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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.”
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