Behind the Make-Up
"A drama of the greasepaint and the hearts that beat behind it!"
Plot
Hap Brown, a kind-hearted but struggling vaudeville clown with a bicycle act, rescues a penniless and suicidal Italian performer named Gardoni from the brink of despair. Hap selflessly shares his creative ideas and stage techniques with Gardoni, only for the vain and ambitious performer to steal the act and find solo success under his own name. When they eventually reunite, Gardoni brings Hap into his show as a partner but proceeds to ruthlessly woo and marry Hap's sweetheart, Marie. As Gardoni's ego swells with fame, he neglects Marie and enters a scandalous affair with the wealthy socialite Kitty Parker, leading to a tragic spiral of gambling debts and ultimate ruin. The story concludes with Gardoni's suicide, leaving the noble Hap to pick up the pieces and provide comfort to the widowed Marie.
About the Production
The film was produced during the chaotic transition from silent to sound cinema. It was based on the short story 'The Feeder' by Mildred Cram. While Robert Milton is the primary credited director, Dorothy Arzner—the only female director working in Hollywood at the time—directed several scenes uncredited to help complete the project. The film is notable for being the first of seven collaborations between William Powell and Kay Francis, a pairing that became one of the most iconic of the early 1930s.
Historical Background
Released in January 1930, the film arrived at the height of the 'backstage' movie craze that followed the success of 'The Broadway Melody' (1929). It was a time when Hollywood was raiding Broadway for talent, as seen in the casting of Hal Skelly. Historically, it captures the final gasp of the vaudeville era, which was being rapidly killed off by the very medium—talking pictures—that this film represents. It also sits at the dawn of the Pre-Code era, reflecting a darker, more cynical view of show business than the sanitized versions seen after 1934.
Why This Film Matters
The film is culturally significant primarily as the starting point for the Powell-Francis screen partnership, which influenced the 'sophisticated couple' archetype of the 1930s. It also serves as a key entry in the filmography of Dorothy Arzner, illustrating how female directors often worked behind the scenes to shape major studio releases. Furthermore, it provides a rare cinematic record of the 'bicycle act' and other specific vaudeville traditions that are now largely forgotten.
Making Of
The production of 'Behind the Make-Up' was a collaborative effort that saw significant input from Dorothy Arzner, who was frequently called upon by Paramount to 'fix' or finish films directed by others. Robert Milton, primarily a stage director, struggled with the technical requirements of the new 'talkie' format, leading the studio to rely on Arzner's editing and directing expertise. The film features authentic-looking vaudeville sets, reflecting the studio's desire to capitalize on the 'backstage' genre that was booming in 1929 and 1930. Casting Hal Skelly was a strategic move to bring Broadway prestige to the screen, though William Powell's charismatic performance as the antagonist ultimately stole much of the critical attention.
Visual Style
The cinematography by Charles Lang is notable for its use of shadows and high-contrast lighting, which hints at the noir style that would emerge a decade later. Lang, who would become one of Hollywood's most celebrated cinematographers, used the camera to emphasize the duality of the performers' lives—bright and public on stage, dark and claustrophobic behind the scenes.
Innovations
The film is an early example of successful dialogue integration in a dramatic context, moving away from the 'static' camera work that plagued many 1929 talkies. The use of a 'film-within-a-film' structure to showcase vaudeville acts required complex sound mixing for the time, ensuring that the stage performances felt distinct from the private dialogue scenes.
Music
The film features a musical score by W. Franke Harling and John Leipold. It includes several songs typical of the era, such as 'The One Girl' and 'I'm Yours,' which were integrated into the vaudeville performances within the film. Unlike many early talkies that were 'all-talking, all-singing,' this film uses music more sparingly to underscore the dramatic tension.
Famous Quotes
Gardoni (William Powell): 'They want hokum. I told you that highbrow stuff was over their heads.'
Hap Brown (Hal Skelly): 'I was happier when we had nothing. Then at least he needed me.'
Marie (Fay Wray): 'I think I almost hate these pearls... they look real, but they feel like lead.'
Memorable Scenes
- The opening scene where Hap Brown discovers a starving, desperate Gardoni and decides to share his meal and his life.
- The sequence where Gardoni performs the stolen bicycle act for the first time, revealing his complete lack of gratitude.
- The climactic confrontation where Gardoni's gambling debts are revealed, leading to his final, tragic decision.
- The final scene where Hap comforts Marie, showing a quiet dignity that contrasts with Gardoni's flamboyant ego.
Did You Know?
- This film marks the first time William Powell and Kay Francis appeared together on screen; they would go on to make six more films as a popular romantic duo.
- Dorothy Arzner, a pioneer for female directors, worked on the film uncredited, reportedly handling retakes and helping with the dialogue sequences.
- The story is based on 'The Feeder' by Mildred Cram, who also wrote the source material for the 1939 classic 'Love Affair'.
- William Powell plays a villainous role here, which was common for him at Paramount before he transitioned to his famous 'debonair detective' persona at MGM.
- Hal Skelly, who plays the lead Hap Brown, was a major Broadway star of the era, best known for 'Burlesque'.
- In one sequence, William Powell briefly appears in drag, wearing a mask as part of a stage performance.
- The film was released just as the 'Pre-Code' era was beginning, allowing for more mature themes like adultery and suicide than would be permitted a few years later.
- Kay Francis was still being typed as a 'vamp' or 'seductress' in this film, a stark contrast to her later 'long-suffering' dramatic roles.
- The film's title refers to the literal and metaphorical masks worn by performers in the vaudeville circuit.
What Critics Said
At the time of release, Mordaunt Hall of The New York Times praised the acting, particularly William Powell's 'excellent' performance and Fay Wray's 'pleasing' presence, but found the plot 'limp and disappointing.' Modern critics often view it as a fascinating, if slow-moving, artifact of the early sound era, noting the high quality of the performances despite the melodramatic script. It is frequently cited by film historians for its 'backstage' realism and the early chemistry between Powell and Francis.
What Audiences Thought
Audiences of 1930 were generally receptive to the film, as backstage dramas were highly popular. However, some found the pacing 'draggy' compared to the more energetic musicals of the same year. The film's popularity helped elevate William Powell and Kay Francis from supporting players to major stars, indicating that the public was more captivated by the actors than the specific plot.
Film Connections
Influenced By
- The 'backstage' tradition of Broadway theater
- Mildred Cram's short story 'The Feeder'
- Early German Expressionism (in its visual treatment of the 'clown' figure)
This Film Influenced
- Street of Chance (1930)
- The Thin Man (1934) (in terms of Powell's star trajectory)
- Various 'backstage' melodramas of the 1930s
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Film Restoration
The film is preserved and is in the public domain. It was out of circulation for many years but was rediscovered and aired on Turner Classic Movies (TCM) in the 2000s.