Starring Frank Fay, Myrna Loy, John Barrymore, Nick Lucas, and many others
Directed by John G. Adolfi
Music and Lyrics by various
MGM's Hollywood Revue of 1929 was such a huge hit, all of the other major studios in Hollywood went to work on their own all-star variety shows. Warners' debuted first, hoping it would become a major showcase of all the wonderful song and dance talent then on the lot and just how big their musicals were. It was a showcase, all right, but not always the kind they hoped. How weird are some of these acts almost a century later? Let's begin in the theater, with a very strange French Revolution prologue, and find out...
The Story: It's a revue, so there isn't one. Masters of Ceremonies Frank Fay introduces acts featuring almost everyone at Warners in 1929. What he really wants to do is introduce his own singing, but various acts and comedy skits keep getting in the way.
The Song and Dance: Of the non-musical routines, the only one that even remotely comes across is John Barrymore, playing Richard III in an excerpt from Henry VI, Part 3. As static as it is, it's also a marvelous record of Barrymore in his acting prime, and is reason alone to see this. Some of the solo artists come across pretty well, too. Winnie Lightner may have been too rowdy for the movies, but here, she blasts through the static like a noisy cannonball. Nick Lucas and Irene Bordoni also come off fairly well, and Sid Silvers does a pretty decent Jolson imitation for "If Your Best Friend Won't Tell You."
Favorite Number: Lightner has a great time blasting out her big "Pingo Pongo" cannibal solo. She has even more fun with the goofy "Singin' In the Bathtub." It gets the perfect number for it, too, with men in women's old-time bathing suits proving a nutty chorus and wrestler Bull Montana showing up to attempt to serenade Lightner with "You Were Meant For Me" from The Broadway Melody. Guitarist Nick Lucas gets the sweet "The Only Love I Know." French chanteuse Irene Bordoni's "Just an Hour Of Love" adds a little touch of elegance to the first half.
Along with "Singin' In the Bathtub," I have a soft spot for "Meet My Sister." Like most of the big chorus routines, it goes on for way too long and the song is silly and childish. Not to mention, two of the "sisters" (Marion Byron and Harriet Lake, later Ann Sothern) aren't real siblings. The "around the world" costumes are adorable, though, and it is cute to see the ladies do their little routines and hear them talk about their real or adopted country. I also found the Pirate Number, with Ted Lewis and His Orchestra rescuing Mary Astor and a bevy of damsels from a group of Warners baddies lead by Noah Beery, to be hilarious, especially if you're a fan of swashbucklers like me.
"Li-Po-Li" is the big "Chinese Fantasy" number mid-way through. It's also the only number that still exists in its original two-strip Technicolor in the copy currently on TCM. The color looks absolutely gorgeous, with soft corals, orange, and turquoise enhancing some really lovely Asian costumes. Too bad the number has dreadful lyrics ("rice cakes" and "spice cakes?") and is riddled with Asian stereotypes, starting with the casting of white Nick Lucas and Myrna Loy, along with some of the worst dancing in a film filled with bad dancers.
Trivia: As mentioned, the movie was filmed almost entirely in two-strip Technicolor. (A few of the solo routines were in black-and-white.) Along with "Li-Po-Li," "Meet My Sister" also apparently exists and has been restored. Bits of "Bicycle Built for Two" and Frank Fay's solo and his number with Sid Silvers have apparently turned up as well.
Al Jolson was supposed to have appeared here, but wanted too much money.
If you're a Looney Tunes fan, you may recognize "Singin' In the Bathtub." Warners used it as background scoring for any character scrubbing in a tub for 30 years.
What I Don't Like: First of all, what in the heck was going on with that French Revolution prologue? It has nothing whatsoever to do with the rest of the show, and even comes off as a little depressing. Really dark and very bizarre way to begin a variety show.
Warners is so determined to focus on pageantry, they don't let us know who anyone is. No one in the chorus numbers is introduced (besides the women of "Meet My Sister," who introduce each other). The many, many blurry long shots also make it difficult to recognize anyone. Genuinely talented folks like Beatrice Lille, who only turns up in a comic recitation with three other sophisticated comics, don't have enough to do, and others like French boxing champ Georges Carpentier don't belong in musicals period.
As mentioned, the big numbers go on for way beyond too long. The opening military march is boring, the "Lady Luck" finale has too much going on, and Larry Cellabos' black-and-white girls are even duller until they complain to Fay about their costumes. Speaking of Frank Fay, comments on IMDb and YouTube prove that people either really like him, or think he's obnoxious. Put me in the latter category, I'm afraid. He does have a few good lines with the chorus girls, but other than that, he's so awkward, pushy, and annoying in front of the camera, it's a relief when other performers interrupt him.
The Big Finale: In the end, this is only for the most ardent fans of Barrymore or the movies of the early talkie era.
Home Media: DVD only from the Warner Archives.
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