On With the Show!

Plot

In this early musical comedy, the struggling stage production 'Phantom Sweetheart' faces imminent collapse due to unpaid actors and staff. The crisis deepens when the box office takings are robbed, leaving the company completely broke. To make matters worse, the show's temperamental leading lady refuses to perform, creating a desperate situation for the producers. The resourceful cast and crew must work together to save the show, with romantic entanglements and comedic misadventures complicating their efforts. Through determination, creativity, and a bit of luck, they attempt to stage the performance against all odds, showcasing the classic show business theme of 'the show must go on.'

Historical Background

Released in June 1929, 'On With the Show!' emerged during one of the most transformative periods in cinema history. The film industry was rapidly transitioning from silent films to talkies following the success of 'The Jazz Singer' in 1927. This period saw massive technological upheaval as studios invested heavily in sound equipment, many theaters converted to sound, and numerous silent film stars found themselves obsolete due to poor voices or resistance to change. The Great Depression was beginning to loom, making expensive productions like this color musical a significant financial risk. The film represented Warner Bros.' aggressive strategy to dominate the new sound-and-color market, competing with other studios rushing to produce their own talking pictures. Hollywood was in a state of creative chaos, with established techniques being abandoned and new ones being invented daily. This film perfectly captured the excitement and uncertainty of this pivotal moment in entertainment history.

Making Of

The production of 'On With the Show!' was a groundbreaking but challenging endeavor that pushed the boundaries of early cinema technology. Director Alan Crosland, who had previously directed 'The Jazz Singer,' was chosen for his experience with sound films. The cast and crew had to adapt to the demanding requirements of both sound recording and color photography simultaneously. The soundstage had to be completely silent during takes, as the primitive microphones picked up every noise. The Technicolor cameras were enormous and noisy, requiring them to be housed in soundproof booths with the camera operators outside. Actors had to speak clearly and project their voices while maintaining natural performances, a difficult balance in early talkies. The film's musical numbers required multiple takes due to synchronization issues between the orchestra recording and the on-screen performances. Despite these challenges, or perhaps because of them, the production created a sense of excitement and innovation that permeated the final film.

Visual Style

The cinematography by Devereaux Jennings and Ray Rennahan was groundbreaking for its use of two-color Technicolor, which required special lighting conditions and camera filters. The filmmakers had to adapt to the limited color palette, using set designs and costumes that would appear most effective in the red-green spectrum. The camera work was necessarily static due to the bulky Technicolor cameras and the need to keep actors near microphones, resulting in more theatrical staging than dynamic movement. Despite these limitations, the cinematographers created visually appealing compositions that maximized the impact of color while maintaining clear sound recording. The film's visual style represents a transitional aesthetic between the expressive lighting of late silent cinema and the more naturalistic approach that would develop in later sound films.

Innovations

The film's most significant technical achievement was being the first feature to combine all-talking dialogue with full-color photography. It utilized the Vitaphone sound-on-disc system, which provided better audio quality than early sound-on-film processes but required careful synchronization. The two-color Technicolor process, while limited to red and green hues, represented a major advancement in color film technology. The production pioneered techniques for hiding microphones in set pieces while maintaining visual composition. The film also demonstrated early methods of recording musical numbers that balanced live performance with recorded sound quality. These technical innovations, while primitive by modern standards, laid important groundwork for future developments in sound and color cinema.

Music

The film's musical score and songs were composed by several songwriters including Ray Henderson, Lew Brown, and B.G. DeSylva. The soundtrack featured approximately ten musical numbers, including 'Am I Blue?' which became a popular standard. The music was recorded using the Vitaphone sound-on-disc system, with the orchestra performing live during filming to provide accompaniment for the actors. The sound quality was remarkable for its time, though it suffered from the limitations of early recording technology, including limited frequency range and occasional synchronization issues. The musical numbers ranged from upbeat production numbers to romantic ballads, showcasing the various talents of the cast. The soundtrack was later released on 78-rpm records, allowing audiences to enjoy the music at home and further popularizing the film's songs.

Memorable Scenes

• The opening number where the entire cast performs in vibrant Technicolor, immediately showcasing the film's technical innovation
• Joe E. Brown's comedy routine where he attempts to fix the missing props while delivering rapid-fire jokes
• The romantic duet between Arthur Lake and Betty Compson under artificial moonlight
• The climactic backstage scene where the company rallies together to save the show

What Critics Said

Contemporary critics were largely enthusiastic about the film's technical achievements, with Variety praising it as 'a marvel of modern screen art' and The New York Times noting that 'the combination of sound and color opens new horizons for motion pictures.' However, some critics felt the plot was secondary to the spectacle, with Photoplay commenting that 'the story serves mainly as a framework for the musical numbers.' Modern critics recognize the film primarily for its historical significance rather than its artistic merits. Film historians view it as an important milestone that, while artistically dated, provides valuable documentation of early sound and color techniques. The acting style, typical of the transitional period from silent to sound films, is often described as theatrical by contemporary standards, though it was considered appropriate for its time.

What Audiences Thought

Audiences in 1929 were thrilled by the novelty of hearing and seeing a full-color musical film, with theaters reporting packed houses and enthusiastic responses. The film's musical numbers and comedy sequences were particularly well-received, with Joe E. Brown's performance generating significant laughter and applause. Many viewers attended multiple times to experience the new technology, with some reports of audiences applauding after musical numbers as if they were watching a live performance. The film's success at the box office demonstrated that audiences were hungry for sound and color films, despite the higher ticket prices charged for these special presentations. Modern audiences viewing the film today often appreciate it primarily for its historical value, though some find charm in its earnest performances and period musical numbers.

You Might Also Like