The Big Revue

Plot

The Big Revue is a musical short film that showcases a variety of talented children in a series of elaborate performances. The film opens with a chorus line of young girls performing synchronized high-kicking dance routines while playing tambourines, creating an impressive visual spectacle. Following this ensemble number, a young boy and girl duo take center stage to perform an athletic gymnastic dance routine, demonstrating their flexibility and coordination. The girls' chorus returns for a synchronized song and tap dance performance before the young female orchestra leader introduces the Gumm Sisters - Judy, Mary Jane, and Virginia Gumm - who perform their own song and dance routine as a trio. The revue concludes with an exotic Arabian-themed dance number featuring another chorus of girls in elaborate costumes, bringing the musical showcase to a spectacular finish.

Historical Background

The Big Revue was produced in 1930 during the Great Depression's early stages, a time when Americans sought escapist entertainment in movie theaters. The film industry was undergoing a massive transformation with the transition from silent films to talkies, and studios were producing numerous musical shorts to demonstrate their sound capabilities. This period saw the rise of child stars as audiences found innocence and talent in young performers particularly appealing during difficult economic times. The film's production coincided with the peak popularity of vaudeville-style entertainment, which heavily influenced early sound musicals. Hollywood was also establishing the studio system that would dominate American cinema for decades, with talent scouting and development becoming increasingly systematic. The preservation of such early sound shorts provides invaluable documentation of American entertainment culture during this transitional era.

Making Of

The Big Revue was produced during a pivotal moment in Hollywood history when studios were racing to capitalize on the new sound technology. The Gumm Sisters were discovered after their mother Ethel relentlessly promoted her daughters to various studios and talent agencies. Warner Bros. cast them in this short as part of their strategy to create content for their Vitaphone sound system. The young performers faced grueling rehearsal schedules, often working long hours to perfect their routines. The film required multiple takes due to the technical challenges of early sound recording, where any extraneous noise could ruin a take. The elaborate costumes, particularly for the Arabian number, were created by Warner Bros.' costume department and reflected the studio's commitment to production values even for short subjects. The children's performances were carefully choreographed by dance specialists who understood how to showcase young talent while maintaining technical precision.

Visual Style

The cinematography of The Big Revue reflects the technical limitations and innovations of early sound filmmaking. The camera work is relatively static due to the cumbersome sound recording equipment of the era, which restricted camera movement. The film was likely shot with early sound-proofed camera blimps to prevent motor noise from being picked up by the sensitive microphones. Lighting techniques were adapted for sound recording, with fewer open lights to reduce noise, creating a softer, more diffused look. The cinematographer had to carefully frame the musical numbers to capture both the performers and their choreography while maintaining proper microphone placement. The Arabian-themed finale showcases more elaborate lighting effects, demonstrating how cinematographers were beginning to explore creative possibilities within sound technology constraints.

Innovations

The Big Revue represents an important technical achievement in early sound cinema, demonstrating the Vitaphone system's capability to capture complex musical performances with multiple performers. The film successfully synchronized elaborate dance routines with pre-recorded music, a significant challenge in early sound filmmaking. The production managed to record clear audio from child performers, which required specialized microphone placement and amplification techniques. The film's preservation of both picture and sound elements is notable, as many Vitaphone shorts have lost their sound discs over time. The technical crew overcame the limitations of early sound equipment to create a polished musical short that maintains entertainment value while showcasing the new technology's possibilities.

Music

The soundtrack for The Big Revue was recorded using the Vitaphone sound-on-disc system, which captured the musical performances and dialogue on separate phonograph records synchronized with the film projection. The music consists primarily of upbeat, cheerful numbers typical of vaudeville and early musical theater, arranged for the young performers. The Gumm Sisters' number features three-part harmonies that showcase their vocal talents even at their young ages. The orchestral accompaniment was likely provided by Warner Bros.' studio musicians, playing arrangements that complemented the choreography and visual spectacle. The sound quality, while primitive by modern standards, was considered advanced for its time, with clear reproduction of the children's voices and the musical instruments. The soundtrack preserves the performance styles of the era, including the precise enunciation and projection techniques required for early sound recording.

Memorable Scenes

• The opening number featuring the chorus line of girls performing synchronized high kicks with tambourines, creating a spectacular visual display of precision and energy.
• The Gumm Sisters' performance where young Judy Garland showcases her remarkable vocal talent alongside her sisters, hinting at the superstar she would become.
• The Arabian-themed finale with elaborately costumed girls performing exotic dance moves, demonstrating the era's fascination with oriental themes.

What Critics Said

Contemporary reviews of The Big Revue are scarce, as short subjects typically received minimal critical attention compared to feature films. However, trade publications of the era generally praised the Vitaphone shorts for their technical quality and entertainment value. Modern critics and film historians view the film primarily as a historical curiosity and an important early document of Judy Garland's career. Film archivists and preservationists have noted its significance as a well-preserved example of early sound cinema. The film is often referenced in biographies of Judy Garland and studies of child performers in classic Hollywood, where it's valued for providing insight into her early development as an entertainer.

What Audiences Thought

The Big Revue was well-received by theater audiences of 1930 who appreciated the variety and talent showcased in musical shorts. The film's energetic performances and colorful numbers provided welcome entertainment during the difficult economic times of the Great Depression. Modern audiences, particularly classic film enthusiasts and Judy Garland fans, view the short with great interest as it offers a rare glimpse of the future superstar in her childhood. The film has gained renewed appreciation through film festivals and archival screenings where it's often presented as part of programs celebrating early sound cinema or Judy Garland's legacy. Its availability on home video and streaming platforms has introduced it to new generations of viewers interested in Hollywood's golden age.

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