Footlight Parade (1933)

Footlight Parade (1933). 102 minutes. Directed by Lloyd Bacon. Starring James Cagney (as Chester Kent), Joan Blondell (as Nan Prescott), Ruby Keeler (as Bea Thorn), Dick Powell (as Scott Blair), Frank McHugh (as Francis), Ruth Donnelly (as Harriet Bowers Gould), Guy Kibbee (as Silas Gould), Hugh Herbert (as Charlie Bowers), Claire Dodd (as Vivian Rich), Renee Whitney (as Cynthia Kent), Paul Porcasi (as George Apolinaris), and Barbara Rogers (as Gracie). Musical numbers directed and choreographed by Busby Berkeley. Music by Harry Warren and Al Dubin, and Sammy Fain and Irving Kahal.

It is hard to believe that the pre-Code Footlight Parade is James Cagney’s first musical film. The actor, who became a superstar because of the gangster film The Public Enemy (1931), had actually trained as a singer and dancer on Broadway before making the leap to movies. But Footlight Parade is not merely notable for being Cagney’s debut as a tap-dancing featured player. It is an outstanding work … Read the rest

The Cabbage Fairy (1900)

The Cabbage Fairy (1900). 1 minute. Written and directed by Alice Guy-Blaché. Starring Yvonne Sérand (as the fairy).

The Cabbage Fairy is a short film by Alice Guy-Blaché, the world’s first female filmmaker. Originally based out of Paris and employed by the Gaumont Film Company (where she developed the Gaumont house style), Guy-Blaché worked as a director, producer, writer, and editor between 1896 and 1920, making approximately 1,000 (mostly silent) films during this period, of which 150 survive. Eventually she relocated to Fort Lee, New Jersey where she founded the Solax film studio in 1910, a time when films were exploding in popularity.

Many of her films are considered to be lost or else are not adequately documented, and Guy-Blaché herself has often been neglected as the pioneer that she was, with many of her films being misattributed to other, male filmmakers. Her work was a major influence on directors Alfred Hitchcock and Sergei Eisenstein (among others), and paved the … Read the rest

The Shop Around the Corner (1940)

The Shop Around the Corner (1940). 99 minutes. Directed by Ernst Lubitsch. Starring Margaret Sullavan (as Klara Novak), James Stewart (as Alfred Kralik), Frank Morgan (as Hugo Matuschek), Joseph Schildkraut (as Ferencz Vadas), Sara Haden (as Flora Kaczek), Felix Bressart (as Pirovitch), William Tracy (as Pepi Katona), Inez Courtney (as Ilona Novotny), Charles Halton (as detective), and Charles Smith (as Rudy). Written by Samuel Raphaelson.

Ernst Lubitsch’s wonderful The Shop Around the Corner centers on a high-end Hungarian boutique at Christmastime, but the movie is about so much more than business during the holidays. In that store, two clerks, Alfred and Klara, write to pen pals that they fall in love with—not realizing that they are writing to each other. In contrast to the way they feel about their pen pals, in everyday life they loathe each other and bicker constantly, and therefore, as we know, they must eventually come to love each other outside of the letter writing. It … Read the rest

Three Little Pigs (1933)

Three Little Pigs (1933). 8 minutes. Produced by Walt Disney. Directed by Burt Gillett. Featuring the voices of Dorothy Compton (as the piper pig), Mary Moder (as the fiddler pig), Pinto Colvig (as the bricklayer pig), and Billy Bletcher (as the big bad wolf). Animated by Fred Moore, Jack King, Dick Lundy, Norm Ferguson, and Art Babbitt.

Walt Disney’s Academy Award-winning cartoon short Three Little Pigs was a massive success when it was released in the early 1930s; it earned a tidy sum of money for Disney and was screened continuously for several months. But Three Little Pigs is also an artistic achievement. Drawing on innovations in sound and color technology that the Disney studio had established earlier in Steamboat Willie (1928) and Flowers and Trees (1932), the 1933 cartoon demonstrates further techniques of individuation that would influence Disney’s first feature-length animated film, Snow White and the Seven Dwarfs (1937). But perhaps equally important is the way that … Read the rest

The Wolf Man (1941)

The Wolf Man (1941). 70 minutes. Directed by George Waggner. Starring Lon Chaney Jr. (as Lawrence “Larry” Talbot/the Wolf Man), Claude Rains (as Sir John Talbot), Warren William (as Dr. Lloyd), Ralph Bellamy (as Captain Paul Montford), Patric Knowles (as Frank Andrews), Bela Lugosi (as Bela), Maria Ouspenskaya (as Maleva), Evelyn Ankers (as Gwen Conliffe), J. M. Kerrigan (as Charles Conliffe), Fay Helm (as Jenny Williams), Doris Lloyd (as Mrs. Williams), Forrester Harvey (as Twiddle), and Harry Stubbs (as Reverend Norman). Screenplay by Curt Siodmak. Makeup effects by Jack Pierce.

Of all of the monsters that Universal depicted in its golden age, the Wolf Man has to be the least frightening. Although he is part wolf, he is still part man, after all, and he is not undead like other Universal antagonists such as Dracula, the mummy Ardath Bey, or Frankenstein’s monster; nor is he a homicidal maniac who delights in causing human suffering like the Invisible Man. … Read the rest

White Heat (1949)

White Heat (1949). 114 minutes. Directed by Raoul Walsh. Starring James Cagney (as Arthur “Cody” Jarrett), Virginia Mayo (as Verna Jarrett), Edmond O’Brien (as Hank Fallon), Margaret Wycherly (as “Ma” Jarrett), Steve Cochran (as “Big Ed” Somers), John Archer (as Philip Evans), Wally Cassell (as Giovanni “Cotton” Valletti), and Fred Clark (as Daniel “The Trader” Winston). Screenplay by Ivan Goff and Ben Roberts. Based on a story by Virginia Kellogg.

When James Cagney starred in the pre-Code gangster film The Public Enemy in 1931, little did he know that his on-screen thug persona would quickly become so iconic that he would still be starring in crime movies eighteen years later. Cagney largely considered himself a song-and-dance man, and it was challenging for him to escape from the shadow of The Public Enemy. Aren’t we lucky, however, that Cagney was repeatedly persuaded to act in the crime genre, because he gave us not only Angels with Dirty Faces (1938) in … Read the rest

Blonde Venus (1932)

Blonde Venus (1932). 93 minutes. Directed by Josef von Sternberg. Starring Marlene Dietrich (as Helen Faraday), Herbert Marshall (as Ned Faraday), Cary Grant (as Nick Townsend), Dickie Moore (as Johnny Faraday), Gene Morgan (as Ben Smith), Rita La Roy (as Taxi Belle Hooper), Robert Emmett O’Connor (as Dan O’Connor), Sidney Toler (as Detective Wilson), and Hattie McDaniel (as Cora).

Blonde Venus is a pre-Code musical drama about a woman who starts out as a kind of fairy-tale nymph, becomes a wife and devoted mother, embarks on a career as a glamorous cabaret starlet, and ends up as a vagrant on the run from the law on the American highway. The film is a hodgepodge that mixes elements of devoted mother love with glitzy nightclub routines, a road story, and a sleazy tale of financial gain. But it primarily focuses on its protagonist Helen’s search for love and acceptance as an intense dreamer and escapist, both on- and offstage—especially offstage, for … Read the rest

The Great Gabbo (1929)

The Great Gabbo (1929). 94 minutes. Directed by James Cruze. Starring Erich von Stroheim (as Gabbo), Betty Compson (as Mary), Donald Douglas (as Frank), Marjorie Kane (as Babe), and John F. Hamilton (as neighbor). Screenplay by Hugh Herbert. Songs by Lynn Cowan, Paul Titsworth, Donald McNamee, and King Zany. Based on the short story “The Rival Dummy” by Ben Hecht.

After slogging through some of the early sound era’s underwhelming cinematic creations, I have finally found a late 1920s sound movie that is exceptional not for its technological achievements or for its storytelling, but rather because it is deranged from beginning to end. I am talking about The Great Gabbo, the 1929 backstage musical chronicling the careers of a ventriloquist named Gabbo (portrayed by legendary silent film director Erich von Stroheim) and his ex-lover in a Broadway musical revue. The Great Gabbo seems to anticipate later movies about show-business careers such as A Star Is Born and 42nd Street … Read the rest

The Skeleton Dance (1929)

The Skeleton Dance (1929). 6 minutes. Produced and directed by Walt Disney. Animated by Ub Iwerks, Les Clark, and Wilfred Jackson. Music by Carl W. Stalling.

By 1929, Walt Disney had produced and directed the Mickey Mouse shorts Plane Crazy (1928), Steamboat Willie (1928), The Gallopin’ Gaucho (1929), and The Barn Dance (1929)—all of which chronicled the adventures of the small rodent. While these early exercises may loom especially large in the Disney legend, we should not forget that Disney concurrently launched the Silly Symphonies series as an alternative to the cartoons that were in development with the Mickey Mouse character. Frequently embracing classical music in continuous or near-continuous musical soundtracks, this new line of cartoons consisted mostly of non-recurring characters and scenarios, and represents some of the best, most creative work that Disney’s team produced.

The 75 Silly Symphonies shorts released between 1929 and 1939 included the perky and upbeat Flowers and Trees (1932) and Three Little Pigs… Read the rest

The Marx Brothers’ “Everyone Says ‘I Love You’” on Screen and in Popular Music

[This article is a study of the Marx Brothers’ song “Everyone Says ‘I Love You’” from its onscreen debut in their 1932 film Horse Feathers to its appearance in popular recorded music from roughly the same period. The article first appeared in the April 2016 edition of The Discographer Magazine and has been revised and updated for this website.]

When Peter Bogdanovich spoke with director Leo McCarey in the late 1960s about McCarey’s film Duck Soup (1933), Bogdanovich remarked: “A lot of people think it’s [the Marx Brothers’] best picture: there’s no harp or piano playing, no interludes, no love interest—those things slowed up their other comedies terribly…” The earlier Marx Brothers film Horse Feathers (1932) contains all of the elements that Bogdanovich singles out as weaknesses, in particular musical interludes. But while many people rightly consider Duck Soup to be the Marx Brothers’ greatest cinematic achievement, Horse Feathers is an accomplished film in its own right, and the … Read the rest