Safety in Numbers
"The Story of a Boy Who Had Five Teachers and Learned Only One Lesson—Love!"
Plot
William Butler Reynolds, a naive 20-year-old from San Francisco, is on the verge of inheriting a staggering fortune of $350 million. His worldly uncle and guardian, F. Carstair Reynolds, fears the boy is too sheltered and hires three sophisticated 'Follies' chorus girls—Jacqueline, Maxine, and Pauline—to take him to New York City and educate him on the pitfalls and 'underside' of big-city life. While the girls agree not to 'vamp' him, William genuinely falls for Jacqueline, leading to a series of comedic misunderstandings and romantic jealousies involving her admirer, Phil Kempton. After a failed attempt to promote a song leads to the girls being fired, William is nearly ensnared by a predatory 'vamp' named Cleo, but his three mentors intervene to save him. Ultimately, William's songwriting talent is recognized, the girls are rehired, and he finds true love with Jacqueline after proving the sincerity of his character.
About the Production
The film was produced during the early 'talkie' transition period when studios were experimenting with the musical comedy format. Director Victor Schertzinger, who was also a composer, brought a unique musical sensibility to the production. The film is notable for being one of the early contract roles for Carole Lombard, who was then being groomed by Paramount as a comedic lead. The production utilized the 'Pre-Code' freedom of the era, allowing for more suggestive dialogue and situations than would be permitted just a few years later.
Historical Background
Released in May 1930, the film sits at the intersection of the 'Jazz Age' and the 'Great Depression.' It reflects the lingering obsession with high-society wealth and the 'Follies' culture of the 1920s while being produced in a Hollywood that was rapidly changing due to the 'Talkie' revolution. The film is a 'Pre-Code' production, meaning it was made before the strict enforcement of the Hays Code in 1934; this is evident in the plot's premise of hiring showgirls to 'educate' a young man and the franker treatment of romantic pursuits.
Why This Film Matters
The film is primarily remembered today by film historians as a crucial stepping stone in the career of Carole Lombard. It serves as a primary example of the 'sophisticated musical comedy' genre that flourished briefly in the early 1930s. It also highlights the era's fascination with the 'New York Follies' girl as a symbol of modern, independent womanhood. Furthermore, it showcases the transition of silent film stars like Buddy Rogers into the sound era, proving their voices were as appealing as their looks.
Making Of
During the production, Paramount was focused on marketing Buddy Rogers' musical talents, as he was proficient in playing multiple instruments. The casting of the three 'Follies' girls was a strategic move to showcase Paramount's rising female talent, including Carole Lombard and Kathryn Crawford. Director Victor Schertzinger worked closely with the songwriters to ensure the musical numbers felt integrated into the plot rather than just 'specialties.' Interestingly, Carole Lombard was still finding her screen persona during this shoot; she was reportedly more reserved on set than the boisterous 'screwball' character she would later inhabit. The film faced the technical challenges of early sound recording, which often required actors to stay near hidden microphones, limiting the physical slapstick common in silent comedies.
Visual Style
The cinematography by Henry W. Gerrard is typical of the early sound era, featuring relatively static camera setups to accommodate the bulky sound equipment of the time. However, there are notable attempts at fluid movement during the musical numbers. The lighting is high-key, emphasizing the glamour of the New York settings and the beauty of the female leads.
Innovations
The film utilized the Western Electric Sound System. It was one of the early features to successfully balance dialogue-heavy scenes with integrated musical performances without the 'static' feel that plagued many 1929 talkies. The sound editing for the musical sequences was considered quite advanced for 1930.
Music
The soundtrack features songs by Richard A. Whiting and George Marion Jr. Notable numbers include 'The Pick-Up,' 'My Future Just Passed,' and 'A Bee in Your Bonnet.' 'My Future Just Passed' became a minor hit and is often cited as the standout track of the film, perfectly suited to Buddy Rogers' crooning style.
Famous Quotes
William: 'I've come to New York to learn about life.' Jacqueline: 'Well, you've come to the right classroom, but don't expect a diploma too soon.'
Uncle Reynolds: 'There is safety in numbers, my boy. One woman is a danger; three are a committee.'
Memorable Scenes
- The opening sequence where the three Follies girls are 'interviewed' for the job of chaperoning the young millionaire.
- The 'My Future Just Passed' musical number, which showcases the romantic chemistry between Buddy Rogers and Kathryn Crawford.
- The climax where the girls team up to rescue William from the clutches of the predatory Cleo at a high-society party.
Did You Know?
- This film features a very young Carole Lombard in one of her earliest significant roles before she became the 'Queen of Screwball Comedy.'
- Director Victor Schertzinger was a multi-talented artist who not only directed but was also a renowned composer and violinist.
- The film's plot is a play on the phrase 'safety in numbers,' suggesting that having three chaperones would protect the hero, though it actually leads to more romantic complications.
- Charles 'Buddy' Rogers was known as 'America's Boy Friend' at the time of filming and was a major matinee idol.
- The film includes several musical numbers, a common trend in 1930 as studios rushed to capitalize on the new sound technology.
- Virginia Bruce, who plays Alma, would later become a major star in her own right during the 1930s and 1940s.
- The film was released just as the Great Depression was beginning to severely impact theater attendance, yet it remained a popular light entertainment.
- Mordaunt Hall, the influential New York Times critic, gave the film a mixed review but specifically praised the musical sequences.
What Critics Said
At the time of its release, the Motion Picture Herald praised it as a 'rare combination of intelligent direction, brilliant dialogue, and rich humor.' However, Mordaunt Hall of The New York Times was more reserved, finding the story somewhat thin but admitting the musical numbers were 'tuneful and well-staged.' Modern critics view it as a charming, if lightweight, artifact of early sound cinema, most valuable for its glimpses of future legends like Lombard and Bruce.
What Audiences Thought
Audiences in 1930 responded well to the film, largely due to the immense popularity of Buddy Rogers. The film's lighthearted approach to wealth and romance provided a welcome escape for viewers beginning to feel the economic pressures of the era. It was considered a successful 'programmer' for Paramount, drawing in fans of both musical theater and romantic comedy.
Film Connections
Influenced By
- The Ziegfeld Follies (stage shows)
- The Gold Diggers (1923)
This Film Influenced
- The Gold Diggers of 1933
- How to Marry a Millionaire (1953)
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Film Restoration
The film is preserved and exists in the archives of the Library of Congress and the UCLA Film & Television Archive. It is occasionally screened at classic film festivals.