Speak Easily

Plot

Professor Tim Post (Buster Keaton) is a brilliant but socially awkward archaeology professor who has never experienced life beyond academia. When he unexpectedly inherits a large fortune, he decides to pursue his lifelong dream of funding an archaeological expedition. However, he becomes entangled with a struggling Broadway theater producer and his troupe of chorus girls, who convince him to finance their show instead. The professor finds himself drawn into the chaotic world of show business, developing feelings for one of the dancers while trying to maintain his scholarly dignity. As the production faces numerous disasters, the professor must use his academic knowledge to save the show, discovering that life's greatest lessons aren't always found in books.

Historical Background

Released in October 1932, 'Speak Easily' emerged during the depths of the Great Depression, a time when audiences desperately needed escapist entertainment. The film industry was still adapting to the transition from silent to sound pictures, with many silent stars struggling to find their voice in talkies. 1932 saw Hollywood studios experimenting with various genres and formats to attract Depression-era audiences, with musicals and comedies proving particularly popular. The film reflects the cultural clash between intellectualism and show business that characterized the era's search for entertainment value. MGM, one of the major studios, was at the height of its power, implementing strict production codes and standardized formulas that often conflicted with artistic creativity. This period also saw the rise of the studio system's control over performers, with contracts dictating every aspect of an actor's career and public image.

Making Of

The production of 'Speak Easily' was marked by significant tension between Buster Keaton and MGM executives. Keaton, who had enjoyed complete creative control during his silent film era, found himself constrained by MGM's formulaic approach to comedy. The studio brought in additional writers to 'punch up' the script, often at the expense of Keaton's carefully planned gags. Director Edward Sedgwick, though sympathetic to Keaton's situation, was obligated to follow studio mandates. Jimmy Durante, a veteran of vaudeville and radio, often served as an intermediary between Keaton and the studio brass. The Broadway sequences required extensive coordination between actors, dancers, and technicians, with multiple takes needed to perfect the timing. Despite these challenges, Keaton maintained his professionalism, continuing to perform his own stunts and suggesting improvements to scenes, though many were rejected.

Visual Style

The cinematography by Leonard Smith employed standard MGM techniques of the early sound era, with careful attention to lighting for the new sound stages. The camera work was more static than Keaton's silent films, partially due to the limitations of early sound recording equipment. The Broadway sequences featured elaborate lighting designs that recreated the atmosphere of a real theater, with dramatic spotlights and colorful gels. Smith utilized deep focus in several scenes to capture both foreground action and background details, particularly in the university sequences. The film's visual style reflected MGM's polished production values, with sharp, clear images that showcased the studio's technical prowess. While not as innovative as the cinematography in Keaton's independent films, the photography effectively served the story and maintained visual interest throughout.

Innovations

While 'Speak Easily' didn't break new ground technically, it demonstrated MGM's mastery of sound film production by 1932. The film featured sophisticated microphone placement that allowed for more natural movement by the actors compared to earlier talkies. The theater sequences required complex sound mixing to balance dialogue, music, and audience reactions. The film's editing successfully maintained comedic timing while accommodating the technical constraints of sound recording. The production utilized MGM's advanced soundstages, which allowed for greater camera mobility than many contemporary sound films. The film's preservation of Buster Keaton's physical comedy within the sound format represented an important, if imperfect, technical achievement in adapting silent comedy techniques to the new medium.

Music

The musical score was composed by Herbert Stothart, MGM's resident music director, who incorporated several popular songs of the era. The film featured original numbers written specifically for the Broadway sequences, including 'I've Got to Sing a Torch Song' which became one of Durante's signature tunes. The sound design represented the sophistication of MGM's audio department, with clear dialogue recording and balanced musical accompaniment. The film's sound mix allowed for the integration of dialogue, music, and sound effects without the technical difficulties that plagued many early talkies. Stothart's score provided appropriate comedic underscoring while supporting the film's emotional moments. The soundtrack demonstrated how far sound technology had come since the introduction of talkies just a few years earlier, with professional-quality audio that enhanced rather than hindered the viewing experience.

Memorable Scenes

• The opening sequence where Professor Post delivers a dry academic lecture about ancient artifacts while completely oblivious to the flirtatious attentions of his female students.
• The chaotic backstage scene where Keaton, trying to help with the theater production, accidentally causes a chain reaction of disasters involving falling props, tangled ropes, and confused dancers.
• The musical number where Durante and Keaton attempt to perform a duet, with Durante's boisterous style contrasting hilariously with Keaton's stiff, academic approach to singing and dancing.
• The climactic scene where the professor uses his archaeological knowledge to solve a technical problem with the theater's rigging system, saving the show in an unexpected way.
• The final scene where the normally reserved professor lets loose and joins the cast in a celebratory dance, showing his complete transformation from stuffy academic to show business enthusiast.

What Critics Said

Contemporary critics gave 'Speak Easily' mixed reviews, with many noting that Buster Keaton's unique talents were being wasted by MGM's formulaic approach. The New York Times praised the chemistry between Keaton and Durante but lamented the lack of Keaton's signature inventive gags. Variety noted that while the film had its moments, it failed to capture the magic of Keaton's silent classics. Modern critics and film historians have reevaluated the film as a fascinating but tragic document of a great artist's creative suppression. The film is often cited as an example of how the studio system could dilute even the most distinctive comic voices. Despite its flaws, some contemporary reviewers appreciated the film's escapist value during difficult economic times, with several noting that it provided solid entertainment if not groundbreaking comedy.

What Audiences Thought

Audiences in 1932 responded moderately well to 'Speak Easily', with the film performing respectably at the box office despite not being a blockbuster. Many Keaton fans were disappointed by the departure from his earlier style, but the film attracted new viewers who enjoyed the teaming of Keaton with the popular Jimmy Durante. The Broadway setting and musical numbers appealed to audiences seeking glamorous escapism from Depression-era realities. Over time, the film has developed a cult following among Keaton enthusiasts who appreciate it as a document of his MGM period. Modern audiences often view the film with a mix of fascination at seeing Keaton in a sound production and frustration at the missed opportunities for his unique comedy style. The film's availability through home video and streaming has introduced it to new generations of classic film fans.

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