Bubbling Over

Plot

In this all-black short musical comedy, Ethel Waters plays a hardworking wife saddled with an incredibly lazy husband who won't move for anything except the announcement of lunch. Her domestic troubles multiply when four of his equally lazy relatives arrive unannounced, forming a quartet and singing their way into her home. The wife soon discovers these relatives have been traveling men and decides to take matters into her own hands. After enduring their laziness and freeloading, she firmly advises them to keep traveling and literally kicks them out of her house. The film combines musical performances with domestic comedy, showcasing Waters' formidable talents as both singer and comedic actress.

Historical Background

The film was released in 1934, during the depths of the Great Depression and at a time when African American representation in Hollywood was extremely limited. The early 1930s saw the rise of 'race films' - movies made by black producers for black audiences - but also a gradual increase in mainstream films featuring black performers in supporting roles. This period also saw the enforcement of the Hays Code, which would increasingly restrict how African Americans could be portrayed on screen. The film's existence as a mainstream studio production with an all-black cast was relatively progressive for its time, even if it relied on some comedic stereotypes. The musical elements reflect the growing popularity of jazz and blues among white audiences during the Jazz Age.

Making Of

The production of 'Bubbling Over' took place during a transitional period in Hollywood when sound technology was still evolving. The Vitaphone system used for this film recorded sound on separate discs that had to be synchronized with the film projection, which often created technical challenges. Ethel Waters, already an established recording artist, brought her musical expertise to the set, likely contributing to the musical arrangements. The film was shot on a limited budget typical of short subjects, with minimal sets designed to look like a modest family home. The cast, drawn from vaudeville and musical theater backgrounds, would have been accustomed to performing live, which helped them adapt to the new demands of sound filming. The quick pace of production meant that most scenes were completed in one or two takes, relying on the performers' professional experience.

Visual Style

The film was shot in black and white using standard 35mm film, typical of studio productions of the era. The cinematography was straightforward and functional, focusing on capturing the performances clearly. Camera work was relatively static, as was common in early sound films when microphones were cumbersome and limited movement. The lighting was designed to highlight the musical performances and facial expressions of the actors. The limited sets meant that shots were composed to maximize the use of space, with medium shots predominating to capture both the performers and their actions.

Innovations

As a Vitaphone production, the film utilized the sound-on-disc technology that Warner Bros. had pioneered. While this system was gradually being replaced by sound-on-film, it still offered superior audio quality for musical performances. The film demonstrated the successful synchronization of musical numbers with visual performance in a short format. The production also showed the growing sophistication of studio sound recording techniques, allowing for clearer capture of dialogue and singing. The relatively quick production timeline demonstrated the efficiency of studio short-subject units in creating polished entertainment on tight schedules.

Music

The film featured several musical numbers showcasing the talents of its cast. Ethel Waters likely performed at least one solo number, drawing from her extensive repertoire of blues and jazz standards. The quartet performed as a vocal group, typical of the close harmony styles popular in the 1930s. The musical direction would have been handled by Warner Bros.' music department, with arrangements tailored to the short format. The sound was recorded using the Vitaphone system, which provided relatively high-quality audio for the period. The soundtrack would have included both diegetic music (performed by the characters) and background music to enhance the comedic moments.

Memorable Scenes

• The opening scene where the wife tries to wake her lazy husband with a pin, only to have him instantly respond to the mention of lunch
• The musical performance by the quartet of lazy relatives, showcasing their vocal talents despite their character flaws
• The climactic scene where the wife finally puts her foot down and physically removes the freeloading relatives from her home

What Critics Said

Contemporary reviews of short subjects like 'Bubbling Over' were limited, as they were often overlooked by major publications in favor of feature films. Trade publications like Variety and The Hollywood Reporter would have noted the film's entertainment value and the performances of its stars. Modern critics and film historians view these shorts as valuable cultural artifacts that provide insight into early African American cinema and the transition from stage to screen for black performers. The film is now appreciated for its historical significance and for showcasing Ethel Waters' talents during her early film career.

What Audiences Thought

Audiences in 1934 would have viewed 'Bubbling Over' as part of a larger theater program, likely appreciating its musical numbers and comedy as light entertainment. The film's relatable domestic themes would have resonated with audiences struggling through the Depression, regardless of race. African American audiences particularly would have valued seeing black performers in leading roles on screen. Modern audiences viewing the film today often approach it as a historical document, appreciating both its entertainment value and its significance in film history.

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