A long-hidden masterpiece, thought lost for decades, was finally unearthed and given a spit and polish. Walker plays a Broadway star, known for his blackface routines (and clearly inspired by Al Jolson, even having a name with a similar ring to it - Don Wilson.) As his newest show is about to open, he heads out to the country with three of his theatre pals for a bit of rest and relaxation. When the car breaks down, he pulls it into the service garage of a small town that is currently welcoming the presence of a tent & truck theatre troupe. The garage attendant is off to see the show, a Civil War melodrama, so Walker goes over to locate him and winds up IN the show when one of the actors quits in a huff! While Walker's sophisticated friends watch from the audience, gasping at the quaint ineptitude of the production, Walker makes his debut as a wounded soldier who has one line, "I love you" before croaking in the arms of the troupe's leading lady and leader, in general, Love. On a lark, Walker and his pals decide to bring the entire company to New York as an addition to their show, feeling the unintentional comedy of it is too pronounced to keep a secret to the rest of the world. Walker greets the theatre company at his Broadway playhouse in blackface, so they don't realize that he is the same sap who came on and did his dying soldier bit in their opus. However, with Walker beginning to fall for Love and with him beginning to like the fellow performers of the dreadful play, he begins to wonder if the whole enterprise isn't just a bit too cruel. Walker is a very handsome and appealing leading man. It's surprising that his career didn't take off with the advent of sound, though he did die at a fairly young age. Love is extraordinary, displaying spunk and affection and heartache in varying doses. Belmore plays her father, the author of the play, and provides a nice touch of pathos as he realizes that his piece of work is inspiring the wrong reaction. Mir plays a fey, fruity actor who essays the villainous roles of the play with a high, feminine voice! Several aspects of this production date it greatly, at least from a sociological perspective. One is the use of blackface, common and prevalent then, but considered taboo today (unless it is black performers playing white as has been done in several contemporary movies, most recently "White Chicks".) The other is the depiction of the gay character Mir plays. He has all the clichéd trimmings and is mocked by a burly stagehand. These qualities do not and should not detract from the overall charm, delightfulness and romance of this almost fable-like movie. The photography is sensational, no doubt enhanced by the recent restoration, though the archivists claim to have removed only foreign matter from the negatives and have left any original defects in the print alone. For a film around eight decades old, it is surprisingly accessible and entertaining. It's brief running time helps, but it's the endearing performances and the sure-handed direction that really put it across. Director Capra (who would go on to a legendary career behind the camera in sound films) lovingly crafted a sweet and alternately amusing and touching film. Though there are really only five notable characters to speak of, the film is jammed with many unique and interesting others, most notably in the audience of the original tent show. The type of people depicted here are long gone and never to be seen again. The film doesn't skimp on accoutrements either, featuring a sizable costume party with striking outfits on display. It's a simple, charming piece of film-making, but is frequently funny and occasionally touching.
Review of The Matinee Idol
