- 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.
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