Sally

Plot

Sally is an orphan who was abandoned as a baby at a telephone exchange, which is how she received her name. Growing up in an orphanage, she discovers her natural talent for dancing and dreams of a career on stage. Working as a waitress at a high-end restaurant, she serves and falls in love with Blair Foster, a wealthy young man who is unfortunately engaged to socialite Marcia Warren. Sally gets her big break when she's hired to impersonate a famous Russian dancer named Noskerova, but her deception is quickly exposed during the performance. Despite this setback, Sally's determination and talent lead her to success on Broadway, where she becomes a star, though she remains haunted by her feelings for Blair.

Historical Background

Sally was produced during a pivotal moment in film history - the transition from silent to sound cinema. 1929 was the year that sound films completely dominated the industry, with theaters rapidly converting to accommodate talkies. The film was released just months after the stock market crash of October 1929, which would soon lead to the Great Depression. Despite the economic downturn, musical films like Sally offered audiences escapism during increasingly difficult times. The film represents the peak of the Broadway-to-Hollywood adaptation craze, as studios rushed to capitalize on proven stage hits. The early Technicolor sequences also showcase the industry's experimentation with color technology, which would eventually become standard decades later.

Making Of

The production of Sally was a massive undertaking for Warner Bros., representing their commitment to the new sound technology. The studio had to construct special soundproof stages and invest heavily in Vitaphone recording equipment. Marilyn Miller, despite being a Broadway veteran, was initially nervous about the new medium of sound film and required extensive coaching for camera work. The casting of Alexander Gray was controversial as he was relatively unknown, but studio executives believed he had the right look for the romantic lead. The Technicolor sequences presented enormous technical challenges, requiring actors to perform under extremely hot lights and often needing multiple takes due to color registration issues. The dance numbers were choreographed by Jack Haskell, who had to adapt Broadway choreography for the camera's static positioning required by early sound recording.

Visual Style

The cinematography of Sally reflects the transitional nature of early sound filmmaking. Director of Photography Sol Polito had to work within the severe limitations imposed by the cumbersome sound recording equipment, which restricted camera movement. The film employs relatively static compositions typical of early talkies, but Polito manages to create visual interest through careful lighting and composition. The Technicolor sequences, photographed by Ray Rennahan, represent some of the earliest use of color in a sound film. These sequences demonstrate the two-color Technicolor process, which could only reproduce certain hues effectively, resulting in a distinctive pastel palette. The black and white portions showcase the high-contrast lighting style popular in late 1920s cinema, with careful attention to lighting Miller to maximize her star presence.

Innovations

Sally was at the forefront of several technical innovations in early cinema. The film utilized Warner Bros.' Vitaphone sound-on-disc system, which was among the most advanced sound recording technologies of its time. The synchronization of sound and picture was particularly challenging for musical numbers, requiring precise timing between orchestra recording and on-screen performance. The Technicolor sequences employed the two-color process, which involved dye-transfer techniques that were cutting-edge for 1929. The production pioneered techniques for recording dance numbers with live musical accompaniment, solving problems of echo and sound reflection that plagued early musical films. The film also experimented with early microphone placement techniques to capture singing and dialogue while minimizing visual obstructions.

Music

The film's soundtrack features music by Jerome Kern, with lyrics by Buddy DeSylva and B.G. DeSylva. The most famous song, 'Look for the Silver Lining,' became Marilyn Miller's signature tune and a standard of the Great American Songbook. Other notable numbers include 'You Can't Keep a Good Girl Down,' 'Whip-poor-will,' and 'The Varsity Drag.' The musical arrangements were adapted for the Vitaphone sound-on-disc system, which provided higher audio fidelity than early sound-on-film processes. The soundtrack was recorded at the Warner Bros. Vitaphone studios, with live orchestra accompaniment during filming. The musical numbers demonstrate Kern's sophisticated blend of Broadway showmanship and emerging jazz influences, reflecting the popular music styles of the late 1920s.

Memorable Scenes

• The opening sequence showing baby Sally being abandoned at the telephone exchange, establishing her origin story with visual poetry
• The 'Look for the Silver Lining' musical number performed by Marilyn Miller in full Technicolor, representing the film's emotional and technical high point
• The disastrous Noskerova impersonation scene where Sally's deception is dramatically exposed during her performance
• The final Broadway production number showing Sally's triumph and success, featuring elaborate choreography and staging
• The restaurant scene where Sally first meets Blair, establishing their romantic connection across class boundaries

What Critics Said

Contemporary critics praised Marilyn Miller's performance and the film's technical achievements. The New York Times wrote that Miller 'translates her stage charm to the screen with remarkable success' and noted that 'the Vitaphone recording captures her voice with crystalline clarity.' Variety praised the production values, calling it 'one of the most elaborate musical productions yet seen on the screen.' However, some critics felt the film was too stage-bound, with Photoplay noting that 'the camera work still shows the limitations of early sound recording.' Modern critics view Sally as an important historical artifact, with Leonard Maltin calling it 'a fascinating glimpse of early sound musical technology and a showcase for one of Broadway's greatest stars.'

What Audiences Thought

Audiences embraced Sally enthusiastically upon its release, with the film grossing over $1.5 million domestically - a substantial sum for 1929. The film's success was particularly impressive given that it was released during the early months of the Great Depression. Moviegoers were drawn to Marilyn Miller's star power and the film's optimistic message. The 'Look for the Silver Lining' number became so popular that sheet music sales soared, and the song was played frequently on radio programs. The film ran for extended engagements in major cities, with theaters often adding extra showings to meet demand. Audience feedback cards from the period show particular appreciation for the Technicolor sequences and Joe E. Brown's comic relief.

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