- Published on
Released on 30th December 1929, it's the final film of 1929! And we're going out with the blaze of a monumental flop.
Eddie Dowling and Betty Compson in Motion Picture (March 1930)
Date of Release: Dec 30, 1929
Studio: Sono-Art
Director: Renaud Hoffman
Screenplay: Henry McCarty, Renaud Hoffman
Music: James Brockman, Eddie Dowling, James F. Hanley, Ballard MacDonald, Joseph McCarthy
Leading Actors: Eddie Dowling (Eddie Williams), Betty Compson (Helen Williams),
Frankie Darro (Jean Williams), Henry B. Walthall (Burke), William Davidson (District Attorney), Ferdinand Schumann-Heink (Carl Hummel), Eddie Conrad (Abie), Frank Sabini (Tony), Broderick O'Farrell, The Rounders
Blaze o’ Glory was based on Thomas Alexander Boyd’s short story “The Long Shot”. It combined several genres, war, backstage, and crime drama, into one unbelievable tale. The plot followed Eddie Williams (Eddie Dowling) a former Follies star who has returned from serving in the War. One night whilst waiting for his wife Helen (Betty Compson) to return home, he sees her talking to a man in the street below. Believing Helen is having an affair, Eddie shoots the man. Eddie is arrested and put on trial for murder. His lawyer Burke (Henry B. Walthall) is able to have him exonerated, and all ends happily.
Sono-Art was one of the first studios to make a the same movie twice using different casts - one cast speaking in English, and the other in Spanish. The Spanish-language version was called Sombras de Gloria, and starred José “the Irving Berlin of South America” Bohr, and Mona Rico. The international cast and crew hailed from a diverse range of countries including Venezuela, Columbia, Argentina, Mexico, Portugal, Chile, Peru, and the Philippines.
Both versions were filmed at the Metropolitan Studios in Los Angeles.
Blaze o’ Glory opened at the George M. Cohan Theatre in New York. Tickets for the premier cost an outrageous $11 each. New York Times film reviewer Mordaunt Hall lamented “whether the entertainment was worth that depends upon how much tugging at the heart strings one can stand without becoming peevish.”
As reported by Variety, Blaze o’ Glory was edited down after opening night reviews panned the film. The edits could not save it, and the film played to mediocre houses.
The Film Daily described Blaze o’ Glory as “dull and lacking in continuity,” and Motion Picture News called it “hokum.” Photoplay stated it was “One of those leopard pictures… spotty.”
While the film overall received lackluster reviews, its stars fared better. The National Board of Review stated Eddie Dowling’s singing and acting were “worthy of commendation.”
Eddie Dowling was an incredibly influential and multi-talented performer who throughout his forty year career wrote, composed, directed, and produced for stage and screen. After starting out in vaudeville, Dowling went on to perform with the Ziegfeld Follies. He wrote and starred in the hit Broadway musical Sally, Irene and Mary, which was later adapted into a Hollywood film. Dowling appeared in over thirty Broadway shows as a principal player, also often producing, writing, and directing. He also appeared in Sono-Art’s first, and more successful 1929 musical, The Rainbow Man.
Betty Compson was described as “excellent” in her role. She appeared in several musicals in 1929 including Weary River, On With the Show, The Time, The Place and the Girl, Street Girl, and The Show of Shows.
Child actor Frankie Darrow received good notices, with Variety claiming “The kid is a real actor.” Born into a circus family, Darrow (also known as Frankie Darro) started performing at a very young age. As a child actor, he made many appearances in silent films, particularly in 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, more famously known as Judy Garland.
The highest praise was reserved for Henry B. Walthall, with several critics giving special mention to his moving courtroom speech. Walthall started out as a stage actor and appeared in early silent films. His appearance in D. W. Griffith’s The Birth of a Nation led to consistent leading roles and he made a successful transition to talkies. Walthall continued to appear in films until 1936. Over the course of his career, he appeared in over 300 films including Klondike (1932), Me and My Gal (1932), and A Tale of Two Cities (1935).
Few reviewers mentioned the music, except to note that singing only occurred in flashbacks and that the songs were not particularly memorable. Mordaunt Hall noted in his New York Times review that Eddie Dowling was “mysteriously” accompanied by a full orchestra, suggesting that the film did not try to explain away a character breaking into song. Hall also noted that “The reproduction of the voices is quite life-like and it is a pity that the story itself is not so.”
The score featured the songs “What Do I Care?,” the novelty comedy song “The Man from the South With the Cigar in His Mouth,” ”Wrapped in a Red, Red, Rose,” “Doughboy’s Lullaby,” “Put a Little Salt on the Bluebird’s Tail,” and "Welcome Home."
The Spanish-language version also featured "Canoodle, Oodle Along,” and "Oh Paris."
Despite the critics' lack of enthusiasm, the songs sold well to the general public. The music writing team, James Brockman, Eddie Dowling, James Hanley, Ballard MacDonald, and Joseph McCarthy went on to continued successes.
Russian-born James Brockman started out as an actor before becoming a tunesmith for Hollywood films. His songs include “I’m Forever Blowing Bubbles,” “I’m Like a Ship Without a Sail,” and “Down Among the Sheltering Palms.” Brockman was inducted into the Songwriters Hall of Fame in 1970.
Composer James Hanley wrote mostly for the stage, and is most famously remembered for composing “Zing Went the Strings of My Heart”.
Ballard MacDonald was a prolific composer and lyricist for stage and film. Songs include “Beautiful Ohio,” “Rose of Washington Square,” “Clap Hands! Here Comes Charley!” and “There’s a Light That’s Burning in the Window of the Little House Upon the Hill.” MacDonald also contributed music to My Man (1928) and It’s a Great Life (1929).
Joseph McCarthy started out as a music publisher before turning his skills to writing for Broadway shows. He wrote for Broadway shows including Irene, the Ziegfeld Follies, and Rio Rita (which was also adapted into a film in 1929), and some of his songs include “You Made Me Love You,” “Oui, Oui, Marie,” and “I’m Always Chasing Rainbows.” McCarthy was inducted into the Songwriters Hall of Fame in 1970.
Studio: Sono-Art
Director: Renaud Hoffman
Screenplay: Henry McCarty, Renaud Hoffman
Music: James Brockman, Eddie Dowling, James F. Hanley, Ballard MacDonald, Joseph McCarthy
Leading Actors: Eddie Dowling (Eddie Williams), Betty Compson (Helen Williams),
Frankie Darro (Jean Williams), Henry B. Walthall (Burke), William Davidson (District Attorney), Ferdinand Schumann-Heink (Carl Hummel), Eddie Conrad (Abie), Frank Sabini (Tony), Broderick O'Farrell, The Rounders
Blaze o’ Glory was based on Thomas Alexander Boyd’s short story “The Long Shot”. It combined several genres, war, backstage, and crime drama, into one unbelievable tale. The plot followed Eddie Williams (Eddie Dowling) a former Follies star who has returned from serving in the War. One night whilst waiting for his wife Helen (Betty Compson) to return home, he sees her talking to a man in the street below. Believing Helen is having an affair, Eddie shoots the man. Eddie is arrested and put on trial for murder. His lawyer Burke (Henry B. Walthall) is able to have him exonerated, and all ends happily.
Sono-Art was one of the first studios to make a the same movie twice using different casts - one cast speaking in English, and the other in Spanish. The Spanish-language version was called Sombras de Gloria, and starred José “the Irving Berlin of South America” Bohr, and Mona Rico. The international cast and crew hailed from a diverse range of countries including Venezuela, Columbia, Argentina, Mexico, Portugal, Chile, Peru, and the Philippines.
Both versions were filmed at the Metropolitan Studios in Los Angeles.
Blaze o’ Glory opened at the George M. Cohan Theatre in New York. Tickets for the premier cost an outrageous $11 each. New York Times film reviewer Mordaunt Hall lamented “whether the entertainment was worth that depends upon how much tugging at the heart strings one can stand without becoming peevish.”
As reported by Variety, Blaze o’ Glory was edited down after opening night reviews panned the film. The edits could not save it, and the film played to mediocre houses.
The Film Daily described Blaze o’ Glory as “dull and lacking in continuity,” and Motion Picture News called it “hokum.” Photoplay stated it was “One of those leopard pictures… spotty.”
While the film overall received lackluster reviews, its stars fared better. The National Board of Review stated Eddie Dowling’s singing and acting were “worthy of commendation.”
Eddie Dowling was an incredibly influential and multi-talented performer who throughout his forty year career wrote, composed, directed, and produced for stage and screen. After starting out in vaudeville, Dowling went on to perform with the Ziegfeld Follies. He wrote and starred in the hit Broadway musical Sally, Irene and Mary, which was later adapted into a Hollywood film. Dowling appeared in over thirty Broadway shows as a principal player, also often producing, writing, and directing. He also appeared in Sono-Art’s first, and more successful 1929 musical, The Rainbow Man.
Betty Compson was described as “excellent” in her role. She appeared in several musicals in 1929 including Weary River, On With the Show, The Time, The Place and the Girl, Street Girl, and The Show of Shows.
Child actor Frankie Darrow received good notices, with Variety claiming “The kid is a real actor.” Born into a circus family, Darrow (also known as Frankie Darro) started performing at a very young age. As a child actor, he made many appearances in silent films, particularly in 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, more famously known as Judy Garland.
The highest praise was reserved for Henry B. Walthall, with several critics giving special mention to his moving courtroom speech. Walthall started out as a stage actor and appeared in early silent films. His appearance in D. W. Griffith’s The Birth of a Nation led to consistent leading roles and he made a successful transition to talkies. Walthall continued to appear in films until 1936. Over the course of his career, he appeared in over 300 films including Klondike (1932), Me and My Gal (1932), and A Tale of Two Cities (1935).
Few reviewers mentioned the music, except to note that singing only occurred in flashbacks and that the songs were not particularly memorable. Mordaunt Hall noted in his New York Times review that Eddie Dowling was “mysteriously” accompanied by a full orchestra, suggesting that the film did not try to explain away a character breaking into song. Hall also noted that “The reproduction of the voices is quite life-like and it is a pity that the story itself is not so.”
The score featured the songs “What Do I Care?,” the novelty comedy song “The Man from the South With the Cigar in His Mouth,” ”Wrapped in a Red, Red, Rose,” “Doughboy’s Lullaby,” “Put a Little Salt on the Bluebird’s Tail,” and "Welcome Home."
The Spanish-language version also featured "Canoodle, Oodle Along,” and "Oh Paris."
Despite the critics' lack of enthusiasm, the songs sold well to the general public. The music writing team, James Brockman, Eddie Dowling, James Hanley, Ballard MacDonald, and Joseph McCarthy went on to continued successes.
Russian-born James Brockman started out as an actor before becoming a tunesmith for Hollywood films. His songs include “I’m Forever Blowing Bubbles,” “I’m Like a Ship Without a Sail,” and “Down Among the Sheltering Palms.” Brockman was inducted into the Songwriters Hall of Fame in 1970.
Composer James Hanley wrote mostly for the stage, and is most famously remembered for composing “Zing Went the Strings of My Heart”.
Ballard MacDonald was a prolific composer and lyricist for stage and film. Songs include “Beautiful Ohio,” “Rose of Washington Square,” “Clap Hands! Here Comes Charley!” and “There’s a Light That’s Burning in the Window of the Little House Upon the Hill.” MacDonald also contributed music to My Man (1928) and It’s a Great Life (1929).
Joseph McCarthy started out as a music publisher before turning his skills to writing for Broadway shows. He wrote for Broadway shows including Irene, the Ziegfeld Follies, and Rio Rita (which was also adapted into a film in 1929), and some of his songs include “You Made Me Love You,” “Oui, Oui, Marie,” and “I’m Always Chasing Rainbows.” McCarthy was inducted into the Songwriters Hall of Fame in 1970.
German-Argentinian actor Jose Bohr in Cinemundial (December 1929)
On 15 February 1930, the Spanish-language version of Blaze o’ Glory, Sombras de Gloria, became the first talkie to be played the newly wired-for-sound 55th Street Playhouse. The premier was reportedly attended by fifteen consuls from South American countries.
Sombras de Gloria also received negative reviews, though The Film Daily noted that José Bohr gave a good performance in the lead role. Born in Germany, raised in Chile, and naturalized as a Argentinian, Bohr was a popular singer and composer.
Despite hopes the film would play well in Spanish-speaking countries, Sombras de Gloria was also a monumental flop internationally.
Both Blaze o’ Glory and Sombras de Gloria are considered lost films.
Sombras de Gloria also received negative reviews, though The Film Daily noted that José Bohr gave a good performance in the lead role. Born in Germany, raised in Chile, and naturalized as a Argentinian, Bohr was a popular singer and composer.
Despite hopes the film would play well in Spanish-speaking countries, Sombras de Gloria was also a monumental flop internationally.
Both Blaze o’ Glory and Sombras de Gloria are considered lost films.
- Published on
Nothing could help that picture."
Date of Release: Dec 9, 1929
Studio: Prudence Pictures, distributed by Sono Art
Director: Mark Sandrich
Screenplay: Mark Sandrich, Nat Carr, Darby Aaronson
Music: Al Piantadosi, Nat Carr, Jack Glogau
Leading Actors: Nat Carr (J. Pierpont Ginsburg), Fay Marbé (Adore Renée), Hope Sutherland (Ruth), Sherline Oliver (John Applegate), Edward Le Saint (Edward Hamilton), Gilbert Marbe (Reginald Whitlock), John Troughton (Butler), Al Goodman and His Orchestra, Leonidoff Ballet
At the end of the screening of “Is Love a Sin?”, the film within a film, a producer declares, “nothing could help that picture.” The same can be said for The Talk of Hollywood.
Resplendent with racism and sexism, a plodding script, and lackluster performances, The Talk of Hollywood is an abysmal film. Independently produced by Sam Zierler through Prudence Pictures, ironically formerly known as Excellent Pictures, the film was completed in May but not released until December. Perhaps they never should have released it.
The film opens with J. Pierpont Ginsburg (Nat Carr), a Jewish film producer, performing exercises to a jaunty Irish jig. Just as soon as it has begun, the comedy ends. We learn that Ginsburg is a twenty year film veteran, and he is attempting to make his first talkie. He has placed his entire savings on the project, the film is already over budget, and the star refuses to wake up before noon.
John Applegate (Sherline Oliver), Ginsberg’s lawyer, is doing everything he can to save Ginsberg’s fortune. He is also in love with, of course, Ginsberg’s sappy daughter Ruth (Hope Sutherland). Fearing she will leave her widowed father alone in the world, Ruth declines Applegate's proposal.
Thirty minutes into the The Talk of Hollywood we finally see our first musical number, “No, No, Baby.” The song is resplendent with French cliches, and along with "Goodnight in the Morning," does nothing to promote the talents of torch song singer Fay Marbé.
The ensemble, credited as the Leonidoff Ballet, are interesting to watch but their appearance is too brief. The Leonidoff Ballet may be dancers from Radio City Hall, where producer Leon Leonidoff was known for his extravagant and lavish dances. It's a shame his work is not evident here.
The dancing hints at a can-can, but the (uncredited) choreography is a poor imitation. The song and dance numbers are further undermined by poor lighting, and amateur filming.
At the eventual screening of Ginsberg’s talkie, the pacing picks up. The screening is a disaster. The drunk projectionist smashes a sound disc, which causes the sound and image to play out of sync. The humor of mismatched dialogue and image unfortunately relies on dated racist and sexist stereotypes, with a white woman saying the lines of an African American character - who is of course lamenting life in the cotton fields.
The invited audience of producers and distributors are unforgiving about the sound mishap, and declare “Is Love a Sin?” the worst talkie ever made. Ginsburg sits miserably, fearing he has lost everything.
At the last moment, a distributor calls to order "the comedy and five more just like it,” Ruth finally agrees to marry Applegate, and everyone is happy.
The Talk of Hollywood received scathing reviews, with Variety calling it "badder than bad." The critics derided the script, musical numbers, and performances, and even in 1929, considered the racism in bad taste.
Surprisingly, director Mark Sandrich went on to become a prominent musical film director, with films such as The Gay Divorcee (1934), Top Hat (1935), Shall We Dance (1937) and Holiday Inn (1942) to his name.
Only two cast members, Edward Le Saint and Nat Carr, continued to appear in films after 1929, though usually in small or uncredited roles.
The best thing that can be said about The Talk of Hollywood is that it is short, running just over an hour. If you feel like throwing away an hour of your life, the film is available to watch on YouTube.
Studio: Prudence Pictures, distributed by Sono Art
Director: Mark Sandrich
Screenplay: Mark Sandrich, Nat Carr, Darby Aaronson
Music: Al Piantadosi, Nat Carr, Jack Glogau
Leading Actors: Nat Carr (J. Pierpont Ginsburg), Fay Marbé (Adore Renée), Hope Sutherland (Ruth), Sherline Oliver (John Applegate), Edward Le Saint (Edward Hamilton), Gilbert Marbe (Reginald Whitlock), John Troughton (Butler), Al Goodman and His Orchestra, Leonidoff Ballet
At the end of the screening of “Is Love a Sin?”, the film within a film, a producer declares, “nothing could help that picture.” The same can be said for The Talk of Hollywood.
Resplendent with racism and sexism, a plodding script, and lackluster performances, The Talk of Hollywood is an abysmal film. Independently produced by Sam Zierler through Prudence Pictures, ironically formerly known as Excellent Pictures, the film was completed in May but not released until December. Perhaps they never should have released it.
The film opens with J. Pierpont Ginsburg (Nat Carr), a Jewish film producer, performing exercises to a jaunty Irish jig. Just as soon as it has begun, the comedy ends. We learn that Ginsburg is a twenty year film veteran, and he is attempting to make his first talkie. He has placed his entire savings on the project, the film is already over budget, and the star refuses to wake up before noon.
John Applegate (Sherline Oliver), Ginsberg’s lawyer, is doing everything he can to save Ginsberg’s fortune. He is also in love with, of course, Ginsberg’s sappy daughter Ruth (Hope Sutherland). Fearing she will leave her widowed father alone in the world, Ruth declines Applegate's proposal.
Thirty minutes into the The Talk of Hollywood we finally see our first musical number, “No, No, Baby.” The song is resplendent with French cliches, and along with "Goodnight in the Morning," does nothing to promote the talents of torch song singer Fay Marbé.
The ensemble, credited as the Leonidoff Ballet, are interesting to watch but their appearance is too brief. The Leonidoff Ballet may be dancers from Radio City Hall, where producer Leon Leonidoff was known for his extravagant and lavish dances. It's a shame his work is not evident here.
The dancing hints at a can-can, but the (uncredited) choreography is a poor imitation. The song and dance numbers are further undermined by poor lighting, and amateur filming.
At the eventual screening of Ginsberg’s talkie, the pacing picks up. The screening is a disaster. The drunk projectionist smashes a sound disc, which causes the sound and image to play out of sync. The humor of mismatched dialogue and image unfortunately relies on dated racist and sexist stereotypes, with a white woman saying the lines of an African American character - who is of course lamenting life in the cotton fields.
The invited audience of producers and distributors are unforgiving about the sound mishap, and declare “Is Love a Sin?” the worst talkie ever made. Ginsburg sits miserably, fearing he has lost everything.
At the last moment, a distributor calls to order "the comedy and five more just like it,” Ruth finally agrees to marry Applegate, and everyone is happy.
The Talk of Hollywood received scathing reviews, with Variety calling it "badder than bad." The critics derided the script, musical numbers, and performances, and even in 1929, considered the racism in bad taste.
Surprisingly, director Mark Sandrich went on to become a prominent musical film director, with films such as The Gay Divorcee (1934), Top Hat (1935), Shall We Dance (1937) and Holiday Inn (1942) to his name.
Only two cast members, Edward Le Saint and Nat Carr, continued to appear in films after 1929, though usually in small or uncredited roles.
The best thing that can be said about The Talk of Hollywood is that it is short, running just over an hour. If you feel like throwing away an hour of your life, the film is available to watch on YouTube.
- Published on
Ads featured in Motion Picture News (Jan 4, 1930)
The first “deranged ventriloquist” film.
Date of Release: Sept 12, 1929
Studio: Sono-Art
Director: James Cruze
Screenplay: Ben Hecht, Hugh Herbert
Music: Lynn Cowan, Paul Titsworth, Donald McNamee, King Zany, Howard Jackson
Choreographer: Maurice L. Kusell
Leading Actors: Erich von Stroheim (Gabbo), Betty Compson (Mary), Donald Douglas (Frank), Margie Kane (Babe)
Date of Release: Sept 12, 1929
Studio: Sono-Art
Director: James Cruze
Screenplay: Ben Hecht, Hugh Herbert
Music: Lynn Cowan, Paul Titsworth, Donald McNamee, King Zany, Howard Jackson
Choreographer: Maurice L. Kusell
Leading Actors: Erich von Stroheim (Gabbo), Betty Compson (Mary), Donald Douglas (Frank), Margie Kane (Babe)
The Great Gabbo was based on “The Rival Dummy,” a magazine serial by Ben Hecht published in 1929 (and later novelized). Despite performing well at the box office, it was considered to be inferior to the earlier Sono-Art hit The Rainbow Man. The Great Gabbo was Erich Von Stoheim’s first talkie, and it was an early talkie for silent film director and actor James Cruze.
The Great Gabbo was dogged by lawsuits. The Great Lester, a New York ventriloquist, attempted to sue Sono-Art and the creatives for using his life story without permission. An ad from Variety (September 1929) however, claims von Stroheim was impersonating Marshal Montgomery, “America’s foremost ventriloquist.”
The Great Gabbo was dogged by lawsuits. The Great Lester, a New York ventriloquist, attempted to sue Sono-Art and the creatives for using his life story without permission. An ad from Variety (September 1929) however, claims von Stroheim was impersonating Marshal Montgomery, “America’s foremost ventriloquist.”
Variety (Sept 1929)
Motion Picture News (March 22, 1930) reported that Pauline Starke, who was originally signed to play the role of Mary, sued for breach of contract after director Cruze replaced her with his own wife, Betty Compson.
Later, the Good Amusement Company attempted to sue James Cruze for failing to pay laboratory bills, and threatened to hold the film’s negative until Cruze settled his debt. The case went to the New York Supreme Court, where the judge ruled in Cruze’s favor, stating that the Good Amusement Company didn’t have distribution rights, and therefore couldn’t hold onto the negative.
Later, the Good Amusement Company attempted to sue James Cruze for failing to pay laboratory bills, and threatened to hold the film’s negative until Cruze settled his debt. The case went to the New York Supreme Court, where the judge ruled in Cruze’s favor, stating that the Good Amusement Company didn’t have distribution rights, and therefore couldn’t hold onto the negative.
Finally, Sono-Art sought an injunction against the New York Police Department to stop the police from taking down a “living sign” in Times Square. The studio had erected a giant spider web, a recreation of a scene in the film, featuring thirty Chester Hale girls who posed, paraded, and performed two live shows for amused onlookers. The sign caused traffic chaos, and police attempted to intervene. Sono-Art won the injunction with Supreme Court Justice Cotillo ruling that “Broadway, especially Times Square, is a street of ballyhoo…” Truer words have never been spoken!
The Great Gabbo opened at the Selwyn Theatre on September 12, and later moved to the larger Globe Theatre. Moving to a bigger house kept sales ticking over, and the film continued to play well. It played to sold out houses around the country, occasionally even breaking box office records. The film was later exported to the UK, Korea, and Japan, and a German version was slated in March 1930.
The Great Gabbo opens in silence. We are introduced to Gabbo, who is being helped into his costume by Mary. We immediately see Gabbo’s tyrannical behavior – the coffee is too hot, the coffee is too cold – and Mary can’t do anything right. Gabbo is mercurial, vicious, and mean. Mary is sweet and kind to him, but she’s no pushover. She talks back to Gabbo and threatens to leave.
During the act, we are witness to Gabbo’s skill as a ventriloquist. He smokes and drinks while his puppet, Otto, sings a sweet oom-pa-pah song, "I'm Laughing." Mary drops a tray in the middle of the act and Gabbo is furious. Tired of Gabbo’s fits of rage and abusive behavior, Mary tells Gabbo, “I won’t put up with it anymore… You’re so wrapped up in yourself, it’s always you, you, you.” Gabbo attempts to defend himself, stating that he is focused on the act, and cares only for his career.
Mary genuinely loves Gabbo, but she can no longer cope with his terrible behavior. She finds the courage to leave, and tells Otto as she departs, “I’m sorry to leave you. You’re the only think about him that has a soul, even if you’re made of wood.”
When Mary leaves, Gabbo starts drinking. Otto tells Gabbo, “uh uh uh, you don’t need a drink Gabbo.” Through Otto we witness Gabbo’s split personality. He is outwardly awful and angry, but his tempestuous behavior is just a mask for a tortured artist who longs to be recognized. Later, Gabbo can only express his love for Mary through Otto, using the puppet to shower her with praise and invite her to dinner.
A year later, Gabbo has finally found success and is famous as the “Great Gabbo.” He performs publicity stunts at a large restaurant, where he charms other guests by eating lobster and caviar while Otto sings and cracks jokes. The guests agree that Otto is wonderful, but Gabbo is arrogant and driven by ego. Although Gabbo refers to Otto as his “other half,” the world views them as separate entities.
The Great Gabbo opens in silence. We are introduced to Gabbo, who is being helped into his costume by Mary. We immediately see Gabbo’s tyrannical behavior – the coffee is too hot, the coffee is too cold – and Mary can’t do anything right. Gabbo is mercurial, vicious, and mean. Mary is sweet and kind to him, but she’s no pushover. She talks back to Gabbo and threatens to leave.
During the act, we are witness to Gabbo’s skill as a ventriloquist. He smokes and drinks while his puppet, Otto, sings a sweet oom-pa-pah song, "I'm Laughing." Mary drops a tray in the middle of the act and Gabbo is furious. Tired of Gabbo’s fits of rage and abusive behavior, Mary tells Gabbo, “I won’t put up with it anymore… You’re so wrapped up in yourself, it’s always you, you, you.” Gabbo attempts to defend himself, stating that he is focused on the act, and cares only for his career.
Mary genuinely loves Gabbo, but she can no longer cope with his terrible behavior. She finds the courage to leave, and tells Otto as she departs, “I’m sorry to leave you. You’re the only think about him that has a soul, even if you’re made of wood.”
When Mary leaves, Gabbo starts drinking. Otto tells Gabbo, “uh uh uh, you don’t need a drink Gabbo.” Through Otto we witness Gabbo’s split personality. He is outwardly awful and angry, but his tempestuous behavior is just a mask for a tortured artist who longs to be recognized. Later, Gabbo can only express his love for Mary through Otto, using the puppet to shower her with praise and invite her to dinner.
A year later, Gabbo has finally found success and is famous as the “Great Gabbo.” He performs publicity stunts at a large restaurant, where he charms other guests by eating lobster and caviar while Otto sings and cracks jokes. The guests agree that Otto is wonderful, but Gabbo is arrogant and driven by ego. Although Gabbo refers to Otto as his “other half,” the world views them as separate entities.
At the Manhattan Revue, we are treated to an elaborate stage show. The numbers are filled with large numbers of men and women in gorgeous costumes, singing and dancing on increasingly extravagant sets. The numbers come thick and fast, with wonderful choreography by the innovative Maurice L. Kusell. The dances range from a ballet on point for “I’m in Love With You,” to the fast and flashy tap routine “The New Step,” to the stunning “Web of Love” set on a giant spider web complete with dancers dangling upside down. The revue scenes were originally shot in multicolor, however only the black and white prints have been preserved.
Gabbo finally expresses his love for Mary, without the aid of Otto. It is too late however, as Mary is already married to Frank, her new act partner. Although she will always carry a flame for Gabbo, she loves Frank and is happier with him. The flashy numbers are overlaid onto a close-up of Gabbo having a breakdown. The twirling and grandiose set pieces serve to beautifully illustrate Gabbo’s tormented mind.
Gabbo finally expresses his love for Mary, without the aid of Otto. It is too late however, as Mary is already married to Frank, her new act partner. Although she will always carry a flame for Gabbo, she loves Frank and is happier with him. The flashy numbers are overlaid onto a close-up of Gabbo having a breakdown. The twirling and grandiose set pieces serve to beautifully illustrate Gabbo’s tormented mind.
Mary’s oft-repeated phrase, “We only take out of this life what we put into it,” rings true too late, and Gabbo is doomed to a life of loneliness and misery. Gabbo leaves the theatre, and watches his name being taken down from the marquee. He walks dejected and alone down the street, and the Great Gabbo is no more.
The Great Gabbo received mixed reviews. Photoplay (December 1929) called it a “bitter disappointment” and stated that “lighting and scenario are terrible.” Cine-Mundial (December 1929) thought that although James Cruze and Erich von Stroheim were usually outstanding artists, The Great Gabbo was decidedly a miss. Close Up (January 1930) described the film as “simple” “listless and diffident in construction,” while The Educational Screen (January 1930) felt that the musical scenes “overloaded” the story. Several critics claimed von Stroheim should have directed, and director James Cruze should have played Gabbo.
On the flip side, The Film Daily (Sept 13, 1929) enthusiastically stated that The Great Gabbo “deserves a place right up in the front ranks of the first crop of sophisticated talkers...”and that Cruzes’ “singing and dancing numbers… are the finest we have seen to date.” Motion Picture News (Oct 12, 1929) claimed The Great Gabbo “possesses all the fine points that the average theatregoers look for…”
It is difficult to understand why the critics were so harsh. Although another backstage story, The Great Gabbo has much to commend it. Despite the critics claims to the contrary, the production numbers are an integral part of the story-telling, as well as being visually spectacular and well executed. The performances, particularly by Erich von Stroheim and Betty Compson, are nuanced and affecting. It is also refreshing to see a female character take ownership of her life, putting her own happiness before that of her love interest.
On the flip side, The Film Daily (Sept 13, 1929) enthusiastically stated that The Great Gabbo “deserves a place right up in the front ranks of the first crop of sophisticated talkers...”and that Cruzes’ “singing and dancing numbers… are the finest we have seen to date.” Motion Picture News (Oct 12, 1929) claimed The Great Gabbo “possesses all the fine points that the average theatregoers look for…”
It is difficult to understand why the critics were so harsh. Although another backstage story, The Great Gabbo has much to commend it. Despite the critics claims to the contrary, the production numbers are an integral part of the story-telling, as well as being visually spectacular and well executed. The performances, particularly by Erich von Stroheim and Betty Compson, are nuanced and affecting. It is also refreshing to see a female character take ownership of her life, putting her own happiness before that of her love interest.
Picture Play (Dec 1929)
Erich von Stroheim was an influential director and actor who started out in Hollywood as an extra and set dresser. Like his character, von Stroheim had a reputation for being tyrannical, exacting, and extravagant, often bristling against the Hollywood studio system. His credits include Greed (1924), The Merry Widow (1925), and The Wedding March (1928). As an actor he appeared in over seventy films and was nominated for an Academy Award for his performance in Sunset Boulevard (1950). He won a BAFTA for services to film as a director and actor in 1954.
At the age of 16, Betty Compson was touring as a violin soloist on the vaudeville circuit. She went on to become a talented and popular actress, appearing in over two hundred films including Street Girl, On with the Show, The Time, The Place and the Girl, and The Show of Shows. Despite her successes, including being nominated for an Academy Award for her role in The Barker (1928), Compson was considered “old” by the age of 40, and throughout the 1930s her roles became increasingly smaller.
The music by Lynn Cowan, Paul Titsworth, Donald McNamee, King Zany, and Howard Jackson, is well done. Although the songs were dismissed by the critics, the two theme songs “I’m in Love With You,” and “Web of Love,” were best-sellers.
The strangest aspect of The Great Gabbo is the ventriloquist’s doll, Otto. He may be sweet and funny, but he’s creepy looking. Blogger Elizabeth A. Kingsley writes The Great Gabbo was the “first “deranged ventriloquist” film,” and it’s easy to see why filmmakers later reversed Hecht’s story and made the doll the agent of evil.
At the age of 16, Betty Compson was touring as a violin soloist on the vaudeville circuit. She went on to become a talented and popular actress, appearing in over two hundred films including Street Girl, On with the Show, The Time, The Place and the Girl, and The Show of Shows. Despite her successes, including being nominated for an Academy Award for her role in The Barker (1928), Compson was considered “old” by the age of 40, and throughout the 1930s her roles became increasingly smaller.
The music by Lynn Cowan, Paul Titsworth, Donald McNamee, King Zany, and Howard Jackson, is well done. Although the songs were dismissed by the critics, the two theme songs “I’m in Love With You,” and “Web of Love,” were best-sellers.
The strangest aspect of The Great Gabbo is the ventriloquist’s doll, Otto. He may be sweet and funny, but he’s creepy looking. Blogger Elizabeth A. Kingsley writes The Great Gabbo was the “first “deranged ventriloquist” film,” and it’s easy to see why filmmakers later reversed Hecht’s story and made the doll the agent of evil.
Picture Play (Dec 1929)
The Great Gabbo is undeniably one of the stronger musicals of 1929. The Film Daily (September 13, 1929) rightfully stated that The Great Gabbo
deserves a place right up in the front ranks of the first crop of sophisticated talkers and, in the progressiveness of its treatment, is another manifestation of the fact that the silent drama is gone, forever and forever and a day.”
- 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.