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Rain or Shine

Rain or Shine

1930 90 minutes United States

"The Funniest Man in America in the Funniest Show on Earth!"

Perseverance against financial ruinSocial class and romantic barriersThe 'show must go on' mentalityBetrayal and internal sabotageThe optimism of the American spirit

Plot

Mary Rainey inherits the 'Greater John T. Rainey Shows' traveling circus from her late father, only to find the operation on the brink of financial ruin. She is aided by the fast-talking, indefatigable manager 'Smiley' Johnson, who uses his vaudevillian wit and endless schemes to keep creditors at bay and the show on the road. As the circus travels to Shrewsbury, internal sabotage by the ringmaster Dalton and a strike by the performers threaten to destroy everything Mary has left. Amidst the chaos, a blossoming romance between Mary and a local wealthy man named Bud Conway faces opposition from his class-conscious family. The tension culminates in a spectacular and tragic fire that consumes the big top, forcing Smiley and Mary to find a way to rebuild from the ashes.

Director

Frank Capra Frank Capra

Cast

About the Production

Release Date August 15, 1930
Budget Approximately $350,000
Box Office Modest success; specific figures not publicly detailed but noted as a hit for Columbia.
Production Columbia Pictures Corporation
Filmed In Burbank, California (James J. Jeffries Ranch), Columbia Studios, Hollywood

Director Frank Capra convinced Harry Cohn to buy the rights to the Broadway hit by promising to cut the expensive musical numbers and focus on the comedy of Joe Cook. The film was originally intended as a full-scale musical, but due to a sudden public backlash against the genre in late 1930, all songs were removed before release. To film the climactic fire, Capra actually burned down the entire circus set, using nearly a dozen cameras to capture the destruction from every possible angle.

Historical Background

Released during the early years of the Great Depression, 'Rain or Shine' reflects the economic anxiety of the era through the circus's constant struggle with debt and bankruptcy. The film was produced during the 'Pre-Code' era of Hollywood, a time before the strict enforcement of the Hays Code, allowing for more cynical humor and realistic depictions of social class conflict. The shift away from the musical format during production also highlights the volatile nature of early sound cinema, where audience tastes for 'all-talking, all-singing' pictures shifted rapidly as the novelty of sound began to wear off.

Why This Film Matters

The film is significant as an early example of Frank Capra's developing 'populist' style, which would later define his masterpieces like 'Mr. Smith Goes to Washington.' It serves as a rare preserved record of Joe Cook's unique comedic style, which influenced later comedians but didn't translate as successfully to film as the Marx Brothers. Furthermore, the use of 'Happy Days Are Here Again' in the film helped cement the song's place in American culture just before it became a political anthem.

Making Of

Production was marked by Frank Capra's desire to capture the authentic, gritty atmosphere of a traveling circus. He hired the A.W. Copeland Circus to provide real performers and animals, ensuring the background action felt genuine. The most significant production challenge was the fire sequence; sound technician Edward Bernds recalled Capra's 'guts and daring' in deciding to burn the entire set to the ground for a one-shot opportunity. Capra utilized multiple cameras to ensure he wouldn't need to rebuild the expensive set. Additionally, the transition from musical to straight comedy required extensive rewriting by Jo Swerling and Dorothy Howell to maintain the plot's momentum without the original song-and-dance numbers.

Visual Style

Shot by Joseph Walker, Capra's long-time collaborator, the film features impressive mobile camera work for the early sound era. Walker used creative angles to capture the circus acts and the final fire, avoiding the static 'staged' look common in many 1930 talkies. The use of multiple cameras for the finale was a sophisticated technical feat for the time.

Innovations

The film is notable for its early use of multi-camera setups for large-scale action sequences. The synchronized sound recording of Joe Cook's rapid-fire delivery was also a challenge that the production handled successfully, maintaining clarity despite the chaotic environment of the circus set.

Music

The soundtrack consists of instrumental arrangements of the original Broadway score by Milton Ager and Jack Yellen. Notable tracks include the title song 'Rain or Shine' and 'Happy Days Are Here Again.' The music is used primarily to underscore the circus atmosphere and provide transitions between scenes.

Famous Quotes

Smiley Johnson: 'We give two shows a day, rain or shine—mostly rain!'
Smiley Johnson: 'I can explain everything, but it'll take a lot of words and I'm just the man to use them.'
Amos K. Shrewsberry: 'I don't want explanations, I want my two hundred and forty dollars!'

Memorable Scenes

  • The 'One-Man Circus' routine where Smiley attempts to perform multiple acts simultaneously to save the show.
  • The dinner party scene where the circus performers' eccentric behavior clashes with the refined Conway family.
  • The climactic fire sequence where the big top is consumed by flames as the performers and audience flee in a riot.
  • The final shot of the circus wagons moving through the pouring rain, symbolizing the resilience of the troupe.

Did You Know?

  • Joe Cook, Tom Howard, and Dave Chasen all reprised their original roles from the 1928 Broadway musical.
  • The film features a cameo by former world heavyweight boxing champion James J. Jeffries, on whose ranch the circus scenes were filmed.
  • The song 'Happy Days Are Here Again' appears as an instrumental; it later became the campaign theme for Franklin D. Roosevelt.
  • This was Joe Cook's feature film debut; he was a legendary vaudevillian known for his 'Four Hawaiians' routine and Rube Goldberg-like inventions.
  • The circus sets destroyed in the finale were reportedly reused or replicated for the 1933 film 'The Circus Queen Murder'.
  • Frank Capra's name was listed above the title for the first time in his career with this film, signaling his rising status at Columbia.
  • The film entered the public domain in the United States on January 1, 2026.
  • Despite being based on a musical, the film contains no vocal performances of the songs, only instrumental versions used as background score.

What Critics Said

At the time of release, critics praised Joe Cook's performance and Capra's energetic direction, with Variety noting it was a 'much better than average circus picture.' Modern critics view it as a fascinating 'curiosity' in Capra's filmography, noting that while the plot is thin, the technical execution and the chaotic, Marx Brothers-esque comedy make it a worthwhile watch for fans of early sound cinema.

What Audiences Thought

Audiences in 1930 responded well to the film's fast-paced dialogue and physical comedy, making it a box office success for the then-struggling Columbia Pictures. However, Joe Cook never achieved the same level of cinematic stardom as his contemporaries, and the film is now primarily remembered by cinephiles and historians rather than general audiences.

Film Connections

Influenced By

  • The original 1928 Broadway musical 'Rain or Shine'
  • The Marx Brothers' anarchic comedy style
  • Traditional American Vaudeville

This Film Influenced

  • At the Circus (1939)
  • The Circus Queen Murder (1933)
  • Later Frank Capra populist dramedies

You Might Also Like

The Circus (1928)Polly of the Circus (1932)The Marx Brothers' Animal Crackers (1930)Freaks (1932)

Film Restoration

The film is preserved and was released as part of the 'Frank Capra: The Early Collection' DVD set by TCM. It is currently in the public domain.

Themes & Topics

circusinheritancefiremanagerdebtstrikevaudevillepre-code