What a treat to see! BlONDIE OF THE FOLLIES is a very entertaining film with terrific performances by Marion Davies and Bille Dove. A great script by Anita Loos and Frances Marion and beautiful Art Deco sets by Cedric Gibbons make this fine film a must see. It is in Turner Classic Movies library, though it hardly ever gets shown. Be on the look out for it though, because it is a real treat. Fast, snappy and skillfully directed by one of the most underrated directors of Hollywood's Golden Age, Edmund Goulding, responsible for such classics as GRAND HOTEL and DARK VICTORY. If you want to read more about BLONDIE OF THE FOLLIES pick up the new Edmund Goulding biography. It's really very good.
22 Reviews
Not quite what you expect...
MikeMagi30 April 2013
A few quick thoughts on "Blondie of the Follies": 1)Any movie with the title, "Follies," should be a musical. Despite a few brief song-dance numbers, this one isn't.2) Marion Davies was a much better actress than anyone (including Orson Welles) gave her credit for. 3)So, too, was Jimmy Gleason. He has a "confessional" scene with Davies that is heart-rending. 4) It's amazing to see Sidney Toler as a lazy young layabout; a lotta' people thought he played only Charlie Chan 5)No surprise, given that the screenplay was written by Anita Loos, to discover that the plot centers on the depression-era challenge of protecting one's virtue vs. the temptations of the wicked stage (as well as the speakeasies just across the street.) 6)Several comments claim that Billie Dove quit the movies because Randolph Hearst had cut her role in this film. But she has plenty of screen time. Taking a close look at Miss Dove, whose voluptuousness shifts from scene to scene, one suspects that she was tired of endless dieting. 7) Jimmy Durante gets co-star billing although he's only in the film for a few minutes -- but it's worth it for his "Grand Hotel" spoof with Davies as Garbo. 8)Did "Follies" chorines really have maids, chauffeurs and penthouse apartments? 9) Finally, it's a pretty enjoyable movie, typically pre-code, provided you weren't expecting a musical.
Amusing if Disjointed and Uneven
LadyJaneGrey25 January 2006
Warning: Spoilers
Blondie (Davies) and her friend Lottie (Dove) want out of the hardscrabble tenement life. Lottie is willing to become mistress to a man (Montgomery) in order to have a nice apartment and fine clothes in addition to a job in the Follies. Both Davies and Dove, in addition to being good friends in real life, were also both Ziegfield Follies girls, so art imitates life in that way. Also, as we all know, Davies was the long-time mistress of William Randolph Hearst, whose fiddling with this movie is quite apparent. In addition to cutting Dove's part neatly to shreds to focus more on Davies, the character Blondie starts out as fun-loving, adorable, generous, as Davies reportedly was, but then gets bogged down in Dickensian martyrdom, which does not behoove the film or Marion the actress.
Lottie and Blondie both want Bob Montgomery, despite the fact that he has treated Lottie cavalierly, and Blondie decided to settle for the shipping magnate (sounds familiar, doesn't it?) They come to blows over him, get jealous of each other in the Follies, and both decide not to see him anymore. But their friendship is compromised nonetheless.
The first half of this film is rompishly good fun, with Blondie the cut-up appearing to reflect a lot of the real-life Marion. Too had Hearst insisted on putting her in so many dreary costume dramas; she was truly a gifted comedienne and would have done smashingly in the screwball comedies yet to come. Alas, Hearst wanted his Marion to be beautiful and dignified on screen, thus robbing us all of her witty comedic style. The second half of this movie bogs down in sentimental boo-hooetry, with Blondie bravely gimping along with her crutches like Tiny Tim (the Dickens character, not the Tiptoe-Through-The-Tulips dude.) Montgomery's character becomes unselfish, presumably from love for Blondie, and does the noble thing as our characters ride metaphorically off into the sunset. Blech.
Watch the first half and skip the rest. The minute Blondie goes flying off the end of the whip on the Follies stage is a good time to shut it off. You've seen the best. I won't even go into the awkward, unfunny, incomprehensible inclusion of Jimmy Durante in a party scene. But that's later in the movie, so you're likely to miss it once Blondie lands on her backside in the orchestra pit.
I also enjoyed ZaSu Pitts as Blondie's sister and James Gleason as her long-suffering "Pa." Again, once these characters exit stage left, the rest of the movie slides downhill. Anyway, it's a funky little precode and enjoy that first half!
Lottie and Blondie both want Bob Montgomery, despite the fact that he has treated Lottie cavalierly, and Blondie decided to settle for the shipping magnate (sounds familiar, doesn't it?) They come to blows over him, get jealous of each other in the Follies, and both decide not to see him anymore. But their friendship is compromised nonetheless.
The first half of this film is rompishly good fun, with Blondie the cut-up appearing to reflect a lot of the real-life Marion. Too had Hearst insisted on putting her in so many dreary costume dramas; she was truly a gifted comedienne and would have done smashingly in the screwball comedies yet to come. Alas, Hearst wanted his Marion to be beautiful and dignified on screen, thus robbing us all of her witty comedic style. The second half of this movie bogs down in sentimental boo-hooetry, with Blondie bravely gimping along with her crutches like Tiny Tim (the Dickens character, not the Tiptoe-Through-The-Tulips dude.) Montgomery's character becomes unselfish, presumably from love for Blondie, and does the noble thing as our characters ride metaphorically off into the sunset. Blech.
Watch the first half and skip the rest. The minute Blondie goes flying off the end of the whip on the Follies stage is a good time to shut it off. You've seen the best. I won't even go into the awkward, unfunny, incomprehensible inclusion of Jimmy Durante in a party scene. But that's later in the movie, so you're likely to miss it once Blondie lands on her backside in the orchestra pit.
I also enjoyed ZaSu Pitts as Blondie's sister and James Gleason as her long-suffering "Pa." Again, once these characters exit stage left, the rest of the movie slides downhill. Anyway, it's a funky little precode and enjoy that first half!
Total Davies Delight
drednm29 July 2004
One of Marion Davies' best performances in this snappy comedy/drama. Davies plays Blondie, a good girl who becomes a success in the follies despite her best friend's effort. Billie Dove (a big silent star in her best talkie role) is excellent as the friend. Robert Montgomery, Zasu Pitts, Sidney Toler, Douglas Dumbrille, and Jimmy Durante co-star. But this is Davies's film from beginning to end. She is totally wonderful, funny, touching, and gorgeous. Again and again I state that Marion Davies was major talent, a great star, and one of Hollywood's great beauties. She's also one of the finest comic actresses EVER! Watch this film and you'll see that Davies was an A-list star, one who deserves to be rediscovered. Blondie of the Follies may be a minor film, but it's well done, entertaining, and boasts terrific performances by Marion Davies and Billie Dove.
A Follies Life
bkoganbing3 August 2009
I have to confess some great surprise that William Randolph Hearst had Marion Davies appear in a film so close to the truth of her own life. Because before she was a film star Marion Davies did appear in the Ziegfeld Follies. Not a star to be sure, but was noticed enough by more than William Randolph Hearst.
Blondie McClune comes from the same background as Davies did from the lower middle class Irish and I wouldn't be surprised if Davies had a father in real life like James Gleason. He's a strict dad who takes a dim view of his daughter's new life and the fast crowd she's hanging around with.
Which includes playboy Robert Montgomery and millionaire Douglass Dumbrille whose character is eerily close to Hearst. A friend who was already in the Follies when Marion arrives is Billie Dawn, but that doesn't last long as the women start quarreling about everything including the men they both seem to zero in on.
Dawn and Davies have some scenes with a real vicious bite to them. You can see the anger just build and build in Dawn throughout the film, her's is a performance to watch. Another to watch is Sidney Toler who plays Marion's loafing brother-in-law. Purportedly Davies had a family of dependents who all struck a gold mine when William Randolph Hearst took an interest in her.
Back in the day Ziegfeld's Follies dancers were the tabloid fodder of the day. Their romantic exploits and the rich men they collected around them were big news. That is also shown here.
Blondie Of The Follies also is a great opportunity to see Marion Davies as a dancer. She moves pretty good on the stage, at least as good as Ruby Keeler and Marion could have and should have done more films to show that part of her talent off.
Blondie Of The Follies is a nice backstage story with a good cast with Marion Davies getting to strut her dancing stuff.
Blondie McClune comes from the same background as Davies did from the lower middle class Irish and I wouldn't be surprised if Davies had a father in real life like James Gleason. He's a strict dad who takes a dim view of his daughter's new life and the fast crowd she's hanging around with.
Which includes playboy Robert Montgomery and millionaire Douglass Dumbrille whose character is eerily close to Hearst. A friend who was already in the Follies when Marion arrives is Billie Dawn, but that doesn't last long as the women start quarreling about everything including the men they both seem to zero in on.
Dawn and Davies have some scenes with a real vicious bite to them. You can see the anger just build and build in Dawn throughout the film, her's is a performance to watch. Another to watch is Sidney Toler who plays Marion's loafing brother-in-law. Purportedly Davies had a family of dependents who all struck a gold mine when William Randolph Hearst took an interest in her.
Back in the day Ziegfeld's Follies dancers were the tabloid fodder of the day. Their romantic exploits and the rich men they collected around them were big news. That is also shown here.
Blondie Of The Follies also is a great opportunity to see Marion Davies as a dancer. She moves pretty good on the stage, at least as good as Ruby Keeler and Marion could have and should have done more films to show that part of her talent off.
Blondie Of The Follies is a nice backstage story with a good cast with Marion Davies getting to strut her dancing stuff.
This is MGM?...
marcslope26 April 2005
The hardscrabble tenement streets shriek of Warner Brothers (though the movie moves from them soon enough), and the slanginess and very pre-Code suggestiveness of pretty young things kept in lavish Deco apartments is rather hard-boiled for the Ars Gratia Artis studio, too. And it's a strange brew, halfway between enjoyable, rude comedy and sentimental soap opera, with the likable Davies and the hard-staring Dove slugging it out for the affections of Robert Montgomery in his leading-man-opposite-MGM-leading-lady days. He's a drunk and a playboy, but also, we are led to believe, a decent and sacrificing guy. The friendship between Davies and Dove is convincing and touching (though it takes some unconvincingly abrupt turns), and Anita Loos could write girl-talk dialog with the best of them. There are also a couple of father-daughter scenes between Davies and the always wonderful James Gleason that will just break your heart. But the movie does keep skirting credibility (could the exquisite Davies and Zasu Pitts really spring from the same gene pool?), and Davies' Act Three laugh-clown-laugh, smile-through-tears demeanor is close to self-parody. Most jarring of all is dragging in Jimmy Durante for five minutes of hideously unfunny special material, including a strained sendup of "Grand Hotel" (also directed by Edmund Goulding) that serves mainly to remind one of Davies' limitations. A fun flick all in all, but when it came to hard-boiled dames and backstage melo, MGM wasn't really at the forefront.
Not bad but the weakest link appears to be Miss Davies.
planktonrules7 July 2013
Marion Davies was a very, very unusual actress. Many folks haven't taken her seriously because it has been common knowledge that her lover, William Randolph Hearst, basically bought her a film career. Whether or not she would have become a star without him is a great unknown. However, at least the sorts of movies she made would have been very, very different had he not personally bought her way into Hollywood. In comedies, Marion was great--and her film "Show People" is among the greatest silent comedies ever. However, in the 1930s, Hearst insisted in financing her in dramas--the sort of film where Marion simply was out of her element. While "Blondie of the Follies" isn't a terrible film, the weakest element is probably Marion--because it was not the sort of light comedy at which she excelled. And, in the film's serious moments, she really wasn't up to the task.
The film is, believe it or not, sort of like a cleaned up version of "Showgirls"! It begins with Lurleen (Billie Dove) leaving her working class neighborhood to become a burlesque star--a rather shocking sort of career back in the day. However, he friend Blondie (Davies) remains her friend and idolizes Lurleen. Now this is a weak point in the plot, as throughout the film, Lurleen is a nasty piece of work--and you wonder almost from the beginning how much Blondie will take from Lurleen until she realizes her friend is a jerk. This nasty side of Lurleen rears its ugly head when a rich 'friend'* of Lurleen, Larry (Robert Montgomery), becomes infatuated with Blondie. Lurleen makes it clear that Larry is off limits and like a good friend, Blondie avoids him throughout the film. This is THE major theme of the film. And, when Blondie herself becomes a big burlesque star, she is torn because although beloved and successful, she still is without her Larry. There is plenty more--and you should see the film, since it is enjoyable and pleasant.
The general plot isn't bad and through much of the film, Marion actually carries it off well. However, and this is a serious problem, towards the end, her acting is rather bad. She is SUPPOSED to be a woman who is behaving like she is happy when she is dying inside--but she comes off poorly because of her delivery of her lines. She rushes through the scenes and seemed out of her element. To put it bluntly, she just isn't convincing. These serious moments simply didn't work. Perhaps the director should have re-shot the scenes or given her better direction. Or, perhaps Hearst's meddling is responsible and the director actually didn't have control of the production (a common problem in her later films). All I know is that I cringed in the scenes following Blondie's big accident late in the film.
Regardless of its shortcomings, the film is entertaining and worth seeing. It's just sad that she didn't make more comedies--they were exceptional.
*The morality of "Blondie of the Follies" was very much what you'd find in many Pre-Code films. While it's never explicitly stated, it seems pretty obvious that Lurleen was a paid mistress or high-priced prostitute. So, when Blondie's family is upset with her choosing the stage, this might be a lot of the reason for their reaction.
The film is, believe it or not, sort of like a cleaned up version of "Showgirls"! It begins with Lurleen (Billie Dove) leaving her working class neighborhood to become a burlesque star--a rather shocking sort of career back in the day. However, he friend Blondie (Davies) remains her friend and idolizes Lurleen. Now this is a weak point in the plot, as throughout the film, Lurleen is a nasty piece of work--and you wonder almost from the beginning how much Blondie will take from Lurleen until she realizes her friend is a jerk. This nasty side of Lurleen rears its ugly head when a rich 'friend'* of Lurleen, Larry (Robert Montgomery), becomes infatuated with Blondie. Lurleen makes it clear that Larry is off limits and like a good friend, Blondie avoids him throughout the film. This is THE major theme of the film. And, when Blondie herself becomes a big burlesque star, she is torn because although beloved and successful, she still is without her Larry. There is plenty more--and you should see the film, since it is enjoyable and pleasant.
The general plot isn't bad and through much of the film, Marion actually carries it off well. However, and this is a serious problem, towards the end, her acting is rather bad. She is SUPPOSED to be a woman who is behaving like she is happy when she is dying inside--but she comes off poorly because of her delivery of her lines. She rushes through the scenes and seemed out of her element. To put it bluntly, she just isn't convincing. These serious moments simply didn't work. Perhaps the director should have re-shot the scenes or given her better direction. Or, perhaps Hearst's meddling is responsible and the director actually didn't have control of the production (a common problem in her later films). All I know is that I cringed in the scenes following Blondie's big accident late in the film.
Regardless of its shortcomings, the film is entertaining and worth seeing. It's just sad that she didn't make more comedies--they were exceptional.
*The morality of "Blondie of the Follies" was very much what you'd find in many Pre-Code films. While it's never explicitly stated, it seems pretty obvious that Lurleen was a paid mistress or high-priced prostitute. So, when Blondie's family is upset with her choosing the stage, this might be a lot of the reason for their reaction.
Paging Miss Glory ...Please
theowinthrop18 December 2005
Warning: Spoilers
William Randolph Hearst had a wife and four sons, and at least one mistress. It is the final mistress he had, comedienne and former Ziegfeld girl Marion Davies that is remembered today. Hearst was many things, media mogul (the American prototype for Rupert Murdoch), would be king (or Presidential aspirant) or king maker, art and antiquities over-collector, and model for the immortal Charles Foster Kane. His yellow journalist extremism can be jarring - he did support patriotism to stupid extremes (like supporting the idiotic Mayor of Chicago, Big Bill Thompson, because he attacked a pro-English slant in American history textbooks). He was of German ancestry, so he would come out heavily against our involvement in World War I on the side of England and the allies (and he may have been right). Later he did seem to support Hitler and the Nazis (though not as thoroughly as his critics have suggested - he disliked Hitler's anti-Semitism).
Hearst could not get a divorce from his wife, so they lived separately. He lived in his castle on the Pacific (San Simeon) with Marion as it's mistress. Everyone knew they were living in an adulterous relationship, but he was devoted to her - and curiously she loved him deeply. So nobody commented on it - until Orson Welles and Herman Mankiewicz came along. It's notable that Hearst found most of the Hollywood community on his side, not Welles', regarding Kane.
It has come down to us (ever since Welles and Mankiewicz drew the cartoon shrew "Susan Alexander" Kane as a caricature of Marion) that Marion was pushed into movies and had no talent. No, she was quite talented and funny. Watch her in her best sound film, PAGE MISS GLORY, and one sees how likable and humorous she is as a slightly dotty cleaning lady in a hotel who is turned into a celebrity. But W. R. did want her in "serious parts". So she got into historical films (which she barely could fit - she just did not have the dramatic stretch for such parts), or into melodramas. BLONDIE OF THE FOLLIES is, ultimately, a weeper. The other reviews here stress the comic portions, but they are few and far between.
Spoilers Ahead:
The film revolves around Marion's work in the great Broadway "Follies", and her friendship with her fellow dancer - entertainer Billie Dove. The friendship is ruined due to the rivalry between the two for bigger and better parts, usually going to the more talented Marion. But Billie (and the public) believe it is really due to the late hour relations that Marion has with other people, like Douglas Dumbrille and Robert Montgomery (Billie also has the hots for Montgomery, which does not help). Jimmy Gleason plays Marion's kindly, loving father, who keeps warning her about the pitfalls of a Broadway career, and how it ruins so many reputations. Eventually the weakened Gleason (he has been overworking and has a heart condition) dies of a heart attack when Marion's name appears in a scandal column in the newspapers. As for her career, at it's height she is involved in a crippling accident due to the anger of Dove. She returns at the end of the film to wish the "Follies" cast good luck, clambering the stage happily with her broken back in a peculiar position, her hands on two crutches. But her face has the true smile of a "trooper" on it.
In it's day DOLLY OF THE FOLLIES must have been really loved by audiences. I have a suspicion that even ten years later (1942) audience tastes would have drastically changed. Compare it with another back-stage film of the 1940s, Barbara Stanwyck's LADY OF BURLESQUE, where a series of murders occur in a burlesque house. Stanwyck is not crippled in that film, although she is threatened. She does a number "Easy on the G String", which is not great as far as being a memorable song, but is light years more suggestive of sin and sex than the so-called scandal involving Marion with Douglas and Robert. LADY OF BURLESQUE is a better film. Or take a look at LES GIRLS (1957), where Gene Kelly's career and sexual relationship with the three women in the act he once headed around Europe is probed. Although at issue is the truth of an allegation regarding a suicide attempt by gas, the truth or falsity of the matter takes second place to the issue of who among three (or possibly as many as six) witnesses is telling the truth. The extra-sexual matter ends up more important to Kelly and his wife than to the public (as it should be). And the suicide attempt - well, depending on who was telling the truth it was either two people in a suicide pact or an accident. It too is a better movie than BLONDIE OF THE FOLLIES.
If you want to see Marion Davies at her best rent PAGE MISS GLORY or CANE AND MABEL (ironic first part of a title there) wherein she is the love interest of Clark Gable as a prize fighter. Those are comedies, pure and simple. Avoid BLONDIE OF THE FOLLIES, unless it is absolutely necessary for you to see all her movies.
Hearst could not get a divorce from his wife, so they lived separately. He lived in his castle on the Pacific (San Simeon) with Marion as it's mistress. Everyone knew they were living in an adulterous relationship, but he was devoted to her - and curiously she loved him deeply. So nobody commented on it - until Orson Welles and Herman Mankiewicz came along. It's notable that Hearst found most of the Hollywood community on his side, not Welles', regarding Kane.
It has come down to us (ever since Welles and Mankiewicz drew the cartoon shrew "Susan Alexander" Kane as a caricature of Marion) that Marion was pushed into movies and had no talent. No, she was quite talented and funny. Watch her in her best sound film, PAGE MISS GLORY, and one sees how likable and humorous she is as a slightly dotty cleaning lady in a hotel who is turned into a celebrity. But W. R. did want her in "serious parts". So she got into historical films (which she barely could fit - she just did not have the dramatic stretch for such parts), or into melodramas. BLONDIE OF THE FOLLIES is, ultimately, a weeper. The other reviews here stress the comic portions, but they are few and far between.
Spoilers Ahead:
The film revolves around Marion's work in the great Broadway "Follies", and her friendship with her fellow dancer - entertainer Billie Dove. The friendship is ruined due to the rivalry between the two for bigger and better parts, usually going to the more talented Marion. But Billie (and the public) believe it is really due to the late hour relations that Marion has with other people, like Douglas Dumbrille and Robert Montgomery (Billie also has the hots for Montgomery, which does not help). Jimmy Gleason plays Marion's kindly, loving father, who keeps warning her about the pitfalls of a Broadway career, and how it ruins so many reputations. Eventually the weakened Gleason (he has been overworking and has a heart condition) dies of a heart attack when Marion's name appears in a scandal column in the newspapers. As for her career, at it's height she is involved in a crippling accident due to the anger of Dove. She returns at the end of the film to wish the "Follies" cast good luck, clambering the stage happily with her broken back in a peculiar position, her hands on two crutches. But her face has the true smile of a "trooper" on it.
In it's day DOLLY OF THE FOLLIES must have been really loved by audiences. I have a suspicion that even ten years later (1942) audience tastes would have drastically changed. Compare it with another back-stage film of the 1940s, Barbara Stanwyck's LADY OF BURLESQUE, where a series of murders occur in a burlesque house. Stanwyck is not crippled in that film, although she is threatened. She does a number "Easy on the G String", which is not great as far as being a memorable song, but is light years more suggestive of sin and sex than the so-called scandal involving Marion with Douglas and Robert. LADY OF BURLESQUE is a better film. Or take a look at LES GIRLS (1957), where Gene Kelly's career and sexual relationship with the three women in the act he once headed around Europe is probed. Although at issue is the truth of an allegation regarding a suicide attempt by gas, the truth or falsity of the matter takes second place to the issue of who among three (or possibly as many as six) witnesses is telling the truth. The extra-sexual matter ends up more important to Kelly and his wife than to the public (as it should be). And the suicide attempt - well, depending on who was telling the truth it was either two people in a suicide pact or an accident. It too is a better movie than BLONDIE OF THE FOLLIES.
If you want to see Marion Davies at her best rent PAGE MISS GLORY or CANE AND MABEL (ironic first part of a title there) wherein she is the love interest of Clark Gable as a prize fighter. Those are comedies, pure and simple. Avoid BLONDIE OF THE FOLLIES, unless it is absolutely necessary for you to see all her movies.
Art Imitates Life
Ron Oliver18 September 2004
Marion Davies stars in this poignant MGM drama, directed by Edmund Goulding, which features excellent performances but is relentlessly downbeat. Writers Frances Marion & Anita Loos, two of the very best, really drag their characters through the Slough of Despond, piling emotional outburst upon painful heartache almost without relief.
The writers also give Miss Davies a most curious scenario: that of a lively, vivacious showgirl, not very good at holding her liquor, who, as the mistress of a wealthy, older tycoon, is settled into a life of luxury. Sound familiar? As the girlfriend of William Randolph Hearst, the nation's most powerful media mogul, and the chatelaine of San Simeon, America's most lavish private estate, Davies must have noted, and been amused by, the script's odd similarities to her own life.
Billie Dove gives a fine performance as Davies' oldest friend and bitterest rival, an insecure woman consumed by jealousy. Suave Robert Montgomery plays the object of both ladies' affections and he is both polished and sophisticated. James Gleason steals a few scenes as Davies' loving, work-weakened father.
The incomparable ZaSu Pitts shines in the small role of Davies' no-nonsense older sister. Sidney Toler (a future Charlie Chan) is her affable, lazy husband. Sinister Douglass Dumbrille plays a lecherous tycoon who likes blondes.
Jimmy Durante appears very late in the film and then only in one scene, essentially playing himself as a guest at a Davies party. His lowbrow humor is a wonderful tension reliever, especially during the few moments he and Davies spoof John Barrymore & Garbo in GRAND HOTEL, which Goulding had directed earlier that same year. It's a shame Durante doesn't get to interact with Miss Pitts, but just having him around for five minutes is a real spirit lifter.
Movie mavens will recognize Charles Williams & Billy Gilbert, both uncredited, as the sleazy producers who entice Miss Dove in the film's opening scene.
The writers also give Miss Davies a most curious scenario: that of a lively, vivacious showgirl, not very good at holding her liquor, who, as the mistress of a wealthy, older tycoon, is settled into a life of luxury. Sound familiar? As the girlfriend of William Randolph Hearst, the nation's most powerful media mogul, and the chatelaine of San Simeon, America's most lavish private estate, Davies must have noted, and been amused by, the script's odd similarities to her own life.
Billie Dove gives a fine performance as Davies' oldest friend and bitterest rival, an insecure woman consumed by jealousy. Suave Robert Montgomery plays the object of both ladies' affections and he is both polished and sophisticated. James Gleason steals a few scenes as Davies' loving, work-weakened father.
The incomparable ZaSu Pitts shines in the small role of Davies' no-nonsense older sister. Sidney Toler (a future Charlie Chan) is her affable, lazy husband. Sinister Douglass Dumbrille plays a lecherous tycoon who likes blondes.
Jimmy Durante appears very late in the film and then only in one scene, essentially playing himself as a guest at a Davies party. His lowbrow humor is a wonderful tension reliever, especially during the few moments he and Davies spoof John Barrymore & Garbo in GRAND HOTEL, which Goulding had directed earlier that same year. It's a shame Durante doesn't get to interact with Miss Pitts, but just having him around for five minutes is a real spirit lifter.
Movie mavens will recognize Charles Williams & Billy Gilbert, both uncredited, as the sleazy producers who entice Miss Dove in the film's opening scene.
Underrated comedy with a wonderful Anita Loos script
psteier6 March 2001
Pleasant precode golddigger comedy with both Marion Davies and Billie Dove becoming kept women as well as Follies dancers to get a taste of the good life.
Includes Marion Davies's parody of Greta Garbo with Jimmy Durante.
Includes Marion Davies's parody of Greta Garbo with Jimmy Durante.
Marion Davies Only Bright Spot
view_and_review10 February 2024
I'm sure amongst the few people reading this review that some have heard the sophomoric saying, "Bros before hos." It's crude, I know, but it conveys its meaning fairly well. I wonder though, what's the female equivalent? "Chicks before..." nevermind. Regardless if there's a female counterpart to it, Blondie McClune (Marion Davies) and Lottie Callahan aka Lurline Cavanaugh (Billie Dove) should've adopted it. Blondie did try though.
Blondie and Lottie were friends from childhood and they weren't afraid to physically go at each other if one of them was getting salty. Lottie left her working class uptown home for the stage and Park Avenue. When she came back to the neighborhood months later she came back with a stuffy proper accent and airs. She was a total snob.
She brought Blondie back to her new digs (probably to show off) and that's when Larry (Robert Montgomery) saw Blondie.
Larry Belmont was Lottie's boyfriend/sugar daddy and when he spent just a few minutes with Blondie he was done for. Blondie reciprocated the affection because she was about as sharp as a basketball. She couldn't plainly see that Lottie was into Larry and it took Lottie breaking down into tears for her to make Blondie understand she loved Larry.
By that time it was too late. Larry was head over heels for Blondie and was totally through with Lottie. Blondie agreed not to see Larry anymore, but it was going to take a lot to shake him off.
Naturally, this caused a serious rift between Lottie and Blondie, but Larry or no Larry, Blondie got a taste of the good life and she wanted in. She joined the follies with Lottie and that wasn't all.
I like Marion Davies. She has an effervescence that not many of the other actresses had at that time. She was willing to be silly and unrefined when it seemed like every other woman was playing the dainty, proper, society role. Davies was the only bright spot in this movie. The rest of it and the actors were pretty stale. Robert Montgomery played the typical handsome, charming suit who stars opposite the female romantic interest. No matter how hard she resists him, if at all, he wins her over in the end even if he has to tell her that they'll be together forever (another common theme was men telling--not asking--the women they're going to marry them and she would demurely consent). And just about every movie back then included some sort of romantic quagmire involving three or more people.
TLDR; Marion, I like you, but I'll take a pass on this movie.
Blondie and Lottie were friends from childhood and they weren't afraid to physically go at each other if one of them was getting salty. Lottie left her working class uptown home for the stage and Park Avenue. When she came back to the neighborhood months later she came back with a stuffy proper accent and airs. She was a total snob.
She brought Blondie back to her new digs (probably to show off) and that's when Larry (Robert Montgomery) saw Blondie.
Larry Belmont was Lottie's boyfriend/sugar daddy and when he spent just a few minutes with Blondie he was done for. Blondie reciprocated the affection because she was about as sharp as a basketball. She couldn't plainly see that Lottie was into Larry and it took Lottie breaking down into tears for her to make Blondie understand she loved Larry.
By that time it was too late. Larry was head over heels for Blondie and was totally through with Lottie. Blondie agreed not to see Larry anymore, but it was going to take a lot to shake him off.
Naturally, this caused a serious rift between Lottie and Blondie, but Larry or no Larry, Blondie got a taste of the good life and she wanted in. She joined the follies with Lottie and that wasn't all.
I like Marion Davies. She has an effervescence that not many of the other actresses had at that time. She was willing to be silly and unrefined when it seemed like every other woman was playing the dainty, proper, society role. Davies was the only bright spot in this movie. The rest of it and the actors were pretty stale. Robert Montgomery played the typical handsome, charming suit who stars opposite the female romantic interest. No matter how hard she resists him, if at all, he wins her over in the end even if he has to tell her that they'll be together forever (another common theme was men telling--not asking--the women they're going to marry them and she would demurely consent). And just about every movie back then included some sort of romantic quagmire involving three or more people.
TLDR; Marion, I like you, but I'll take a pass on this movie.
Poor girl becomes rich
hannabby19 January 2006
Warning: Spoilers
Wonderful portrayal of young girls in the 1930's looking to better themselves. The apartment where Blondie lives with her family is a great example of working class life. The style of clothing and makeup is a true rendition of life in the 1920's. I believe this movie allows us a look back on what life was like back then. A classic movie.
I loved Blondie's mannerisms in the first part of the movie. She played an innocent, naive girl and was very good at it. However, after she makes it "big" she changes into somewhat of a snob, but only when talking to "Mr." For the most part,she is still the lovable main character of the movie. Although I do get the impression that she is trying to be something she is not. Maybe that was intentional. As the actress who plays Blondie is also the producer this might have been something she was trying to get across. It was unusual for women to be producers in movies in the 1930's but this actress was "friends" with William Randolph Hearst and was given free reign.
One has to realize when viewing the movie what life was like back then and not compare it to life today. As vaudeville was not far gone when this movie was made, it seems more like a vaudeville show than a movie as the actors wait for each to say their lines until the next starts.
I loved Blondie's mannerisms in the first part of the movie. She played an innocent, naive girl and was very good at it. However, after she makes it "big" she changes into somewhat of a snob, but only when talking to "Mr." For the most part,she is still the lovable main character of the movie. Although I do get the impression that she is trying to be something she is not. Maybe that was intentional. As the actress who plays Blondie is also the producer this might have been something she was trying to get across. It was unusual for women to be producers in movies in the 1930's but this actress was "friends" with William Randolph Hearst and was given free reign.
One has to realize when viewing the movie what life was like back then and not compare it to life today. As vaudeville was not far gone when this movie was made, it seems more like a vaudeville show than a movie as the actors wait for each to say their lines until the next starts.
"I Like Blondes"
richardchatten20 January 2018
The title leads you to expect a breezy showbiz romp, but it actually segues unpredictably back & forth throughout between comedy and drama. The production is lavishly mounted - if in places disjointed - and Marion Davies is backed by a top supporting cast, while throughout proving herself entirely worthy of having such an elaborate edifice constructed around her. Once again we see Marion in drag, Marion the mimic (parodying Garbo in director Edmund Goulding's previous film 'Grand Hotel') and also Marion nimbly nipping about on crutches.
One wonders what those in the know would have then made of Marion's creepy sugar daddy in the film, played by Douglass Dumbrille, forever shrugging his shoulders and remarking "I like blondes", as he unctuously makes his move on her.
One wonders what those in the know would have then made of Marion's creepy sugar daddy in the film, played by Douglass Dumbrille, forever shrugging his shoulders and remarking "I like blondes", as he unctuously makes his move on her.
Barfing at the Folly
ArtVandelayImporterExporter20 January 2023
Look, I think Marion Davies is under-rated as a comedienne. Seeing her silent comedies has been a revelation to me. It's sad that her portrayal in Citizen Kane likely relegated her to punchline status in Hollywood history.
On the other hand....
Davies is not a convincing dramatic actress. She's too flighty. She has no dramatic range. And frankly, by the 1930s she's already into her mid-30s and had done enough drinking to look 40+. She's way too high mileage to be the ingenue. So if William Randolph Hearst was pushing her into movies she didn't belong in, then he and she probably deserved to get roasted for it.
Blondie of the Follies is neither funny nor satisfyingly dramatic. It wastes Marion Davies's comedic talents AND those of Zazu Pitts. It buries Robert Montgomery's considerable charm.
It's just another flat, dull, earnest, stiff early-talkie snoozerama. Watch it with one finger on the FFW button. Yer gonna need it.
On the other hand....
Davies is not a convincing dramatic actress. She's too flighty. She has no dramatic range. And frankly, by the 1930s she's already into her mid-30s and had done enough drinking to look 40+. She's way too high mileage to be the ingenue. So if William Randolph Hearst was pushing her into movies she didn't belong in, then he and she probably deserved to get roasted for it.
Blondie of the Follies is neither funny nor satisfyingly dramatic. It wastes Marion Davies's comedic talents AND those of Zazu Pitts. It buries Robert Montgomery's considerable charm.
It's just another flat, dull, earnest, stiff early-talkie snoozerama. Watch it with one finger on the FFW button. Yer gonna need it.
One of Davies Best
Michael_Elliott26 September 2009
Blondie of the Follies (1932)
*** (out of 4)
Marion Davies plays slum girl Blondie McClune who finally gets out of her dump thanks in large part to he friend Lottie (Billie Dove) who has made it big on Broadway. The two have a falling out when Larry (Robert Montgomery) falls for Blondie but she has more problems as her high life slowly starts to crumble down. I was really shocked at how good this film was because, to be honest, this story isn't all that original and it's one we had seen countless time in the brief time that talkies had come into play. What really makes this film worth watching are the downright marvelous performances and various pre-code elements. The pre-code elements are pretty straight-forward in their sexual innuendo and the film doesn't shy away from Dove's rather large breasts and she's constantly dressed in skimpy little outfits that allows her to jiggle around if you catch what I mean. Even Davies has a brief scene where she's wet and you can see through her top. Even without these elements the film still works because both women are terrific in their roles. Apparently the story here is very close to that of Davies real life and perhaps that's why she dug into the character so much. She's not playing that Davies persona here but instead she really delivers a full character on all levels. Dove is brilliant as well because her sexuality really jumps off the screen and she makes her character very memorable. It was sad to read she retired from Hollywood after this movie apparently because Hearst cut most of her scenes here fearing she'd take the movie away from Davies. Montgomery makes for a great leading mad her and James Gleason is also very good as the concerned father. Even Zasu Pitts is very good here as the sister. She handles the drama quite well and this is coming from someone who really doesn't care for his comedy side. Then we have the fourth-billed Jimmy Durante who shows up for what's basically a cameo but it turns out to be one of the highlights of the film. He shows up and does a little skit on why men shouldn't take women to see GRAND HOTEL because of John Barrymore's great looks. This sly bit of publicity for MGM is a nice little tough as Durante plays Barrymore with Davies doing an impersonation of Greta Garbo. Again, the story itself isn't all that original but that's the only problem with this gem that should be a lot better known than it actually is.
*** (out of 4)
Marion Davies plays slum girl Blondie McClune who finally gets out of her dump thanks in large part to he friend Lottie (Billie Dove) who has made it big on Broadway. The two have a falling out when Larry (Robert Montgomery) falls for Blondie but she has more problems as her high life slowly starts to crumble down. I was really shocked at how good this film was because, to be honest, this story isn't all that original and it's one we had seen countless time in the brief time that talkies had come into play. What really makes this film worth watching are the downright marvelous performances and various pre-code elements. The pre-code elements are pretty straight-forward in their sexual innuendo and the film doesn't shy away from Dove's rather large breasts and she's constantly dressed in skimpy little outfits that allows her to jiggle around if you catch what I mean. Even Davies has a brief scene where she's wet and you can see through her top. Even without these elements the film still works because both women are terrific in their roles. Apparently the story here is very close to that of Davies real life and perhaps that's why she dug into the character so much. She's not playing that Davies persona here but instead she really delivers a full character on all levels. Dove is brilliant as well because her sexuality really jumps off the screen and she makes her character very memorable. It was sad to read she retired from Hollywood after this movie apparently because Hearst cut most of her scenes here fearing she'd take the movie away from Davies. Montgomery makes for a great leading mad her and James Gleason is also very good as the concerned father. Even Zasu Pitts is very good here as the sister. She handles the drama quite well and this is coming from someone who really doesn't care for his comedy side. Then we have the fourth-billed Jimmy Durante who shows up for what's basically a cameo but it turns out to be one of the highlights of the film. He shows up and does a little skit on why men shouldn't take women to see GRAND HOTEL because of John Barrymore's great looks. This sly bit of publicity for MGM is a nice little tough as Durante plays Barrymore with Davies doing an impersonation of Greta Garbo. Again, the story itself isn't all that original but that's the only problem with this gem that should be a lot better known than it actually is.
Interesting but Ineffective
LeonLouisRicci30 April 2013
A pre-code entry that is not quite a Musical, not quite a Comedy, and not quite a Soap. It is none of these things and all of these things. That makes it an interesting if unsatisfying Movie. There is less "skin" in this than most of the early backstage stuff although the subject matter is certainly risqué.
Of interest to Film Buffs for the time frame and the infamous Marion Davies of William Randolph Hearst lore (made forever relevant in Citizen Kane (1940). There is much here to watch as it is presented with verve and that MGM professionalism. The Dialog is salty at times and spunky.
The Musical numbers, what little there are, come off as filler and unremarkable. The worst of it is probably the unfunny, untalented and dated Jimmy Durante. Inserted here for some reason, most likely Business.
There is an abrupt transition from middle to ending that seems like there are scenes missing and it is rather jarring. But overall this is a good "Drama" that may have an identity crisis. It works best as a rags to riches Depression Era story that audiences were using as an escape mechanism. For that it was well handled, but Artistically it suffers a bit from an inability to grab a style and stick with it.
Of interest to Film Buffs for the time frame and the infamous Marion Davies of William Randolph Hearst lore (made forever relevant in Citizen Kane (1940). There is much here to watch as it is presented with verve and that MGM professionalism. The Dialog is salty at times and spunky.
The Musical numbers, what little there are, come off as filler and unremarkable. The worst of it is probably the unfunny, untalented and dated Jimmy Durante. Inserted here for some reason, most likely Business.
There is an abrupt transition from middle to ending that seems like there are scenes missing and it is rather jarring. But overall this is a good "Drama" that may have an identity crisis. It works best as a rags to riches Depression Era story that audiences were using as an escape mechanism. For that it was well handled, but Artistically it suffers a bit from an inability to grab a style and stick with it.
The Grand Illusion
1930s_Time_Machine25 October 2022
Despite its title, this is not a musical and neither is it a comedy. What Blondie of the Follies is, is a well-made melodrama but not a mushy, over-acted, tooth dissolving silo of sentimentality as the term 'melodrama' might suggest. On the contrary, this is a very natural and realistic drama presented in a surprisingly modern way - this does not feel like one of those creaky old early talkies.
The film is about friendship, the close friendship between two young(ish) women who have known each other since childhood and how this friendship is strained when they both decide to change their lives. This film is the crystallization of the expression 'Art mirrors life' because its story is how these two young women decide that the only way to escape the humdrum of living on the breadline is to find a millionaire sugar-daddy who will make them rich and famous by putting them on the stage. That plot was used countless times by Warner Brothers in their musical comedies of the early thirties but this film handles this subject very differently - much more sensitively and, although always retaining a light mood, more seriously.
Art mirrors life indeed because these two friends are Marion Davies and Billie Dove. Dove was the mistress of Howard Hughes and Davies was course was the mistress of billionaire W R Hearst who plucked her from the chorus when she was 21 (and he was 58) and during the 20s he made her the biggest star in Hollywood. He didn't just put her in the movies, he made a whole multi-million dollar movie studio just for her so she would always be the star of the picture!
Because of the perceived very unfair fast-tracking to immediate superstardom (and maybe that her boyfriend build a massive castle for her to live in), her talent and her films are often overlooked. This itself is unfair because, as she so clearly demonstrates in this film, she was a pretty decent actress and better than many of her contemporaries. Also because of the millions Hearst threw at her career, her films are always of the highest quality with the most expensive talent money could afford. This for example boasts a story not just from one of Hollywood's top two female writers of the time but from both of them, a director straight from MGM's biggest hit of that year, Fox's most celebrated and imaginative cinematographer and of course Hearst's massive bankroll so there's nothing that could be improved on.
However it is like when members of old 70s rock bands used to get together to form 'super-bands' in the 80s - the result is pretty good but nothing unique, special or memorable. Nevertheless Blondie of the Follies is still entertaining.....much more entertaining that how The Follies themselves are portrayed in this - did people actually pay money to watch that!
The film is about friendship, the close friendship between two young(ish) women who have known each other since childhood and how this friendship is strained when they both decide to change their lives. This film is the crystallization of the expression 'Art mirrors life' because its story is how these two young women decide that the only way to escape the humdrum of living on the breadline is to find a millionaire sugar-daddy who will make them rich and famous by putting them on the stage. That plot was used countless times by Warner Brothers in their musical comedies of the early thirties but this film handles this subject very differently - much more sensitively and, although always retaining a light mood, more seriously.
Art mirrors life indeed because these two friends are Marion Davies and Billie Dove. Dove was the mistress of Howard Hughes and Davies was course was the mistress of billionaire W R Hearst who plucked her from the chorus when she was 21 (and he was 58) and during the 20s he made her the biggest star in Hollywood. He didn't just put her in the movies, he made a whole multi-million dollar movie studio just for her so she would always be the star of the picture!
Because of the perceived very unfair fast-tracking to immediate superstardom (and maybe that her boyfriend build a massive castle for her to live in), her talent and her films are often overlooked. This itself is unfair because, as she so clearly demonstrates in this film, she was a pretty decent actress and better than many of her contemporaries. Also because of the millions Hearst threw at her career, her films are always of the highest quality with the most expensive talent money could afford. This for example boasts a story not just from one of Hollywood's top two female writers of the time but from both of them, a director straight from MGM's biggest hit of that year, Fox's most celebrated and imaginative cinematographer and of course Hearst's massive bankroll so there's nothing that could be improved on.
However it is like when members of old 70s rock bands used to get together to form 'super-bands' in the 80s - the result is pretty good but nothing unique, special or memorable. Nevertheless Blondie of the Follies is still entertaining.....much more entertaining that how The Follies themselves are portrayed in this - did people actually pay money to watch that!
comment on appearance of Billie Dove and Jimmy Durante in film
efffee27 April 2006
Yhis is a very entertaining film. Billie Dove and Jimmy Durante are given co star billing in this Marion Davies film. Durante appears at the end peforming a musical number, not seemingly involved with the other characters. It is widely known that Davies mentor, Ramdolph Hearst had editorial control over her films and may have cut parts where attention is given to other actors.Billie Dove a huge singing star of her time, decided to quit show business after this film. About an hour into the film, in a "woman to woman" talk between the characters played by Davies and Dove, Davies refers to Doves character name as Lurlene Callabash, Could Dove be Mr. Durante's famous Callabash of " goodnight Mrs. Calabash" ' his famous closing line from stage and TV years later? Historians say it was Durante's first wife.Any role playing between Durante and Dove may have been left on the cutting room floor.They at least worked on the same film together. Interesting,
interesting bit of trivia
joie110825 April 2008
Warning: Spoilers
...is that the movie was made during a certain blackout of musicals, so all but one number was cut.
Some people pooh-poohed the Jimmy Durante scene, but I enjoyed it even though it was most likely a sly reference to the director who also directed the movie that scene was spoofed from. It probably appeased WRH considering he always preferred MD to do more drama and less comedy even though she was a natural comedian.
The scene when Blondie's father visits her in her apartment gets me every time. It was probably that scene that got me obsessed with searching out who the stars were -- I originally caught the movie after the credits rolled, on PBS (pre-cable days). Great movie. So glad people are talking about this movie -- or any MD movie!
More trivia: RM's daughter Elizabeth was the star of TV's Bewitched. Am I correct in guessing that Jenny McCarthy is EM's ex-daughter-in-law?
Some people pooh-poohed the Jimmy Durante scene, but I enjoyed it even though it was most likely a sly reference to the director who also directed the movie that scene was spoofed from. It probably appeased WRH considering he always preferred MD to do more drama and less comedy even though she was a natural comedian.
The scene when Blondie's father visits her in her apartment gets me every time. It was probably that scene that got me obsessed with searching out who the stars were -- I originally caught the movie after the credits rolled, on PBS (pre-cable days). Great movie. So glad people are talking about this movie -- or any MD movie!
More trivia: RM's daughter Elizabeth was the star of TV's Bewitched. Am I correct in guessing that Jenny McCarthy is EM's ex-daughter-in-law?
Which follies?
gkeith_120 April 2017
Warning: Spoilers
Spoilers. Observations. Opinions.
Which follies? September 1, 1932 this film was released. July 1, 1932, Florenz Ziegfeld passed away, he of his own famous follies. Davies and Dove were both in the actual Ziegfeld Follies. Coincidences? Food for thought. Go figure. Ziegfeld died broke. So did Hearst. The 1929 crash killed Ziegfeld and his empire. Meanness, plus Citizen Kane, may have done Hearst in. Billie Burke bailed out Ziegfeld. Davies bailed out Hearst. These women had the cash $$$$$ to financially see to the overblown extravagances of these two over-the-top financially strapped mega entrepreneurs.
In this film, Dumbrille was the Hearst character who financed Blondie/Davies' expensive lifestyle. Dumbrille was offstage the rest of the film, while Blondie was dithering about Robert Montgomery. Was Davies two--timing Hearst in real life?
1932. Pre-code. Dove had some quite revealing bedroom apparel, but not even quite sleazy as was stereotypical of that era. I noticed Blondie's pirate costume wasn't very revealing. Pre-code notions of financially kept women such as Lottie and Blondie were quite obvious. You don't see any sex, but you obviously know that that's how the two women "paid" for their luxurious abodes and servants.
Jimmy Durante was a riot. He even had some hair. I understood what he said. He was imitating John Barrymore in the film Grand Hotel. Davies was doing her Greta Garbo imitations. Both totally entertained the crowd at the party.
Hearst's yacht (Dumbrille)? People "falling into the water"? Drunks? Look at the 1924 Ince scandal.
Which follies? September 1, 1932 this film was released. July 1, 1932, Florenz Ziegfeld passed away, he of his own famous follies. Davies and Dove were both in the actual Ziegfeld Follies. Coincidences? Food for thought. Go figure. Ziegfeld died broke. So did Hearst. The 1929 crash killed Ziegfeld and his empire. Meanness, plus Citizen Kane, may have done Hearst in. Billie Burke bailed out Ziegfeld. Davies bailed out Hearst. These women had the cash $$$$$ to financially see to the overblown extravagances of these two over-the-top financially strapped mega entrepreneurs.
In this film, Dumbrille was the Hearst character who financed Blondie/Davies' expensive lifestyle. Dumbrille was offstage the rest of the film, while Blondie was dithering about Robert Montgomery. Was Davies two--timing Hearst in real life?
1932. Pre-code. Dove had some quite revealing bedroom apparel, but not even quite sleazy as was stereotypical of that era. I noticed Blondie's pirate costume wasn't very revealing. Pre-code notions of financially kept women such as Lottie and Blondie were quite obvious. You don't see any sex, but you obviously know that that's how the two women "paid" for their luxurious abodes and servants.
Jimmy Durante was a riot. He even had some hair. I understood what he said. He was imitating John Barrymore in the film Grand Hotel. Davies was doing her Greta Garbo imitations. Both totally entertained the crowd at the party.
Hearst's yacht (Dumbrille)? People "falling into the water"? Drunks? Look at the 1924 Ince scandal.
Hustle and tussle
jarrodmcdonald-124 June 2022
Warning: Spoilers
The film has infectious precode energy, owing to its three main stars. Of course, it's first and foremost a Marion Davies picture with Miss Davies the top-billed performer. She is also listed as producer, though most likely that was a vanity credit since these productions were mostly guided by her partner William Randolph Hearst. He was in essence the real power behind the scenes.
Hearst was known to cut footage that did not feature Davies, or to question the screenwriters when an important moment in the story did not involve her character. He wanted her to appear in every scene, whether that was logical or not, and he always had her back. So yeah, this is a Marion Davies film, no doubt about it.
But it also gives her costars Robert Montgomery and Billie Dove, plenty of chances to shine as well. From what I've read, Davies and Dove had both been dancers for Ziegfeld and in a lot of respects, the film is semi-autobiographical about their early days in New York appearing on Broadway.
All the tropes are present: girls from humble background leave home for a better life and fame, they meet an assortment of colorful theatrical characters; then jealousy and petty rivalries ensue. The neophyte actresses get their big break but both have trouble in love, a tragedy occurs, etc. Yada yada yada, you get the idea.
Mr. Montgomery plays the would-be suitor for both ladies. They envision a life with him, but will it jeopardize their relationship with each other? These two gals are to say the least, frenemies.
Montgomery is not a cad per se, but he's somewhat glib. He knows how to charm the ladies, and more importantly, how to love them and leave them. But while he may be able to leave Dove, he cannot exactly leave Davies. He's too smitten with her.
The supporting cast includes ZaSu Pitts as Davies' sister...she's resigned to a life of domestic 'bliss' in the family's impoverished neighborhood. And we also have James Gleason, barely old enough to pass as the father of Pitts and Davies. However, Gleason does a fine job with his role. Two scenes in particular stand-out: a massive row he causes when he learns Davies is seeing that good-for-nothing Montgomery; then a poignant reconciliation scene later on.
There's an extended cameo with Jimmy Durante where he turns up at a party in Davies' penthouse apartment, after she becomes a star. He has a memorable entrance, then proceeds to do his usual shtick. Davies does a rather hysterical imitation of Greta Garbo alongside Durante's imitation of John Barrymore, whereby they spoof a scene from MGM's other prestige hit of 1932, GRAND HOTEL.
All these antics aside, what I found more entertaining was the constant tussling between Davies and Dove. They seem to love and hate each other.
There's a fantastic scene where they are aboard a rich man's yacht and end up quarreling about Montgomery. They yell and holler, push and shove, then plunge overboard into the cold water below. It certainly seemed as if it was filmed without stunt doubles. The shot of them falling into the water is classic.
I got the feeling that pioneering screenwriter Frances Marion took elements from the lives of Davies and Dove, then incorporated them into the overall scenario. Also that these two actresses may have had a real-life rivalry. On top of all this, we have writer Anita Loos stepping in and adding dialogue based on her own show biz experiences. As a result, we get a story about real women who live larger than life...before they eventually settle down with prince charming.
Hearst was known to cut footage that did not feature Davies, or to question the screenwriters when an important moment in the story did not involve her character. He wanted her to appear in every scene, whether that was logical or not, and he always had her back. So yeah, this is a Marion Davies film, no doubt about it.
But it also gives her costars Robert Montgomery and Billie Dove, plenty of chances to shine as well. From what I've read, Davies and Dove had both been dancers for Ziegfeld and in a lot of respects, the film is semi-autobiographical about their early days in New York appearing on Broadway.
All the tropes are present: girls from humble background leave home for a better life and fame, they meet an assortment of colorful theatrical characters; then jealousy and petty rivalries ensue. The neophyte actresses get their big break but both have trouble in love, a tragedy occurs, etc. Yada yada yada, you get the idea.
Mr. Montgomery plays the would-be suitor for both ladies. They envision a life with him, but will it jeopardize their relationship with each other? These two gals are to say the least, frenemies.
Montgomery is not a cad per se, but he's somewhat glib. He knows how to charm the ladies, and more importantly, how to love them and leave them. But while he may be able to leave Dove, he cannot exactly leave Davies. He's too smitten with her.
The supporting cast includes ZaSu Pitts as Davies' sister...she's resigned to a life of domestic 'bliss' in the family's impoverished neighborhood. And we also have James Gleason, barely old enough to pass as the father of Pitts and Davies. However, Gleason does a fine job with his role. Two scenes in particular stand-out: a massive row he causes when he learns Davies is seeing that good-for-nothing Montgomery; then a poignant reconciliation scene later on.
There's an extended cameo with Jimmy Durante where he turns up at a party in Davies' penthouse apartment, after she becomes a star. He has a memorable entrance, then proceeds to do his usual shtick. Davies does a rather hysterical imitation of Greta Garbo alongside Durante's imitation of John Barrymore, whereby they spoof a scene from MGM's other prestige hit of 1932, GRAND HOTEL.
All these antics aside, what I found more entertaining was the constant tussling between Davies and Dove. They seem to love and hate each other.
There's a fantastic scene where they are aboard a rich man's yacht and end up quarreling about Montgomery. They yell and holler, push and shove, then plunge overboard into the cold water below. It certainly seemed as if it was filmed without stunt doubles. The shot of them falling into the water is classic.
I got the feeling that pioneering screenwriter Frances Marion took elements from the lives of Davies and Dove, then incorporated them into the overall scenario. Also that these two actresses may have had a real-life rivalry. On top of all this, we have writer Anita Loos stepping in and adding dialogue based on her own show biz experiences. As a result, we get a story about real women who live larger than life...before they eventually settle down with prince charming.
What, no Hattie?
mark.waltz11 October 2023
Warning: Spoilers
She was probably too busy working at the five and ten and worrying about her cat at the flat with a bed and a chair. But with names like Blondie, Gertie and Lottie, these Broadway babies were definitely hoping to see their names in lights from Washington Square way up to Washington Heights, or at least two of them were. Sondheim's "Follies" song was definitely written unknowingly with the characters played by Marion Davies and Billie Dove in mind, with Pitts providing support as Davies' older sister. Like the women of "Gold Diggers of 1933", they certainly had their struggles, and this was seemingly set before the depression.
The story focuses mainly on Davies and Dove who becomes a star in a musical revue, although this focuses more on their lives off the stage rather than on, and Davies isn't initially in the business. She meets Robert Montgomery through Dove, gets a job in the show, causing friction with her. The stage is set for a quick rise and a sudden fall, and when you rise too fast, going down is even faster from the top.
This sounds light and frivolous but it's actually more dramatic than it appears to be at first. Even Jimmy Durante as a stage comic is involved in the more serious elements, along with the usually funny James Gleason as Davies' father. Sarah Padden is the gentle, long suffering mother of both Davies and Pitts, and future Charlie Chan Sidney Toler is Pitt's husband. Veteran villain Douglas Dumbrille is Montgomery's lecherous friend. The gorgeous MGM art decco works even for the slum sets, and the characters are well rounded. Definitely a great pre-code drama with Davies absolutely magnetic and Montgomery handsome and rugged. Not surprised that this was written by Anita Loos, author of "Gentlemen Prefer Blondes".
The story focuses mainly on Davies and Dove who becomes a star in a musical revue, although this focuses more on their lives off the stage rather than on, and Davies isn't initially in the business. She meets Robert Montgomery through Dove, gets a job in the show, causing friction with her. The stage is set for a quick rise and a sudden fall, and when you rise too fast, going down is even faster from the top.
This sounds light and frivolous but it's actually more dramatic than it appears to be at first. Even Jimmy Durante as a stage comic is involved in the more serious elements, along with the usually funny James Gleason as Davies' father. Sarah Padden is the gentle, long suffering mother of both Davies and Pitts, and future Charlie Chan Sidney Toler is Pitt's husband. Veteran villain Douglas Dumbrille is Montgomery's lecherous friend. The gorgeous MGM art decco works even for the slum sets, and the characters are well rounded. Definitely a great pre-code drama with Davies absolutely magnetic and Montgomery handsome and rugged. Not surprised that this was written by Anita Loos, author of "Gentlemen Prefer Blondes".
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