Half Shot at Sunrise
"Two soldiers who'd rather make love than war!"
Plot
Two American soldiers, Tommy (Bert Wheeler) and Gilbert (Robert Woolsey), go absent without leave during World War I to enjoy the pleasures of Paris. While carousing in the city, they encounter two beautiful women, Mary (Dorothy Lee) and Olga (Leni Stengel), and become romantically involved. Their romantic escapades are complicated when they discover that Mary's father is their commanding officer, Colonel Marshall (Edwin Maxwell), who has been desperately searching for them. The duo must navigate a series of comedic misunderstandings, disguises, and near-misses as they try to avoid capture while pursuing their romantic interests. The film culminates in a frantic chase scene where the soldiers must outwit their superiors and the military police to return to their unit before being caught.
About the Production
This was the third film starring the comedy duo Wheeler & Woolsey for RKO, following their successful debut in 'Rio Rita' (1929). The film was shot during the early sound period, requiring the actors to perform with microphone constraints. The production utilized early sound recording equipment, which limited camera movement and required actors to remain relatively stationary during dialogue scenes. The Paris sequences were created on studio sets rather than on location, typical for the era.
Historical Background
Released in June 1930, 'Half Shot at Sunrise' emerged during a pivotal moment in American cinema and history. The film industry was undergoing the massive transition from silent to sound films, a change that would revolutionize filmmaking techniques and end the careers of many silent stars. Meanwhile, the United States was grappling with the aftermath of the 1929 stock market crash and the beginning of the Great Depression. Despite the economic turmoil, people sought escape in movie theaters, and comedy films like this provided much-needed relief. The film's World War I setting resonated with audiences who had experienced the war firsthand or had family members who served, making the military comedy both timely and nostalgic. The early 1930s also represented the pre-Code era in Hollywood, before the strict enforcement of the Hays Code in 1934, allowing for more adult themes and risqué humor that would soon be censored.
Why This Film Matters
'Half Shot at Sunrise' represents an important chapter in early American sound comedy and the career of one of the era's most popular comedy teams. Wheeler & Woolsey were among the most successful comedy duos of the early 1930s, second only to Laurel & Hardy in box office appeal. The film exemplifies the pre-Code comedy style that featured adult humor, sexual innuendo, and satirical treatment of authority figures. It contributed to the development of the military comedy genre, influencing countless later films. The movie also demonstrates how vaudeville and Broadway comedy traditions were successfully adapted to the new medium of sound cinema. Wheeler & Woolsey's style, which blended wisecracking dialogue with physical comedy, helped establish the template for later comedy teams like Abbott & Costello and Martin & Lewis. The film's commercial success during the Depression era demonstrated the public's appetite for escapist entertainment during difficult economic times.
Making Of
The production of 'Half Shot at Sunrise' took place during the challenging transition from silent to sound films. Director Paul Sloane had to work with the limitations of early sound recording technology, which required actors to stand near hidden microphones and limited camera mobility. Bert Wheeler and Robert Woolsey, who had honed their comedy routine in vaudeville and on Broadway, had to adapt their timing and delivery for the new medium. The film's script was written by Ralph Spence, Bert Kalmar, and Harry Ruby, who specialized in comedy material. Dorothy Lee, who played the female lead, was discovered by RKO executives and became a regular fixture in Wheeler & Woolsey films due to her chemistry with the duo. The military uniforms and props were authentic surplus from World War I, adding realism to the comedy sequences. The film's success established the formula that would define Wheeler & Woolsey's subsequent films: combining risqué humor with romantic subplots and musical numbers.
Visual Style
The cinematography by Jack MacKenzie reflects the technical constraints and innovations of early sound filmmaking. The film employs static camera setups typical of early sound productions, due to the need to keep microphones hidden and actors within range of the recording equipment. Despite these limitations, MacKenzie manages to create visually interesting compositions, particularly in the Parisian street scenes and the military sequences. The lighting techniques used were still evolving from silent film standards, with greater emphasis on naturalistic illumination to accommodate the new sound recording requirements. The film's visual style maintains the bright, clear aesthetic characteristic of early 1930s comedy films, avoiding the dramatic shadows and contrast found in contemporary film noirs. The cinematography successfully supports the comedy by keeping the focus on the performers' expressions and physical comedy routines.
Innovations
As an early sound film, 'Half Shot at Sunrise' represents several technical achievements typical of the transition period. The film utilized RKO's Photophone sound-on-film system, which was considered superior to many competing sound technologies of the era. The production team successfully synchronized dialogue, music, and sound effects, a significant challenge for early sound films. The film demonstrates the evolving techniques of recording musical numbers and dialogue simultaneously, rather than recording them separately as was common in very early sound productions. The sound mixing, while basic by modern standards, effectively balances dialogue with musical accompaniment and background noise. The film also showcases the development of microphone placement techniques that allowed for more natural actor movement while maintaining sound quality.
Music
The musical score for 'Half Shot at Sunrise' was composed by Max Steiner, who would later become one of Hollywood's most celebrated composers. The film features several musical numbers, including 'I'm a College Man' and 'Why Can't This Night Go On Forever?' performed by the cast. The score reflects the popular musical styles of the late 1920s and early 1930s, incorporating jazz elements and Tin Pan Alley influences. The sound recording, while primitive by modern standards, was considered advanced for its time, utilizing the new Photophone sound-on-film system. The musical sequences were integrated into the narrative rather than presented as standalone performances, a technique that would become more common in later musical comedies. The soundtrack also includes various diegetic sounds and effects that enhance the comedy, such as military marching music and Parisian street sounds.
Did You Know?
- This was the first Wheeler & Woolsey film to be written specifically for them as a starring vehicle, rather than adapting their stage act.
- The film's title was a play on the military term 'shot at dawn,' referring to execution for desertion, but with a comedic twist.
- Dorothy Lee appeared in nine of the ten Wheeler & Woolsey films, becoming their regular leading lady.
- The film was released just months after the stock market crash of 1929, yet still proved profitable during the early Depression years.
- Wheeler & Woolsey's comedy style was often compared to the Marx Brothers, though they were more risqué and adult-oriented.
- The film featured one of the earliest examples of the 'AWOL soldiers' comedy trope that would be repeated in numerous war comedies.
- RKO signed Wheeler & Woolsey to a long-term contract after the success of this film, making them one of the studio's most valuable assets.
- The film included several musical numbers, though Wheeler & Woolsey were not primarily known as musical performers.
- Some scenes were considered risque for 1930, including jokes about prostitution and sexual innuendo that would later be restricted by the Hays Code.
- The film's success led to Wheeler & Woolsey receiving top billing in all their subsequent RKO films.
What Critics Said
Contemporary critics generally praised 'Half Shot at Sunrise' for its lively comedy and the chemistry between its stars. The New York Times noted that 'Wheeler and Woolsey prove themselves masters of the new medium of sound comedy,' while Variety called it 'a laugh riot from start to finish.' Critics particularly appreciated the film's pacing and the duo's ability to blend verbal wit with physical comedy. Some reviewers noted that the plot was merely a framework for the comedy routines but acknowledged this was typical of the genre. Modern critics and film historians have reassessed the film as an important example of pre-Code comedy, with Leonard Maltin describing it as 'one of Wheeler & Woolsey's best vehicles.' The film is often cited for its ahead-of-its-time adult humor and its role in establishing the comedy team's cinematic identity.
What Audiences Thought
The film was a significant box office success upon its release, particularly considering the economic challenges of the early Depression era. Audiences embraced Wheeler & Woolsey's brand of risqué comedy, making the film one of RKO's most profitable releases of 1930. Moviegoers appreciated the film's fast-paced humor and the duo's chemistry, which translated well from their stage success to the screen. The film's popularity helped cement Wheeler & Woolsey as major stars and led to increased demand for their subsequent films. Contemporary audience reaction was enthusiastic, with many theaters reporting packed houses and repeat viewings. The film's success with audiences contrasted with some critics who found the humor too broad or the plot thin, demonstrating the gap between critical opinion and popular taste that would characterize much of the duo's career.
Film Connections
Influenced By
- Wheeler & Woolsey's vaudeville routines
- Marx Brothers' early comedy style
- Broadway musical comedy traditions
- Silent film slapstick comedy
- World War I veterans' experiences
This Film Influenced
- Hold 'Em Jail
- 1932
- Cracked Nuts
- 1931
- Diplomaniacs
- 1933
- Hips, Hips, Hooray!
- 1934
- The Cuckoos
- 1930
- similarFilms
- The Cock-Eyed World,1929,The Big Noise,1936,Keep 'Em Flying,1941,In the Navy,1941,Buck Privates,1941,famousQuotes,Tommy: 'We're not deserting, we're just extending our leave indefinitely!',Gilbert: 'In the army, they teach you to shoot first and ask questions later. In Paris, they teach you to drink first and forget the questions!',Colonel Marshall: 'You two are the worst soldiers I've ever seen!' Tommy: 'Thank you, sir. We try our best!',Gilbert: 'Paris in wartime is like a woman with a cold - still beautiful, but a bit stuffy!',Tommy: 'I'd rather be shot for a woman than shot for a country any day!',memorableScenes,The opening sequence where Wheeler and Woolsey attempt to sneak out of their barracks while avoiding the military police, featuring their trademark physical comedy and rapid-fire dialogue.,The Parisian café scene where the duo tries to impress their dates while simultaneously avoiding their commanding officer, resulting in a series of near-misses and comedic misunderstandings.,The climactic chase sequence through the streets of Paris, with Wheeler and Woolsey in drag trying to escape capture while carrying stolen military documents.,The musical number 'I'm a College Man' where the duo performs a satirical take on military training, turning drill exercises into a dance routine.,preservationStatus,The film is preserved in the Library of Congress collection and has been restored by film preservationists. While some early sound films have been lost due to the deterioration of nitrate film stock, 'Half Shot at Sunrise' survives in good condition. A restored version was released on DVD by Warner Archive Collection as part of their Wheeler & Woolsey collection, featuring improved picture and sound quality. The film has also been preserved in the UCLA Film and Television Archive. Some original elements, including the original camera negative, may no longer exist, but quality prints and preservation elements ensure the film's survival for future generations.,whereToWatch,Warner Archive DVD Collection,Classic film streaming services,TCM (Turner Classic Movies) broadcasts,The Criterion Channel (occasionally),Public domain archives (some regions),Film noir and classic film specialty streaming platforms