Remote Control
"He's the 'Air-King' of the Air-Waves... and he's broadcasting a program of laughs and thrills!"
Plot
William Haines stars as William J. 'Bill' Brennan, a brash and fast-talking radio announcer at station WXW who inadvertently becomes a pawn in a sophisticated criminal enterprise. While broadcasting, Bill unknowingly transmits coded messages to a gang of bank robbers led by the sinister 'Doctor' Kruger, a fake clairvoyant who uses the radio waves to coordinate heists. When Bill realizes he is being used, he is framed for the crimes by the gang, leading to a high-stakes climax where he must use his broadcasting skills to trap the villains. Along the way, he attempts to woo Marion Ferguson while navigating the chaotic world of early live radio production and police suspicion.
About the Production
The film was based on the 1929 play of the same name by Clyde North, Leland Naylor, and Albert C. Fuller. Production took place during the transitional period of 'Early Talkies,' where MGM was experimenting with the persona of William Haines, moving him from silent film archetypes into dialogue-heavy roles. Director Edward Sedgwick, known for his work with Buster Keaton, was brought in to balance the comedic timing with the film's darker crime elements. The radio station set was one of the most elaborate constructed at MGM at the time, designed to look cutting-edge for 1930 audiences.
Historical Background
Released in 1930, 'Remote Control' arrived at the height of the Great Depression and the dawn of the Golden Age of Radio. Radio was the primary source of news and entertainment, and the film plays on the public's fascination—and slight fear—of the invisible power of airwaves. Historically, this film represents the 'Pre-Code' era of Hollywood, where depictions of crime, police fallibility, and suggestive dialogue were more permissive before the strict enforcement of the Hays Code in 1934.
Why This Film Matters
The film is a significant cultural artifact as it documents the early aesthetics of radio broadcasting. It captures the transition of silent film stars like William Haines into the sound era, illustrating how studios adapted their stars' personas to fit the new medium of 'talking pictures.' It also reflects the early 20th-century obsession with 'gadgetry' and the way technology could be subverted for criminal purposes, a theme that persists in cinema today.
Making Of
During the production of 'Remote Control,' the transition to sound was still presenting technical hurdles for MGM. Microphones were often hidden in props, such as vases or desk lamps, which limited the movement of the actors, though Edward Sedgwick pushed for more dynamic blocking than was typical for 1930. William Haines was known on set for his constant practical joking, which sometimes delayed filming but kept the morale high during long nights in the studio. The script underwent several revisions to ensure that the 'radio lingo' sounded authentic to audiences who were becoming increasingly savvy about how broadcasting worked.
Visual Style
The cinematography by Milton Moore is characteristic of early 1930s MGM style, utilizing high-key lighting for the comedic scenes and more dramatic, shadowy 'low-key' lighting for the scenes involving the criminal gang. The camera work is relatively static compared to later 1930s films, a common limitation of early sound recording booths, but it features several effective close-ups of the radio equipment to emphasize the technology.
Innovations
The film is notable for its integration of sound effects related to radio interference and broadcasting, which were relatively sophisticated for 1930. It successfully synchronized fast-paced dialogue with physical action, a feat that many early talkies struggled to achieve.
Music
The film features a mix of diegetic music (music occurring within the world of the film, such as radio broadcasts) and a standard orchestral score. Notable is the inclusion of 'The Wedding of the Painted Doll' and other incidental radio performances that were meant to simulate a real variety broadcast of the 1930s.
Famous Quotes
Bill Brennan: 'This is WXW, the station that reaches from the rock-bound coast of Maine to the sunny shores of California!'
Doctor Kruger: 'The spirits tell me many things, Mr. Brennan... things you might not want the police to hear.'
Bill Brennan: 'I'm not just an announcer, I'm an artist of the airwaves!'
Memorable Scenes
- The opening sequence showing the chaotic, high-energy environment of a 1930s radio station control room.
- The scene where Bill Brennan realizes the 'horoscopes' he is reading are actually codes for a bank heist in progress.
- The climax where Bill uses the radio transmitter to broadcast a trap for the gang while being held at gunpoint.
Did You Know?
- This was one of William Haines' early 'talkie' roles, showcasing his ability to deliver rapid-fire dialogue which suited his 'wisecracking' screen persona.
- The film features a very young Mary Doran, who was a frequent collaborator with Haines during his peak years at MGM.
- John Miljan, who plays the villainous Doctor Kruger, was a specialist in playing suave but menacing antagonists during the early sound era.
- The plot's focus on radio was highly topical in 1930, as the medium was the most dominant form of home entertainment and was still considered a 'miracle' technology by many.
- The film includes a musical number 'The Wedding of the Painted Doll,' which was a popular Nacio Herb Brown song often reused in MGM productions of the era.
- Edward Sedgwick, the director, was a close personal friend of Buster Keaton and often directed films that blended physical comedy with narrative tension.
- The character of the 'fake clairvoyant' was a common trope in 1930s crime films, reflecting real-world skepticism toward spiritualism and radio psychics of the time.
- Despite being a 'B-picture' in terms of length, it received the full MGM 'glossy' production treatment in terms of set design and lighting.
- William Haines' career would effectively end only a few years later due to his refusal to enter a lavender marriage, making this a key artifact of his stardom.
- The film's use of a 'remote control' in the title refers to the radio's ability to influence events from a distance, rather than the modern handheld device.
What Critics Said
At the time of its release, The New York Times and other major outlets gave the film modest reviews, praising William Haines' energy but noting that the plot was somewhat formulaic. Modern critics view it as a fascinating time capsule of early sound cinema, noting that while the pacing is uneven by modern standards, Haines' performance remains charismatic. It is often cited by film historians specializing in LGBTQ+ history due to Haines' status as a gay icon who maintained his integrity against studio pressure.
What Audiences Thought
Audiences in 1930 responded well to the film, as William Haines was one of the top box-office draws of the era. The novelty of the radio-themed plot was a major selling point for rural and urban audiences alike. Today, it is primarily appreciated by classic film enthusiasts and collectors of early MGM talkies.
Film Connections
Influenced By
- The Front Page (Play)
- Early 1920s crime serials
- The rise of real-life radio personalities like Graham McNamee
This Film Influenced
- Radio Days (1987) - in its depiction of the magic of early radio
- The Big Broadcast series
- Various 'Wrong Man' thrillers of the 1930s and 40s
You Might Also Like
Film Restoration
The film is preserved and exists in the archives of George Eastman House and the Library of Congress. It has been aired on Turner Classic Movies (TCM) as part of their retrospectives on William Haines and early sound cinema.