Hollywood Hotel (Warner Bros.) (1937)

READ THESE TUMULTUOUS ... Merits the probabilities of a heavy money maker.” Hollywood Hotel ‘Hollywood Hotel’ is a_ frantic You Son of a Gun,’ the latter a kind of diversion, with less pattern and more movement, sound and fury than the usual filmusical. It wheels and steps and _ pirouettes with the tempo of a dance, and it is, in a novel and fascinating technical sense, a dance of scenes, songs, instrumental music, satiric mockery of the picture industry, specialty and Louella Parsons in chatty interludes. If it is disjointed in story thread, it has the counterbalance of freshness and verve which seems like improvisation by the many _performers involved. When all is said and sung, it may leave audiences somewhat bewildered with its kaleidoscopic whirl of entertainment elements. But it is canny and tricky in riveting attention through the eye and the ear, is much more modern and adventurous than the general level of the season’s tune films, and achieves. the _ satisfactory exhaustion at the end of its 104 minutes which will spell audience pleasure in this nervous generation. Being the pictorial elaboration of a known air show, with considerable name draw in its muster of talent, including the screen bow of the founder of ‘Hollywood Hotel,’ it has in these sales elements plus its intrinsic merits the probabilities of a heavy money maker. Be it said first of all, Miss Parsons is herself and enacts herself most commendably in the comparatively brief intervals during which she is subjected to the camera and the scrutiny of her Hollywood associates as the mistress of the broadcast which plays an important part in the picture. Her film appearance to those to whom she has thus far been a name only will be an unquestionable selling factor. The story, simply kept to the requirement that it carry a saxophone player, Dick Powell, and a double for a temperamental film star, Rosemary Lane, through the Hollywood scene to happiness and _ success through comic and satirical obstacles is the concoction of Jerry Wald and Maurice Leo. Screen play by Wald and Leo, plus Richard Macaulay embellishes with sparkling line, amusing incident, goofy gag and a light but agreeably stated romance. Woven in as an essential part of the entertainment is revelatory stuff on the technique, the mood and the manner of picture making calculated to interest the fans. It carries on the growing tendency of the producers to kid their own oncerevered institutions and pretensions, even to the point of audience disillusionment. Dick Powell and Rosemary Lane are provided with a wide diversity of song in the music and lyrics by Richard Whiting and Johnny Mercer. Eight numbers by these cleffers are delivered, two of them the hit look, at least—‘Silhouetted in the Moonlight,’ an appealing love ballad, and the swagger, rhythmic topical, ‘Hooray for Hollywood.’ Repertoire includes also ‘Let That Be a Lesson to You,’ ‘Can’t Teach My Old Heart New Tricks,’ ‘I’ve Got a Heartful of Music,’ ‘I’ve Hitched My Wagon to a Star’ and ‘Sing, boisterous production number, elaborately staged. All are interesting. Most of them are kept short, in line with the general swift tempo of the picture. Powell and Miss Lane, with ensembles and echoing choruses, deliver in excellent voice these tuneful phases of their nice romance. Delightful and novel is the scene where Powell and his girl, slipping away from the hullabaloo of a party, take off their shoes and dance in a fountain while they sing ‘Like a Fish Out of Water.’ Picturesque setting is provided for every number. Raymond Paige and Benny Goodman with their respective orchestras are well spotted. Each delivers a standout, Goodman with his crashing arrangement of ‘Satan’s Holiday’ ; Paige with his arrangement of ‘Dark Eyes,’ the Russian Gypsy folk song, with mixed chorus. Orchestral arrangements are by Ray Heindorf, musical direction by Leo F. Forbstein, both contributing to off-the-beaten-trail quality of the tonal phases. ‘Hollywood Hotel’ is most distinguished in its direction by Busby Berkeley. Berkeley treats the whole picture in a dance rhythm and tempo —swinging the camera, using his orchestras, his ensemble movements, the various fascinating mechanical elements as well as his dramatic personnel dynamically. Movement dominates all. His extensions of space in the gorgeously decorated interiors of the Hollywood Hotel Orchid Room scenes are in the same technique he pioneered in his first Warners musical geometrics. They literally fascinate the eye, and mark an advance away from screen literalness. Complementing splendidly is the photography by Charles Rosher and the camera effects in the finale by George Barnes. In the same breath also must be creditably mentioned the art direction of Robert Haas. Opulence and beauty is the word for the effects. In the player rank Lola Lane delivers an excellent farce performance as the temperamental star, paired with Alan Mowbray in the same key. Hugh Herbert is the completely screwball father of the star, and Mabel Todd the near-imbecilic sister. Both go to town with their comedy assignments, although the clowning is almost too insane for the normal taste. Ted Healy carries off honors as the self appointed manager of Powell. Glenda Farrell has her moments as the star’s secretary. Johnnie Davis sings. So do Jerry Cooper and Frances Langford. Ken Niles is the radio announcer. Grant Mitchell is a film producer. Edgar Kennedy does his standard clowning. Fritz Feld has a fine bit, as has Curt Bois as a dress designer. Perc Westmore plays himself in a make-up demonstration. Allyn Joslyn delivers a corking role as a press agent. Others, too numerous to single out, all ably handle brief assignments. Sam Bischoff handled tne production, showy, sumptuous and with intelligent box office slant, most commendably under executive production guidance by Hal B. Wallis. ... Headed for top grosses everywhere, among all types of audiences.” MOTION PICTURE DAILYS HOLLYWOOD PREVIEW “Hollywood Hotel” (Warners) Hottywoop, Dec. 21.—Warners’ entry in the film musical sweepstakes, “Hollywood Hotel,” serves to hold for the company a leading place in that phase of film fare. Public reaction to the preview indicated that the picture should be headed for top grosses everywhere, and among all types of audiences. It provides exhibitors with a wealth of exploitation material, the value of which appears only limited by the extent of its use. The advance information that the film would top anything the studio has turned out in musical and related glamor and magnitude, appears to be borne out. Lavishly produced, it. tells a Hollywood success story that sparkles with romance and comedy and moves swiftly to the tune of eight or 10 catchy melodies. It is a picture of Hollywood via the radio program of the title name. Romantically it is the story of a country boy who has won a Hollywood contract and an extra girl who is the image of a temperamental star. The comedy angle concerns the star and a handsome “ham.” The combination makes for drama and comedy, with the laughs dominating. Dick Powell hits the heights when he is asked to accompany Lola Lane, leading star, to a premiere. But she balks and Rosemary Lane is hired as a substitute. Their hour of glory is short, as Hugh Herbert and Ted Healy add to the merriment. The couple end by working in Edgar Kennedy’s drive-in restaurant. A sensation as a singer there, Powell is hired to sing for Alan Mowbray, and the latter’s expert mimicking sent the preview audience into stitches. Mowbray is engaged to sing on Louella Parson’s radio program, and the secret is out. With Mowbray’s reputation at stake, Powell disappears, but is found by Healy. Again Rosemary Lane simulates the star and Mowbray is taken for a ride. The tuneful and highly effective finale features Raymond Page and his orchestra and the combined playing and singing of swing numbers in which Benny Goodman and his band join, while Powell and Rosemary are assured of their coveted picture contracts. Listing all those entitled to credit would mean noting the entire cast. Besides those named, Allyn Joslyn, Glenda Farrell and Curt Boris deserve special mention. Jerry Wall and Maurice Leo, who did the story, and Richard Macauley, who collaborated on the screenplay, touched on everything that can or has happened in Hollywood, yet maintained a continuity. Richard Whiting and John Mercer did the music and lyrics, and Busby Berkeley, in his direction, took a few liberties, but gave the film a showmanship flair. It is a picture for the exhibitor to push for all it is worth. Wednesday, December 22, 1937 —now Read What Famous R:z