Golden Dawn
"A Glorious Operetta of the African Jungle!"
Plot
Set in a German-occupied African settlement during World War I, the story follows Dawn, a young woman who believes she is of mixed race and was raised by Mooda, a native woman. Dawn falls deeply in love with Tom Allen, an English rubber planter and prisoner of war, but their romance is threatened by Shep Keyes, a brutal native overseer who desires Dawn for himself. Keyes manipulates tribal superstitions, claiming Dawn is betrothed to the god Mulunghu, to prevent her from being with Tom. As a severe drought plagues the land, Keyes incites the natives to sacrifice Dawn to appease their god, while Tom desperately searches for proof of her true heritage. In a climactic finale, Mooda confesses that Dawn was actually kidnapped from white parents, and a sudden thunderstorm validates Dawn's faith in the 'white man's God,' leading to her rescue and a happy reunion with Tom.
About the Production
The film was a massive undertaking for Warner Bros., filmed entirely in the early two-strip Technicolor process. It was adapted from the 1927 Broadway operetta of the same name, which had been the inaugural production at Hammerstein's Theatre. Despite the high production values, the film suffered from the technical limitations of early sound recording, which required actors to remain relatively static near hidden microphones. The production utilized elaborate sets to recreate the African jungle on a Hollywood backlot, though the artifice was noted by critics even at the time.
Historical Background
Released in 1930, 'Golden Dawn' arrived at the tail end of the first 'talkie' boom. The film reflects the colonialist attitudes of the early 20th century, portraying Africa as a land of superstition and 'savagery' that requires European intervention. It was produced just as the Great Depression began to severely impact box office returns, leading studios to move away from expensive, lavish operettas in favor of grittier gangster films and pre-Code dramas. The film also exists in the 'Pre-Code' era, allowing for more suggestive costumes and themes than would be permitted after 1934.
Why This Film Matters
Today, 'Golden Dawn' is studied primarily as a primary example of racial stereotyping and colonialist fantasy in early Hollywood. Its use of blackface and the 'tragic mulatto' trope (even though the character is revealed to be white) makes it a significant artifact for understanding the history of race in American cinema. It also serves as a technical milestone for its use of two-strip Technicolor, representing the peak and subsequent fall of the early color musical genre.
Making Of
The production of 'Golden Dawn' was plagued by the transition from silent to sound cinema. Director Ray Enright had to manage the cumbersome Technicolor cameras, which were housed in large, soundproof 'blimps' that made movement nearly impossible. This resulted in the film's 'stagy' appearance, with long takes and minimal camera movement. Casting was also a point of contention; while Vivienne Segal was a Broadway star, her casting as a girl who believes she is 'native' was seen as absurdly unconvincing. The use of white actors in blackface for all speaking 'native' roles was a standard but controversial practice of the era that added to the film's later notoriety.
Visual Style
The film was shot in two-strip Technicolor by cinematographers Frank B. Good and Dev Jennings. This process utilized red and green filters to create a limited but vibrant color palette. Due to the slow speed of the color film stock and the weight of the sound-deadening camera housings, the cinematography is characterized by static medium shots and very few close-ups.
Innovations
One of the few films of its era to be photographed entirely in Technicolor. It also utilized early synchronized sound-on-disc (Vitaphone) and sound-on-film technologies, representing the cutting edge of 1930 cinematic technology despite the artistic limitations those tools imposed.
Music
The music was composed by Emmerich Kálmán and Herbert Stothart, with lyrics by Oscar Hammerstein II and Otto Harbach. Notable songs include 'Africa Smiles No More,' 'My Bwana,' 'The Whip,' and the title track 'Golden Dawn.' The score is heavily influenced by European operetta traditions rather than African musical styles.
Famous Quotes
Mooda: 'Africa smiles no more!' (Opening song lyric)
Shep Keyes: 'You are betrothed to the god Mulunghu, and no mortal man shall have you!'
Tom Allen: 'Has it ever occurred to you, Dawn, that your father might have been... a white man?'
Memorable Scenes
- The 'Whip Song' sequence where Noah Beery's character sings passionately to his whip while overseering workers.
- The climactic sacrifice scene where Dawn is tied to a stake as the tribe prays for rain.
- The opening sequence featuring the song 'Africa Smiles No More,' which sets the melodramatic and colonialist tone of the film.
Did You Know?
- The original Broadway production featured a young Archie Leach in a supporting role; he would later move to Hollywood and become the legendary Cary Grant.
- Noah Beery, who played the villain Shep Keyes, performed in heavy blackface makeup that reportedly began to melt and drip under the intense heat of the Technicolor studio lights.
- The film is frequently cited by film historians as one of the 'stinkers' that helped kill the initial 1930s craze for movie musicals and operettas.
- Despite being set in Africa, the film features a Viennese-style musical score, creating a bizarre cultural juxtaposition.
- The character Shep Keyes performs a song titled 'The Whip,' which is literally a declaration of love and devotion to his bullwhip.
- Vivienne Segal was 33 years old at the time of filming, playing a character intended to be a teenager.
- The film was originally released in full Technicolor, but for decades only black-and-white prints were known to exist until partial restorations were attempted.
- It was one of the last major 'all-color' features released before the industry temporarily abandoned the expensive Technicolor process due to the Great Depression.
What Critics Said
At the time of its release, reviews were mixed to negative, with many critics finding the plot absurd and the performances overwrought. Modern critics, such as those at TCM and Pre-Code.com, often describe it as 'hilariously awful' and a 'monstrosity.' It is frequently ridiculed for its 'Viennese operetta in the jungle' concept and the sheer tastelessness of its racial portrayals.
What Audiences Thought
Initial audiences were already becoming 'musically fatigued' by mid-1930, and 'Golden Dawn' failed to capture the public's imagination. It was a box office disappointment that contributed to Warner Bros. scaling back their musical productions until the genre was revitalized by '42nd Street' in 1933.
Film Connections
Influenced By
- The Broadway operetta 'Golden Dawn' (1927)
- The Desert Song (1926)
- Show Boat (1927) - also written by Hammerstein
This Film Influenced
- 42nd Street (1933) - indirectly, as its failure led to the genre's reinvention
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Film Restoration
The original two-strip Technicolor prints were long thought lost. The film survived primarily in black-and-white 16mm safety prints made for television in the 1950s. However, some color fragments have been located, and Turner Classic Movies (TCM) occasionally airs the best surviving black-and-white version.