Applause

Plot

Applause tells the story of Kitty Darling, a successful but aging burlesque performer who works at a cheap burlesque house in New York City. When her manager and lover Hitch suggests sending her daughter April away to a convent school to protect her from the show business world, Kitty reluctantly agrees. Years later, after April completes her education and returns home, Kitty discovers her daughter has grown into a beautiful young woman who knows nothing of her mother's profession. When April falls in love with a young sailor named Tony, Kitty must confront her past and make difficult choices to prevent her daughter from following the same path that led to her own heartbreak and degradation.

Historical Background

Applause was produced during a pivotal moment in cinema history - the transition from silent films to talkies. The year 1929 saw Hollywood scrambling to adapt to sound technology, with many studios producing clumsy, static films that were little more than filmed stage plays. The stock market crash of October 1929 occurred just weeks after Applause's release, marking the beginning of the Great Depression. The film's themes of economic hardship and the struggle to maintain dignity in the face of adversity resonated deeply with audiences facing similar challenges. The burlesque setting reflected a form of entertainment that was already becoming dated, as vaudeville and burlesque houses were being replaced by movie theaters. The film also emerged during a period of increased censorship pressure, with the Hays Code beginning to be more strictly enforced, making Applause's relatively adult themes and setting particularly daring.

Making Of

The making of Applause was marked by significant technical and artistic innovation. Director Rouben Mamoulian, despite being a first-time filmmaker, demanded unprecedented creative control from Paramount. He insisted on using multiple microphones positioned throughout the set, allowing actors to move naturally rather than being confined to sound booths. This revolutionary approach enabled more dynamic cinematography, including tracking shots that followed characters through the burlesque theater. Helen Morgan, making her film debut, was initially nervous about the cameras but Mamoulian encouraged her to perform as she would on stage. The burlesque sequences were carefully choreographed to be suggestive rather than explicit, pushing the boundaries of what was acceptable in early sound cinema. The film's production team worked tirelessly to create authentic period details, from the costumes to the theater sets, ensuring the gritty realism of the backstage world.

Visual Style

The cinematography by George J. Folsey was revolutionary for its time. Mamoulian and Folsey employed a moving camera crane for tracking shots that followed characters through the theater and backstage areas - a technique virtually unheard of in early sound films due to technical limitations. They used dramatic lighting to contrast the glitter of the stage with the gritty reality of the dressing rooms and backstage corridors. The film features innovative low-angle shots that emphasize the theatrical setting and create a sense of both grandeur and confinement. The cinematography also incorporates expressionistic lighting techniques from German cinema, particularly in the more dramatic scenes. The camera work during musical numbers is particularly noteworthy, moving with the performers rather than remaining static as in most early musicals. This dynamic visual style helped establish the film's emotional intensity and theatrical atmosphere.

Innovations

Applause pioneered numerous technical innovations that would become standard in sound cinema. Mamoulian's use of multiple microphones allowed for unprecedented camera mobility in a sound film, breaking free from the static camera positions that plagued most early talkies. The film employed early forms of dubbing and post-synchronization to improve sound quality. The lighting techniques were adapted for the requirements of sound filming, with quieter, more efficient lighting equipment developed specifically for this production. The film's editing style was also innovative, using rhythmic cuts and transitions that matched the musical numbers. The sound mixing techniques developed during production influenced how Hollywood would approach sound recording in musical films. The film demonstrated that sound technology could enhance rather than restrict cinematic artistry, helping to overcome the initial resistance to talkies among many filmmakers and critics.

Music

The musical score for Applause was composed by John Leipold, with additional songs by various composers including 'What Wouldn't I Do for That Man?' performed by Helen Morgan. The film's soundtrack was groundbreaking for its time, featuring a continuous musical score rather than the typical disconnected musical numbers of early talkies. The sound design included diegetic music from the burlesque performances, diegetic ambient sounds of the theater, and a non-diegetic orchestral score that underscored the dramatic scenes. Helen Morgan's songs were recorded live on set, capturing her distinctive, emotional vocal style. The sound quality was notably superior to many contemporary films, thanks to Mamoulian's insistence on using multiple microphones and careful sound mixing. The soundtrack helped establish the emotional tone of the film and demonstrated how music could be integrated into dramatic storytelling.

Memorable Scenes

• The opening sequence showing Kitty Darling's burlesque performance, with the camera moving through the audience and backstage, establishing the contrast between public performance and private reality.
• The emotional reunion scene between Kitty and April at the train station, showcasing Helen Morgan's powerful performance as a mother trying to hide her profession from her daughter.
• The heartbreaking scene where Kitty watches April's innocence being threatened by the show business world she tried to protect her from.
• The final confrontation scene in the theater dressing room, where Kitty must choose between her career and her daughter's future.

What Critics Said

Contemporary critics praised Applause as a breakthrough in sound cinema. The New York Times called it 'a picture of extraordinary distinction' and particularly praised Mamoulian's direction and Helen Morgan's performance. Variety noted that the film 'proves that the talking picture can be as artistic as the best silent productions.' Modern critics have continued to acclaim the film, with the American Film Institute including it in their list of important American films. Critics today particularly admire Mamoulian's innovative use of camera movement and sound, the film's atmospheric depiction of backstage life, and Morgan's heartbreaking performance. Many film historians consider it one of the most important films of 1929 and a crucial stepping stone in the development of the American musical.

What Audiences Thought

Audiences in 1929 responded positively to Applause, particularly drawn to Helen Morgan's emotional performance and the film's realistic portrayal of show business. The film's success was especially notable given that many early talkies were disappointing to audiences accustomed to the visual sophistication of late silent films. Viewers appreciated the film's adult themes and emotional depth, which set it apart from the more frivolous musical comedies of the era. The burlesque sequences, while tastefully done, provided the kind of spectacle audiences expected from musical entertainment. The mother-daughter relationship at the film's core resonated strongly with viewers, many of whom were facing their own economic and family challenges during the early Depression. The film's moderate box office success helped establish Helen Morgan as a bankable star and proved that audiences would accept more serious, dramatic content in musical films.

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