Warner Bros’ first contribution to the revue style musical. Date of Release: Nov 20, 1929 Studio: Warner Bros Director: John G. Adolfi Screenplay: Frank Fay, J. Keirn Brennan Composers: Al Bryan, Rube Bloom, Perry Bradford, J. Keirn Brennan, Nacio Herb Brown, Joe Burke, Michael H. Cleary, Al Dubin, Gus Edwards, Arthur Freed, Joe Goodwin, M. K. Jerome, Jimmy Johnson, Sam Lewis, Herb Magidson, Ray Perkins, Jean Schwartz, Bernie Seaman, Marvin Smolev, Ed Ward, Ned Washington, Joe Young Musical Director: Louis Silvers Choreographer: Larry Ceballos, Jack Haskell Leading Actors: Frank Fay (Master of ceremonies), William Courtenay (The minister), H. B. Warner (The victim), Hobart Bosworth (The Executioner), Marian Nixon, Sally O'Neil, Myrna Loy, Alice Day, Patsy Ruth Miller (Florodora Sextette), Ben Turpin (Waiter), Heinie Conklin (Ice man), Lupino Lane (Street cleaner), Lee Moran (Plumber), Bert Roach (Father), Lloyd Hamilton (Hansom cabby), Noah Beery, Tully Marshall, Wheeler Oakman, Bull Montana, Kalla Pasha, Anders Randolf, Philo McCullough, Otto Matiesen, Jack Curtis (Pirates), Johnny Arthur (Hero), Julanne Johnston, Carmel Myers, Ruth Clifford, Sally Eilers, Viola Dana, Shirley Mason, Ethlyne Clair, Frances Lee, Julanne Johnston (Ladies), Douglas Fairbanks Jr. (Ambrose), Chester Conklin (Traffic cop), Grant Withers, William Collier Jr., Jack Mulhall, Chester Morris, William Bakewell (Boys), Lois Wilson, Gertrude Olmstead, Pauline Garon, Edna Murphy, Jaqueline Logan (Girls), Monte Blue (Condemned man), Albert Gran, Noah Beery, Tully Marshall, (Soldiers), Armida, John Barrymore, Richard Barthelmess, Sally Blan, Irene Bordini, Anthony Bushell, Marion Byron, Georges Carpentier, James Clemmons, Betty Compton, Dolores Costello, Helene Costello, Marceline Day, Louise Fazenda, Alexander Gray, Beatrice Lillie, Winnie Lightner, Hariette Lake, Lila Lee, Ted Lewis, Nick Lucas, Molly O'Day, Rin-Tin-Tin, E. J. Radcliffe, Sid Silvers, Sojin, Lola Vendrill, Ada Mae Vaughn, Alberta Vaughn, Ted Williams Adagio Dancers, Alice White, Loretta Young By the end of 1929, every studio had released a revue style musical film featuring lavish production numbers performed by the studio’s roll call of stars; MGM’s The Hollywood Revue of 1929, Fox’s Movietone Follies, Paramount’s Paramount on Parade and Warner Bros’ The Show of Shows. The Show of Shows was the largest of the revues, and featured 77 stars and hundreds of dancing girls (some sources say up to 1000). The studio built excitement for the film with frequent “COMING SOON” notices advertising prominent stars and announcing the addition of new cast members. PUBLICITY Theatre managers went all out with publicity stunts. In San Diego, the Plaza Theatre printed “trick heralds” of a woman sitting in a bathtub. When the bathtub flap was pulled down, it revealed, instead of a naked woman, advertising copy for the film. Colorado Springs installed a small bathtub and shower curtain in the foyer, complete with a life-size cutout of actress Winnie Lightner standing in the tub. The sign read “Singin’ in the shower is like singin’ in the rain, but you haven’t heard anything until you hear my comedy song hit ‘Singin' in the Bathtub’” The Paramount Theatre in Atlanta, Georgia had a store window dressed to look like a bathroom, featuring a real bathtub with an actual girl singing in it. When the girl wasn’t on display, Victor records played hit songs from the show. According to Motion Picture News, the display drew crowds of over 50,000 people and the police had to be called in to re-direct traffic. In October 1929, many theatres were still being wired for sound. For many people, Show of Shows was the first talkie they saw, and heard. OPENING AND RECEPTION Opening night was a buzzy and exciting affair. Film Daily (Nov 19, 1929) reported the Winter Garden theatre in New York erected a sign “155 feet in length and 33 feet in height” to accommodate pictures of the 40 top-billed performers in 3ft stars on the marquis, and an unprecedented 18 lamps were used to light the exterior of the theatre. The Show of Shows opened to rave reviews and did very well at the box office. The Film Daily (Nov 21, 1929) called it “a modern, sophisticated, tuneful, fast moving musical cocktail.” The Educational Screen (Jan 1930) described it as an “Elaborate spectacle, all in gorgeous color,” and Picture Play (Feb 1930) stated it was “The most gorgeous and varied and interesting of all the revues.” The Show of Shows Despite the absence of a plot, and the painful race and gender politics, The Show of Shows is one of the most entertaining musicals of 1929. The conceit is that we are watching a live stage show, presented in a revue format. Frank Fay acts as the Master of Ceremonies, performing short bits between comedy sketches, large production numbers, and solo songs. Following the overture and credits, the film opens with a French revolution style execution. H.B Warner’s head is cut off at the guillotine, obscured from view by the attending soldiers, and cheering crowds. Hobart Bosworth announces, “On with the show of shows!” The camera immediately cuts to a large stage, most of which is covered with a staircase that spans the stage’s width. It is soon filled with over 100 soldiers for “The Military March.” The soldiers march up and down the stairs, creating geometric formations with their bodies, and their black-and-white capes forming different patterns. The number is beautifully choreographed, and highlights choreographer Larry Caballos’ innovative skill and vision. Just when you think they couldn’t possibly fit any more people on the stage, a drum corps appears complete with twirling batons. Frank Fay appears in front of the curtain in dressed in military garb. His patter is amusing, if not somewhat dated today, and the theme of Fay offering to perform and being interrupted by the "show" behind him recurs throughout the film. Fay was an immensely influential vaudeville star and comic. He was one of the first comedians to perform his act sans props, and as such is often cited as the first stand up comic. Although praised for his quick wit and unrelenting pace on stage, Fay was also famous for his intolerant and derisive racism and fascist affiliations. “The Floradora Sextette” features film stars Marian Nixon, Sally O'Neil, Myrna Loy, Alice Day, and Patsy Ruth Miller. Despite their individual abilities, the number does not showcase the talents of the women. They are dressed identically, and sing in unison, wondering “what has become of the Floradora Boys?” They are soon replaced by the six Floradora Boys; Ben Turpin, Heinie Conklin, Lupino Lane, Lee Moran, Bert Roach and Lloyd Hamilton. In contrast to the women, the men are dressed in unique costumes. Each actor has a solo verse, designed to highlight his comic abilities. Notorious for playing villains and sidekicks, Noah Beery, Tully Marshall, Wheeler Oakman, Bull Montana, Kalla Pasha, Anders Randolf, Philo McCullough, Otto Matiesen, and Jack Curtis appear as pirates for “Motion Picture Pirates.”A cheesy Gilbert and Sullivan type number, the men sing and swagger aboard a large ship. The "wenches" are summoned, and the women enter crying and screaming before singing a song about being leading ladies in distress. Johnny Arthur, “the hero” enters and promises to save the women and “protect the rear”. The women faun over the hero and exit. The hero is promptly tossed overboard, and a catch of "strange fish" is announced. The "strange fish" are in fact a well-dressed band “from the land of jazz, rhythm and melody.” They are led by Ted Lewis, a well-known stage and screen composer and performer. The captain declares if he likes the band, they’ll live, if not, they’ll die. A somewhat flat number about jazz musicians being akin to pirates follows. The jazzy music is enough to save the band and Ted Lewis leads a spirited rendition of “Lady Luck.” Against a Parisian backdrop, Georges Carpentier sings “If I Could Love Again,” accompanied by Alice White, Patsy Miller, and the chorus girls sporting pretty parasols. The number leads into an extended dance routine, featuring some interesting choreography shot from above. The highlight of the number comes at the end of the song, when the backdrop disappears and the chorus girls climb the black wall at the rear of the stage. The visual effect is quite impressive and must look incredible on a big screen. "Pingo-Pongo," a solo comedy number, is performed with panache by Winnie Lightner. Famous for her brassy voice and “risqué” performances, Winnie Lightner started out on the stage in vaudeville and on Broadway. Her first film Gold Diggers of Broadway (1929) was a huge hit, and she went on to make five more musicals in quick succession. The appearance of a woman in a featured number, playing a role apart from that of the damsel, is refreshing. Frank Fay drags a German Shepherd puppy onto the stage and is ready to launch into a song about the puppy when he is interrupted by Nick Lucas. Lucas was a highly successful jazz recording artist, and one of his signature songs was "Tiptoe Through the Tulips." Lucas sings “Lady Luck,” accompanying himself on guitar. At the end of the number, the camera cuts back to Frank Fay who is now sporting a long white beard. The puppy has grown into celebrity canine Rin-Tin-Tin. Rin-Tin-Tin was rescued as a puppy from France during the First World War and went on to appear in nearly 30 films. In front of the curtain, Louise Fazenda, Beatrice Lillie, Frank Fay and Lloyd Hamilton recite poems one by one that eventually, when read together, create an amusing speech. Louise Fazenda was a highly successful actress who worked in both silent and talking pictures. She worked for MGM, Warner Bros, and Paramount, and was known for her funny character acting and “country bumpkin” characters. Canadian born Beatrice Lillie was a highly acclaimed comedienne and actress who performed in America and England. Her show, An Evening with Beatrice Lillie, won a Special Tony Award in 1953. Lloyd Hamilton started out as a stage actor and went onto become one of the most successful and well-regarded comedic actors of the silent era. Hamilton suffered from alcoholism and it took a toll on his career which declined into the late 1920s and early 1930s “Meet My Sister” features eight pairs of sisters (seven of which were real-life siblings); Dolores and Helene Costello, Sally O’Neil and Molly Day, Alice and Marceline Day, Sally Blaine and Loretta Young, Armida and Lola Vendrill, Harriet and Marian Bryon, Alberta and Ada Mae Vaughn, and Viola Dana and Shirley Mason. Accompanied by the chorus girls, each set of sisters is dressed in a different national “costume.” While each sister-set has their own verse, complete with a dance break in the “style” of the nationality they are representing, the whole number is designed to highlight that Hollywood gals are attractive to men from any background. The song is catchy, but the lyrics often don't fit well with the melody. The final pair, Viola Dana and Shirly Mason dressed in Dutch outfits - complete with twirling windmills in the background - end their verse with a kiss. Winnie Lightner returns for “Singin’ in the Bathtub,” joined by a chorus of tap dancing men in drag. The dance break features tubby elderly white men dressed in old-fashioned bathers. The number ends with wrestler Bull Montana dressed in top hat and tails singing “You Were Meant for Me” to Lightner, and the boys dancing below. Italian-born Bull Montana started out as a professional wrestler and after some encouragement from Douglas Fairbanks, went onto become a Hollywood actor, appearing in over 90 films. The number is silly and fun, and its easy to see why it was selling point of the film. The song went on to become a best-seller. Irene Bordoni stands in front of a piano, dressed in stunning black ball gown with strange white accents, and sings “Just an Hour of Love.” Her performance is lovely, though the song is forgettable. Bordoni started out a stage actress in Paris and went on to become a successful Broadway performer. She famously introduced several Cole Porter songs, including “Let’s Do It (Let’s Fall in Love).” Nick Lucas and Myrna Loy lead the visually spectacular, the horribly dated and racist, “Li-Po-Li." Loy’s dancing is decidedly average, though Lucas’ voice sounds excellent. The number ends again with an ever-increasing number of chorus girls climbing up and down frames at the rear of the stage, Lucas and Myrna watching on. In my Warner Bros dvd copy, this is the only number in Technicolor. Watch the clip above, and look out for the descending black genie set piece! Frank Fay and Sid Silvers do an amusing bit about Al Jolson not being present in the film. Silvers does a decent Al Jolson impersonation, and it's a relief that he doesn't perform in blackface. Silvers started out in vaudeville and went on to become a prominent comedian and writer. The Show of Shows marked his screen debut. “On a bicycle built for two” performed by William Blakewell, Chester Conklin, Douglas Fairbanks Jr., Pauline Garon, Jacqueline Logan, Chester Morris, Jack Mulhal, Edna Murphy, Gertrude Olmstead, Ann Sothern, Lois Wilson, and Grant Withers contains some fun choreography and moving set pieces. Fay and Silvers return for “Why Should I,” which is capped by a cameo appearance by giant John Aasen. The infamous “Black and White Ballet” is truly a highlight, with beautiful costumes and clever choreography. The ending however is unsatisfying, with an unnamed chorus member calling a strike because the costumes are ankle length instead of knee length. Harry Akst appears at the piano and Fay finally gets his big number, “Your Love is All That I Crave.” Atop a pile of dead bodies, John Barrymore delivers Richard’s soliloquy from Shakespeare’s Henry VI. The soliloquy is, for the most part, shot with Barrymore’s chest and head filling the frame. It is a captivating performance. The lavish 10 minute finale, a medley of instrumental versions of songs from the film and book-ended by “Lady Luck”opens with two women hanging like rods in front of the curtain. The curtain opens to reveal two large chandeliers with women suspended around the lights as decorations. The number features hundreds of chorus girls and various dance soloists performing energetic routines and acrobatic tricks. Several African American dancers are featured, and it is a shame they are not credited as their tap dancing is a real highlight. MUSIC The film’s score was composed by Warner Bros’ immensely talented staff of contract writers. Most were Jewish men who started out in vaudeville or Tin Pan Alley and had headed west following the advent of talkies. The vast majority of the music team went onto prominent careers as film songwriters, and their songs are still remembered today. Rare exceptions to the white and Jewish profile were two African American musicians, Perry Bradford and Jimmy Johnson. Perry Bradford was a multi-talented musician, songwriter, and producer. He was instrumental in creating the first recordings of African American bands and music, and in bringing blues and jazz to New York. Bradford’s compositions include “That Thing Called Love,” “Crazy Blues,” “You Can’t Keep a Good Man Down,” and “Keep a Knockin’.” Jimmy Johnson, or James Price Johnson, was a highly influential African American pianist and composer who is credited for leading the transition from ragtime to jazz. He wrote popular songs, symphonies, and full length scores, and his work was used on stage and screen. His well-known songs include “The Charleston,” “If I Could Be With You (One Hour Tonight),” and “Old Fashioned Love.” Johnson taught Fats Waller, whom he also later collaborated with. He was inducted into the Songwriters Hall of Fame in 1970. AFTER THE SHOW The Show of Shows highlights the dominance of white stars, and the secondary role of women. Of the 77 named stars to appear in the film, all are white. Although the film features "A Chinese Fantasy," the number is resplendent with dated stereotypes and cultural appropriation. The only Asian actor to appear in the film is actually Japanese, silent film star Sojin. He is dressed in a stereotyped costume of a Chinese farmer, and never speaks. Apart from Winnie Lightner and Irene Bordoni, who are able to demonstrate individual skills and unique characters, women in The Show of Shows are interchangeable, white, and slim. Women exist only as silly objects for men -- highlighted by the finale, where women are literally ornamental, and part of the furniture. Most of the actors did not fare well following the advent of talkies. In the few years following The Show of Shows release, they faded into obscurity.
The Show of Shows is a fascinating contribution to the movie musical genre. An early part of Hollywood's rich tradition of borrowing from the stage, and an attempt to capture the magic of stage on film. The result is slightly clunky, visually spectacular, and, apart from the awful sexism and racism, a lot of fun. Motion Picture News predicted in October 1929 that revue movies would now be an annual staple. By mid-1930 however, audiences had tired of revues and backstage musicals. Motion Picture printed letters to the editor complaining of the saturation of musicals. One reader wrote that he was concerned producers were seeking only to film stage shows instead of making movies. Ah, if only!!!
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