The Hollywood Revue of 1929

Plot

The Hollywood Revue of 1929 is an all-star musical revue film that showcases Metro-Goldwyn-Mayer's roster of contract players in a series of musical numbers, comedy sketches, and variety performances. Hosted by Conrad Nagel and Jack Benny, the film features appearances by virtually every major MGM star of the era, including John Gilbert, Norma Shearer, Joan Crawford, Buster Keaton, and many others. The production follows a vaudeville-style format with each star performing in their specialty, from dramatic recitations to musical numbers and comedy routines. The film culminates in a spectacular finale featuring the entire cast performing 'Singin' in the Rain,' the first time this iconic song appeared on film. Unlike traditional narrative films, The Hollywood Revue serves as a celebration of MGM's talent and the new possibilities of sound cinema.

Historical Background

The Hollywood Revue of 1929 was produced during a pivotal moment in cinema history - the transition from silent films to talkies. This period, often called the 'talkie revolution,' was causing massive disruption in Hollywood as studios rushed to convert to sound technology and silent stars struggled to adapt. The film was released just weeks before the stock market crash of 1929 that would trigger the Great Depression, making it one of the last celebratory films of the Roaring Twenties. MGM, under the leadership of Louis B. Mayer, was investing heavily in sound technology and wanted to showcase their technical superiority and star power. The film also reflected the vaudeville and Broadway revue traditions that were popular with audiences of the era, adapting these live entertainment formats for the new medium of sound cinema.

Making Of

The production of The Hollywood Revue of 1929 was a monumental undertaking that required unprecedented coordination among MGM's entire roster of stars. The studio essentially shut down regular production to accommodate filming, with stars working around the clock to complete their segments. Early sound technology presented significant challenges - the microphone had to be hidden in props or plants, and camera movements were severely restricted. Many silent film stars, who had never spoken on screen before, required extensive coaching to adapt their performances for sound. The film's director, Charles Reisner, had to manage egos and schedules while maintaining a cohesive vision for the variety show format. The Technicolor sequence required special lighting and camera equipment, adding to the production complexity. Despite these challenges, the film was completed on schedule and became a major success for the studio.

Visual Style

The cinematography of The Hollywood Revue of 1929 reflects the technical limitations and innovations of early sound filmmaking. Most of the film was shot in black and white with relatively static camera positions due to the bulky sound recording equipment. Cinematographers had to carefully balance lighting to accommodate both the needs of film exposure and the requirements of early sound recording. The Technicolor sequence 'The Ballet of the Bells' represented a significant technical achievement, showcasing the two-color process that could reproduce reds and greens but not blues. The visual style emphasized clarity and visibility to ensure performers could be clearly seen and heard, with simple backgrounds that didn't interfere with sound pickup. Despite these technical constraints, the cinematography successfully captured the glamour of MGM's stars and the spectacle of the production numbers.

Innovations

The Hollywood Revue of 1929 pioneered several technical innovations in early sound cinema. The film successfully demonstrated that complex musical numbers could be recorded with acceptable audio quality, solving many of the technical problems that had plagued earlier musical films. The integration of two-color Technicolor sequences with synchronized sound represented a significant technical breakthrough. The production team developed innovative microphone placement techniques, hiding microphones in props and set pieces to maintain visual continuity while capturing clear audio. The film also showcased advances in sound mixing, balancing multiple audio sources including dialogue, singing, and orchestral accompaniment. The successful coordination of dozens of performers in a single sound production established new standards for complex sound filmmaking.

Music

The film's soundtrack represents a comprehensive survey of popular music styles of the late 1920s, featuring original songs composed specifically for the production along with contemporary hits. The most significant contribution was the debut of 'Singin' in the Rain,' composed by Arthur Freed and Nacio Herb Brown, which would later become one of the most famous songs in cinema history. The musical numbers ranged from operatic performances to jazz-influenced dance numbers, reflecting the diverse musical tastes of the era. The orchestral arrangements were lush and sophisticated, showcasing MGM's commitment to high production values. The soundtrack also included comedy sketches with dialogue, demonstrating the new possibilities of synchronized sound. The recording quality was considered exceptional for its time, with clear reproduction of both music and speech.

Memorable Scenes

• The spectacular finale featuring the entire cast performing 'Singin' in the Rain' with elaborate choreography and staging
• Buster Keaton's first sound performance in a comedy sketch demonstrating his struggle to adapt to talking pictures
• Joan Crawford's energetic solo dance number 'Got a Feeling for You' showcasing her early star power and versatility
• The Technicolor 'Ballet of the Bells' sequence featuring a dreamlike dance performance with innovative color photography
• John Gilbert's dramatic recitation from Romeo and Juliet, testing whether the romantic idol of silent films could succeed in talkies

What Critics Said

Contemporary critics praised The Hollywood Revue of 1929 for its ambitious scope and technical achievements, with Variety calling it 'a knockout picture' and 'the greatest entertainment ever offered to the public.' Critics were particularly impressed with the quality of the sound reproduction and the seamless integration of multiple performance styles. However, some reviews noted the uneven quality of performances and the film's lack of narrative cohesion. Modern critics and film historians view the film primarily as a historical artifact, recognizing its importance in documenting the transition to sound cinema while acknowledging its dated entertainment value. The film is often studied for its preservation of early sound performance techniques and its documentation of major stars adapting to the new medium.

What Audiences Thought

The Hollywood Revue of 1929 was a tremendous commercial success, grossing over $1.1 million against its $426,000 budget. Audiences were fascinated by the novelty of hearing their favorite silent stars speak and sing for the first time. The film's all-star format was a major draw, as moviegoers could see dozens of popular performers in a single feature. The spectacle of the production numbers and the novelty of sound technology created tremendous word-of-mouth buzz. The film's success validated MGM's investment in sound technology and encouraged other studios to produce similar all-star revues. Contemporary audience members particularly enjoyed the contrast between different performance styles and the opportunity to see stars like John Gilbert and Buster Keaton attempt to adapt their personas to sound.

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