovative, if a little clunky, shots of the girls running toward the camera one by one. The scene is elevated by the club’s geometric patterns which pop on the screen.
The dancing was choreographed by Pearl Eaton. She was the third of seven siblings, most of whom had prominent careers in show business. Eaton started out as a dancer in the Ziegfeld Follies, where she also worked as a choreographer. After moving to Hollywood in 1928, Eaton became a choreographer for RKO. Her film credits include Street Girl (1929), Rio Rita (1929), Hit the Deck (1930), Love Comes Along (1930) and Dance, Girl, Dance (1933). Tragically, Eaton was later found murdered in her home, and the murder was never solved.
Street Girl closes with Freddie and the Four Seasons playing joyfully on stage. A sweet ending for a sweet film.
Ad featured in several editions of Motion Picture News
Throughout Street Girl, the crowd scenes and song and dance numbers are innovative and lively with excellent frame composition. By comparison, the smaller and dialogue-heavy scenes are stilted and lack the technical skill of the larger moments. Overall the film suffers from slow pacing, but it has moments of charm.
In an attempt to tap into foreign non-English speaking markets, RKO announced Street Girl would be the first movie to have “prologues,” explanatory shorts spoken by actors in the relevant language. It was planned these “prologues” would take place between each reel.
Although Street Girl has not been released on DVD, the film was screened on Turner Classic Movies and made available online for a brief period. In October 2015, TCM partnered with Women in Film in LA to launch Trailblazing Women. The series was dedicated to promoting the contribution of women to film. There was talk of a permanent Trailblazing Women section on TCM’s website, but it is not yet available.
Street Girl was a huge success for RKO, and along with Rio Rita, heralded a bright future for movie musicals as fun entertainment.
In an attempt to tap into foreign non-English speaking markets, RKO announced Street Girl would be the first movie to have “prologues,” explanatory shorts spoken by actors in the relevant language. It was planned these “prologues” would take place between each reel.
Although Street Girl has not been released on DVD, the film was screened on Turner Classic Movies and made available online for a brief period. In October 2015, TCM partnered with Women in Film in LA to launch Trailblazing Women. The series was dedicated to promoting the contribution of women to film. There was talk of a permanent Trailblazing Women section on TCM’s website, but it is not yet available.
Street Girl was a huge success for RKO, and along with Rio Rita, heralded a bright future for movie musicals as fun entertainment.
Motion Picture News (Oct, 1929)
- Published on
Syncopation was a hit at the box office, but the critics, and film historians, hated it. With this in mind, it was with some trepidation that I sat down to watch RKO’s first film. I was pleasantly surprised by how funny and watchable this film remains after 86 years.
Date of Release: 24 March 1929
Studio: RKO
Director: Bert Glennon
Screenplay: Frances Agnew, Gene Markey, Paul S. Haschke
Music: Sammy Stept, Bud Green, Clifford Grey, Richard Myers, Leo Robin, Herman Ruby
Leading Actors: Barbara Bennett, Bobby Watson, Ian Hunter, Morton Downey, Osgood Perkins, Mackenzie Ward, Vera Teasdale, Dorothy Lee, Fred Waring and his Pennsylvanians
New Studio, New Sound
The Radio-Keith-Orpheum Corporation, RKO, was formed in 1928 following a merger of three existing companies that specialized in radio, theatre and film. RKO’s head, David Sarnoff, saw the potential of radio and cinema working in tandem, and as a result Syncopation was heavily advertised on radio, along with the traditional print media blitz.
RKO also developed an innovative “touring system,” where sound equipment was brought to previously unwired theaters. For many people outside of New York, Syncopation was the first film they had seen with sound. Film Daily (October 8, 1929) reported the film as the first talkie to be screened in South Africa. The massive publicity and “touring system” ensured Syncopation broke box office records.
Despite what the critics said, the sound in Syncopation is surprisingly good. This may be due to the fact that RKO used its own Photophone sound system, which recorded sound on film, making it a flexible means of recording. Vitaphone, which was used more widely, recorded sound on discs, and required movie houses to sync up the discs with the film. An excellent explanation of the history and differences between the various sound systems can be found at Film Sound. Professor Bethany Jacobson also provides a useful account here.
Unkind Opinions
Following a disastrous performance, a character in Syncopation laments, "Read tomorrow's papers, public opinion can be very unkind." Despite its commercial success, the critics were not kind to Syncopation. The NY Times Review was critical of the plot and sound, while Film Daily also lamented the story and poor acting. Film historian Richard Barrios described Syncopation as “dowdy,” with “undistinguished” songs and an “ordinary and derivative” plot, while Richard Koszarski lamented the film’s clunkiness.
It’s hard to understand why the critics were so harsh. Syncopation is funny, well paced, and features a strong cast, and great music. Director Bert Glennon is better remembered as a cinematographer, and worked on over 100 films, primarily for 20th Century-Fox. His most well-known film, The House of Wax (1953), was the first major color 3D film. His skill for the visual is not lost in Syncopation, and the shots and frame compositions are clever and highly watchable.
Stepping High
Based on Gene Markey’s novel Stepping High, the film centers around a married dancing duo, Benny and Flo. Flo desires more than their working class life, and leaves her devoted husband to find it. After being wooed by a wealthy patron, Flo realizes Benny is the best partner for her both on and off the stage, and returns.
Date of Release: 24 March 1929
Studio: RKO
Director: Bert Glennon
Screenplay: Frances Agnew, Gene Markey, Paul S. Haschke
Music: Sammy Stept, Bud Green, Clifford Grey, Richard Myers, Leo Robin, Herman Ruby
Leading Actors: Barbara Bennett, Bobby Watson, Ian Hunter, Morton Downey, Osgood Perkins, Mackenzie Ward, Vera Teasdale, Dorothy Lee, Fred Waring and his Pennsylvanians
New Studio, New Sound
The Radio-Keith-Orpheum Corporation, RKO, was formed in 1928 following a merger of three existing companies that specialized in radio, theatre and film. RKO’s head, David Sarnoff, saw the potential of radio and cinema working in tandem, and as a result Syncopation was heavily advertised on radio, along with the traditional print media blitz.
RKO also developed an innovative “touring system,” where sound equipment was brought to previously unwired theaters. For many people outside of New York, Syncopation was the first film they had seen with sound. Film Daily (October 8, 1929) reported the film as the first talkie to be screened in South Africa. The massive publicity and “touring system” ensured Syncopation broke box office records.
Despite what the critics said, the sound in Syncopation is surprisingly good. This may be due to the fact that RKO used its own Photophone sound system, which recorded sound on film, making it a flexible means of recording. Vitaphone, which was used more widely, recorded sound on discs, and required movie houses to sync up the discs with the film. An excellent explanation of the history and differences between the various sound systems can be found at Film Sound. Professor Bethany Jacobson also provides a useful account here.
Unkind Opinions
Following a disastrous performance, a character in Syncopation laments, "Read tomorrow's papers, public opinion can be very unkind." Despite its commercial success, the critics were not kind to Syncopation. The NY Times Review was critical of the plot and sound, while Film Daily also lamented the story and poor acting. Film historian Richard Barrios described Syncopation as “dowdy,” with “undistinguished” songs and an “ordinary and derivative” plot, while Richard Koszarski lamented the film’s clunkiness.
It’s hard to understand why the critics were so harsh. Syncopation is funny, well paced, and features a strong cast, and great music. Director Bert Glennon is better remembered as a cinematographer, and worked on over 100 films, primarily for 20th Century-Fox. His most well-known film, The House of Wax (1953), was the first major color 3D film. His skill for the visual is not lost in Syncopation, and the shots and frame compositions are clever and highly watchable.
Stepping High
Based on Gene Markey’s novel Stepping High, the film centers around a married dancing duo, Benny and Flo. Flo desires more than their working class life, and leaves her devoted husband to find it. After being wooed by a wealthy patron, Flo realizes Benny is the best partner for her both on and off the stage, and returns.
Writer Frances Agnew, Motion Picture Acting
The screenplay written by Frances Agnew, is surprisingly tight and full of great comedy (though unfortunately, there are several homophobic references). There is often scant information about screenwriters, and this is even more true of screenwriters who happened to be women. As Kevin Brownlow writes in his introduction to Frederica Maas’ The Shocking Miss Pilgrim: A Writer in Early Hollywood, women working in Hollywood throughout the 1920s and 1930s were often treated “disgracefully” and not publicly recognized for their talents.
Frances Agnew was a screenwriter for at least 11 films in the 1920s and 1930s. Author and fellow screenwriter Frederica Maas met Agnew around this time, and described her a “a spinster nearing fifty” who “lived in a small hotel on Hollywood Boulevard.” According to Agnew’s own book published in 1913, she was an “author, actress, and photoplayer”. The book, written whilst working for famed Hollywood movie columnist Louella Parsons, entitled Motion Picture Acting: How to Prepare for Photoplaying, What Qualifications are Necessary, How to Secure an Engagement, Salaries Paid to Photoplayers, is a fascinating insight into early film acting.
Leading Players
The entire cast is strong and well cast. Barbara Bennett puts in a solid performance as the social climbing Flo, and her character is an interesting one. The social conventions of the day suggest a woman leaving her husband to pursue her dreams is highly unacceptable, but we never truly dislike Flo. We see her frustrations in trying to achieve more than her social class allows, and how limited her options are without a partner. Despite the attention and lavish gifts presented by the wealthy Winston (played by Ian Hunter), Flo remains loyal to Benny. Perhaps this was all too modern for the critics of the day who dismissed the story as fluff.
Barbara Bennett was the middle child of a highly theatrical family, and despite early success as a dancer, she was not as successful or well-known as her two sisters, Constance and Joan Bennett. Barbara appeared in several Broadway shows, and a few unsuccessful Hollywood musicals including Mother’s Boy, and Love Among the Millionaires.
Bobby Watson is charming and funny as her doting husband, Benny. Bobby Watson was a vaudeville comedian famous for playing drag roles. He went on to much success in Hollywood, and became most well-known for playing Hitler after being cast as the dictator in 9 different films. He played the (uncredited) diction coach in the “Moses Supposes” number in Singin’ in the Rain!
Benny and Flo never sing, but their comedic sidekick friends, Lew and Peggy, fill the void. Played with great charisma by Morton Downey and Peggy Lee, Lew and Peggy appear at opportune moments to play and sing at Benny and Flo’s piano. Morton Downer was a well-regarded tenor, known as the “Irish Nightingale,” and was Barbara Bennet’s real life husband. Syncopation marked the film debut for actress Dorothy Lee who went on to appear in the highly enjoyable Rio Rita and several Wheeley & Woolsey comedies.
The other supporting characters, wealthy New York socialites, are played with panache by Osgood Perkins, Mackenzie Ward, and Veree Teasdale. Syncopation is one of the few movie musicals film I’ve seen in 1929 to feature an African American actor, the role of Mammy — a help maid to Flo, is unfortunately uncredited.
Frances Agnew was a screenwriter for at least 11 films in the 1920s and 1930s. Author and fellow screenwriter Frederica Maas met Agnew around this time, and described her a “a spinster nearing fifty” who “lived in a small hotel on Hollywood Boulevard.” According to Agnew’s own book published in 1913, she was an “author, actress, and photoplayer”. The book, written whilst working for famed Hollywood movie columnist Louella Parsons, entitled Motion Picture Acting: How to Prepare for Photoplaying, What Qualifications are Necessary, How to Secure an Engagement, Salaries Paid to Photoplayers, is a fascinating insight into early film acting.
Leading Players
The entire cast is strong and well cast. Barbara Bennett puts in a solid performance as the social climbing Flo, and her character is an interesting one. The social conventions of the day suggest a woman leaving her husband to pursue her dreams is highly unacceptable, but we never truly dislike Flo. We see her frustrations in trying to achieve more than her social class allows, and how limited her options are without a partner. Despite the attention and lavish gifts presented by the wealthy Winston (played by Ian Hunter), Flo remains loyal to Benny. Perhaps this was all too modern for the critics of the day who dismissed the story as fluff.
Barbara Bennett was the middle child of a highly theatrical family, and despite early success as a dancer, she was not as successful or well-known as her two sisters, Constance and Joan Bennett. Barbara appeared in several Broadway shows, and a few unsuccessful Hollywood musicals including Mother’s Boy, and Love Among the Millionaires.
Bobby Watson is charming and funny as her doting husband, Benny. Bobby Watson was a vaudeville comedian famous for playing drag roles. He went on to much success in Hollywood, and became most well-known for playing Hitler after being cast as the dictator in 9 different films. He played the (uncredited) diction coach in the “Moses Supposes” number in Singin’ in the Rain!
Benny and Flo never sing, but their comedic sidekick friends, Lew and Peggy, fill the void. Played with great charisma by Morton Downey and Peggy Lee, Lew and Peggy appear at opportune moments to play and sing at Benny and Flo’s piano. Morton Downer was a well-regarded tenor, known as the “Irish Nightingale,” and was Barbara Bennet’s real life husband. Syncopation marked the film debut for actress Dorothy Lee who went on to appear in the highly enjoyable Rio Rita and several Wheeley & Woolsey comedies.
The other supporting characters, wealthy New York socialites, are played with panache by Osgood Perkins, Mackenzie Ward, and Veree Teasdale. Syncopation is one of the few movie musicals film I’ve seen in 1929 to feature an African American actor, the role of Mammy — a help maid to Flo, is unfortunately uncredited.
Song and Dance
With music by a group of highly prolific and successful writers, including Sam Stept who wrote hundreds of songs such as “Don’t Sit Under the Apple Tree (With Anyone Else But Me)," the score contains several contrasting numbers that make for a fun and very listenable soundtrack. Although some of the songs are contrived, particularly the scenes where Lew and Peggy miraculously appear to vocalize the emotions of the scene, the music has heart.
As mentioned in previous posts, most music in films from this period is performed on camera by musicians in a performance setting. “I’ll Always Be in Love” is a rare example of music being used to underscore a character’s emotions — in this case, Benny’s pain when Flo announces she is leaving him. The touching final scene of the film is also underscored to great effect.
“My Inspiration is You” and “Bell Song” are sweet romantic songs with voice and piano. They are contrasted by the big band jazz numbers performed by Fred Waring’s Pennsylvanians. A real life jazz group, Fred Waring’s Pennsylvanians performed widely, appearing on stage, radio, film and television. Throughout the 1920s, the Pennsylvanians’ records were top-sellers, and the group remained popular into the 1950s. Their popularity is easy to understand from the performances captured in Syncopation. “Ah, Sweet Mystery of Life,” “Tin Pan Parade,” and “Jericho” are terrific jazz numbers, complete with entertaining choreography from the band.
Aside from the band choreography, the only dancing to appear in the film are two club scenes featuring Benny and Flo's routine. Although the dancing is not slick by modern standards, the duets are earnest and contain some impressive lifts. The dancing is filmed from a wide angle, with few close ups, allowing us to see the band and Flo and Benny’s bodies in full.
Backstage Musical Comedies
By June 1929, audiences on the coasts were growing tired of backstage musical comedies and profits started to dip. Variety reported that theater “Managers are considering a joint protest to the producers” as the “public had had so much similar film fare during recent months.”
Despite the lack of critical enthusiasm, with its fun score, humorous screenplay, and strong performances, Syncopation is a solid contribution to the early movie musical.
With music by a group of highly prolific and successful writers, including Sam Stept who wrote hundreds of songs such as “Don’t Sit Under the Apple Tree (With Anyone Else But Me)," the score contains several contrasting numbers that make for a fun and very listenable soundtrack. Although some of the songs are contrived, particularly the scenes where Lew and Peggy miraculously appear to vocalize the emotions of the scene, the music has heart.
As mentioned in previous posts, most music in films from this period is performed on camera by musicians in a performance setting. “I’ll Always Be in Love” is a rare example of music being used to underscore a character’s emotions — in this case, Benny’s pain when Flo announces she is leaving him. The touching final scene of the film is also underscored to great effect.
“My Inspiration is You” and “Bell Song” are sweet romantic songs with voice and piano. They are contrasted by the big band jazz numbers performed by Fred Waring’s Pennsylvanians. A real life jazz group, Fred Waring’s Pennsylvanians performed widely, appearing on stage, radio, film and television. Throughout the 1920s, the Pennsylvanians’ records were top-sellers, and the group remained popular into the 1950s. Their popularity is easy to understand from the performances captured in Syncopation. “Ah, Sweet Mystery of Life,” “Tin Pan Parade,” and “Jericho” are terrific jazz numbers, complete with entertaining choreography from the band.
Aside from the band choreography, the only dancing to appear in the film are two club scenes featuring Benny and Flo's routine. Although the dancing is not slick by modern standards, the duets are earnest and contain some impressive lifts. The dancing is filmed from a wide angle, with few close ups, allowing us to see the band and Flo and Benny’s bodies in full.
Backstage Musical Comedies
By June 1929, audiences on the coasts were growing tired of backstage musical comedies and profits started to dip. Variety reported that theater “Managers are considering a joint protest to the producers” as the “public had had so much similar film fare during recent months.”
Despite the lack of critical enthusiasm, with its fun score, humorous screenplay, and strong performances, Syncopation is a solid contribution to the early movie musical.