Round at Marvelous Mary’s for steak pie, and sought to follow-up our previous screening of Clarence Brown’s THE SIGNAL TOWER with something more modern. We tried my disc of THE PALM BEACH STORY, but because Mary’s TV is stone age, the DVD player has to be connected to the TV through a VCR, and that set off the disc’s anti-piracy thingamajig, rendering the image unviewable. So we’ll have to have Mary round here to see it.
No copy protection on SHOW PEOPLE, however. King Vidor’s comedy about going Hollywood is pretty simplistic compared to the elevated joys of Preston Sturges, but it’s truly charming. Stuffed full of guest stars, of whom we recognized John Gilbert and Charlie Chaplin (because they’re named) and Doug Fairbanks, William S. Hart and King himself. Oh, and Marion Davies as Peggy Pepper gets to glimpse Marion Davies As Herself, which takes the celebrity cameo gag to a whole new level. But as you can see, there’s a lot more I should have recognized.
Leading man Billy Haynes is a convincing boy-next-door, and the whole thing spoofs Gloria Swanson pretty heartily — Davies does a killer Swanson imitation whenever she’s acting stuck up. Vidor’s visual style is tamped down, but his compositions are very crisp as always, which helps the comedy.
The purist in me notes that despite spoofing that part of Swanson’s career when she was a reluctant participant in Keystone comedies, the movie is one of those late silent era films which gets most of its laughs with the aid of intertitles. In a way, the silents were already straining towards talk. Slapstick is celebrated in a way that’s already nostalgic, for its simple sincerity rather than the skill of the participants. A wind of change is already rustling the stage scenery…
Insert Marion Davies boilerplate here — better at comedy, more talented than her CITIZEN KANE counterpart, etc. We recently watched BLONDIE OF THE FOLLIES (1932), a backstage melodrama notable mainly for the understated perfs director Edmund Goulding obtains from such masters of schtick as James Gleason and Zasu Pitts. (Perhaps Goulding was making up for the same year’s GRAND HOTEL, upon which nobody could possibly have imposed a unity of dramatic style.) Davies herself is very fine in it. This had me in suspense as to how the movie would digest its Jimmy Durante cameo, since Durante underplaying was something I have trouble picturing. In the event, he explodes into the movie in full schnozz mode, and only the fact that he’s performing at a party prevents this explosion of vaudevillainy from tearing the film out of its sprockets.