Dancing Sweeties
"The boys and girls of today whose new code of freedom is approved by no one but themselves!"
Plot
Bill Cleaver is a conceited and obsessive dancer who spends every waking moment at the local dance palace. After abandoning his long-time partner Edna for the charming Molly O'Neil, the two enter a waltz contest and win first prize: a fully furnished apartment. To claim the prize, they must marry immediately in a live ceremony at the dance hall, a decision that shocks their respective parents. However, the honeymoon phase quickly fades as Bill grows restless with domestic life and the constant interference of their in-laws. The marriage is pushed to the breaking point when Bill insists on entering another dance contest with his former partner, leading to a series of comedic and dramatic misunderstandings before the couple finally reconciles.
About the Production
The film was based on the short story 'Three Flights Up' by Harry Fried. During production, it was known under the working titles 'Those Who Dance' and 'Three Flights Up'. Sue Carol, who was under contract to Fox Film at the time, was specifically loaned out to Warner Bros. for this production. The film is a notable example of the 'Pre-Code' era, featuring themes of impulsive marriage and youthful rebellion that were common before stricter censorship was enforced.
Historical Background
Released in 1930, 'Dancing Sweeties' arrived at the intersection of the Great Depression's onset and the peak of the 'Jazz Age' youth culture. The film captures the 'flaming youth' spirit of the era, where young people sought independence through jazz music and dance halls as a form of escape from economic hardship and parental authority. It also represents the transition of Hollywood from the initial novelty of sound to more structured narrative filmmaking, often referred to as the 'Pre-Code' era, where social mores were explored with more frankness than would be allowed just a few years later under the Hays Code.
Why This Film Matters
The film serves as a cultural time capsule of the American dance hall phenomenon. It highlights the social importance of these venues as 'marriage markets' and community hubs for the working class. Additionally, it reflects the generational divide of the time, contrasting the traditional 'waltz' favored by the older generation with the 'hot' jazz dances of the youth. Its portrayal of a 'quickie' wedding for a material prize (the apartment) critiqued the commercialization of romance in early 20th-century urban America.
Making Of
Directed by Ray Enright, a veteran of the Warner Bros. stable, the film was shot quickly to capitalize on the dance craze of the late 1920s. The production utilized the Vitaphone sound-on-disc system, which required actors to stay relatively close to hidden microphones, a challenge for a film centered on movement and dancing. Cinematographer Robert Kurrle, who was becoming Warner's top cameraman, used innovative lighting to make the dance hall sequences feel expansive despite the technical limitations of early sound recording. The script underwent several revisions, moving away from a purely musical format to a more dialogue-heavy 'comedy-drama' to suit the changing tastes of 1930 audiences.
Visual Style
Photographed by Robert Kurrle, the film features surprisingly fluid camera work for an early talkie. Kurrle used wide shots to capture the scale of 'Hoffman’s Parisian Dance Palace' and employed tracking shots to follow the dancers, a difficult feat given the bulky sound-shielded cameras of 1930. The lighting in the dance hall scenes is designed to create a vibrant, high-energy atmosphere that contrasts with the more static, shadowed lighting of the couple's cramped new apartment.
Innovations
The film is a notable example of the Vitaphone sound-on-disc process at its peak. It successfully integrated live musical performance with dialogue-heavy scenes, overcoming the 'static' nature of many early talkies. The synchronization of the dance steps with the musical score was considered a high technical standard for the time.
Music
The soundtrack features music by Cecil Copping and Rex Dunn, with lyrics by the legendary Al Dubin and music by Joe Burke. The standout track is 'The Kiss Waltz,' which became a popular hit independently of the film. Other musical moments include 'I'll Be Reminded of You' and various jazz numbers played by the dance hall band. The film's music was originally recorded on Vitaphone discs, which provided a rich, synchronized audio experience for 1930 audiences.
Famous Quotes
Jerry Brown: 'This is the place where the old feel young and the young feel natural!'
Molly O'Neil: 'I'm fed up with this thing... all they think of is dancing and jazz!'
Bill Cleaver: 'What a swell spot for Cleaver's cups!'
Memorable Scenes
- The opening sequence at Hoffman's Parisian Dance Palace, which establishes the high-energy, competitive atmosphere of the 1930s dance hall culture.
- The 'impromptu' wedding ceremony held on the dance floor, where Bill and Molly trade their freedom for a furnished apartment in front of a cheering crowd.
- The final waltz contest where the couple must decide between their pride as dancers and their love for each other.
Did You Know?
- The film was originally intended to feature the song 'Dancing With Tears in My Eyes', but executives removed it because the sentiment was considered too melancholy for the film's lighthearted tone.
- Sue Carol, the female lead, later became a successful talent agent and was the wife of actor Alan Ladd.
- The film features an early appearance by Sid Silvers, who plays the fast-talking dance hall manager Jerry Brown.
- It is one of the few films from 1930 that does not feature an on-screen Warner Bros. logo; instead, it uses an in-credit notice.
- The plot's central conflict—a 'waltz' vs. 'jazz' dance style—reflected the real-world cultural shift occurring in dance halls during the early 1930s.
- The film was released during a period when the public's interest in 'all-talking, all-singing' musicals was beginning to wane, leading Warner Bros. to market it more as a comedy-drama.
- The apartment won by the couple was a common promotional gimmick in real-life dance marathons of the era.
- Grant Withers and Sue Carol were both rising stars of the early sound era, though Withers' career would later shift into character roles in B-movies and Westerns.
What Critics Said
At the time of its release, the film received mixed to positive reviews, with critics praising the chemistry between Grant Withers and Sue Carol but noting the thinness of the plot. The New York Times described it as a light, entertaining piece that captured the spirit of the day, though some trade papers like 'Inside Facts of Stage and Screen' noted that the writers seemed to struggle with the repetitive nature of the dance sequences. Modern critics view it primarily as a fascinating artifact of early sound cinema and Pre-Code social attitudes.
What Audiences Thought
The film was a commercial success in urban centers, particularly in New York and Brooklyn, where it broke attendance records for the Strand theatres. Audiences were drawn to the relatable 'boy meets girl' story and the popular music of the era. The 'impulsive marriage' trope was particularly popular with young moviegoers who identified with the protagonists' desire to escape their parents' homes.
Film Connections
Influenced By
- The Jazz Singer (1927)
- Our Dancing Daughters (1928)
This Film Influenced
- Strictly Ballroom (1992)
- Step Up (2006)
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Film Restoration
The film is preserved and survives in its entirety. It is held in the collection of the Library of Congress and has been digitally restored.