The Saturday Night Kid
"When a man comes between two sisters... it's every girl for herself!"
Plot
Mayme and Janie are sisters working as salesgirls at Ginsberg's Department Store, with Mayme being the more responsible and hardworking sibling while Janie is flirtatious and carefree. Mayme has developed genuine feelings for Bill, a fellow store clerk, but her sister Janie sets her sights on him as well, creating a romantic rivalry between the sisters. The competition intensifies as both women use their distinct personalities to win Bill's affection, with Mayme's sincerity pitted against Janie's manipulative charm. Meanwhile, Hazel, another salesgirl at the store, adds to the workplace dynamics with her own romantic interests and schemes. The film culminates in a series of comedic misunderstandings and heartfelt revelations that ultimately test the sisters' bond and lead to surprising romantic outcomes.
About the Production
This was one of Clara Bow's first sound films, made during the challenging transition from silent to talkies. The production utilized early sound recording equipment, which required actors to remain relatively stationary near microphones. The film was shot quickly to capitalize on Bow's popularity and the public's fascination with new sound technology. Jean Harlow, though in a small role, was already being groomed for stardom by Paramount executives.
Historical Background
The Saturday Night Kid was produced during a pivotal moment in American cinema history - the transition from silent films to talkies. 1929 was the first full year where sound films dominated the market, and studios were scrambling to convert their silent stars into viable talking picture actors. The film was released just months before the devastating stock market crash of October 1929, which would dramatically alter Hollywood's production methods and the types of films being made. This period also saw the rise of the studio system's power, with Paramount Pictures being one of the major players controlling production, distribution, and exhibition. The film reflects the growing urbanization of America and the emergence of the modern working woman, with its department store setting and focus on independent female characters.
Why This Film Matters
As one of Clara Bow's early sound films, 'The Saturday Night Kid' represents an important transitional work in cinema history, demonstrating how silent film stars adapted to the new medium. The film captures the essence of late 1920s American culture, particularly the emerging independence of working women and the changing social dynamics of urban life. The department store setting reflects the growing consumer culture of the era and the new opportunities available to women in retail. The film also marks the beginning of Jean Harlow's screen career, though her role was small, as she would soon become one of the biggest stars of the 1930s. The movie's focus on sister rivalry and romantic competition taps into timeless themes while reflecting the more open attitudes toward relationships and sexuality that characterized the Jazz Age.
Making Of
The production of 'The Saturday Night Kid' took place during a tumultuous period in Hollywood history as studios rushed to convert to sound technology. Clara Bow, who had been the biggest star of the silent era, faced intense scrutiny about whether her voice would translate to talkies. Director A. Edward Sutherland, who was married to Bow at the time, worked closely with her to ensure her performance would showcase her natural charisma and distinctive Brooklyn accent. The set was often tense due to the technical challenges of early sound recording, with actors having to stand in specific positions to be heard clearly by the primitive microphones hidden on set. Jean Harlow, though only in a small role, was already attracting attention from studio executives who saw potential in her platinum blonde look and screen presence. The film's rapid production schedule of just a few weeks was typical for the era, as studios tried to produce as many sound films as possible to meet public demand.
Visual Style
The cinematography by Harry Fischbeck adapted to the new requirements of sound filming while maintaining the visual sophistication of late silent cinema. The camera work was necessarily more static than in silent films due to the limitations of early sound recording equipment, but Fischbeck used lighting and composition to create visual interest within these constraints. The department store sets were designed to allow for deep focus photography, showcasing the elaborate production values Paramount was known for. The film employed the soft, glamorous lighting style characteristic of late 1920s Paramount productions, particularly in the close-ups of Clara Bow and Jean Arthur.
Innovations
As an early sound film, 'The Saturday Night Kid' utilized the Movietone sound-on-film system, which represented a significant technical advancement over the earlier Vitaphone sound-on-disc system. The production team had to work with bulky microphone equipment and soundproofing materials that limited camera movement, requiring creative solutions to maintain visual interest. The film successfully demonstrated that dialogue could be integrated seamlessly into narrative storytelling, helping to establish conventions that would become standard in sound cinema. The synchronization of music, sound effects, and dialogue in the film was considered technically proficient for its time, contributing to the overall quality of the production.
Music
The film featured a synchronized musical score and sound effects, typical of early talkies before fully recorded dialogue became standard. The music was composed by John Leipold, Paramount's house composer, and included popular songs of the era that would have been familiar to contemporary audiences. The soundtrack utilized the Movietone sound system, which was one of the leading sound-on-film technologies of the period. While the film included dialogue scenes, it also retained some of the musical interludes that were common during the transition from silent to sound films, reflecting the hybrid nature of early talkies.
Did You Know?
- This was Jean Harlow's first credited film role, though she only appears briefly as a salesgirl named Hazel
- The film was originally titled 'The Saturday Night Kid' but was sometimes marketed as 'The Saturday Night Party' in some regions
- Clara Bow was at the height of her 'It Girl' fame when this film was made, commanding a salary of $7,500 per week
- The movie was adapted from a play called 'The Best People' by Martin Flavin
- This was one of the first films to showcase Clara Bow's distinctive Brooklyn accent, which became one of her trademarks in talkies
- The department store scenes were filmed on elaborate sets built at Paramount Studios, complete with multiple floors and working elevators
- Director A. Edward Sutherland was married to Clara Bow during the production of this film
- The film was released just months before the stock market crash of 1929, making it one of the last films of the roaring twenties era
- James Hall, who plays Bill, was primarily known for his work in silent films and struggled with the transition to sound
- The film's success helped establish Jean Arthur as a viable leading lady in talking pictures
What Critics Said
Contemporary critics generally praised Clara Bow's performance in her first major sound role, with many noting that her distinctive voice and personality translated well to talking pictures. The New York Times commented favorably on Bow's 'natural and vivacious' screen presence, though some critics found the plot somewhat predictable. Modern film historians view the movie as an interesting example of early sound cinema and a showcase for Bow's talents during her peak popularity years. The film is often noted for its historical value in capturing the transition period between silent and sound films, with particular attention paid to how the actors adapted their performance styles for the new medium.
What Audiences Thought
Audiences in 1929 responded positively to 'The Saturday Night Kid,' particularly Clara Bow's fans who were eager to hear their favorite star speak for the first time in a leading role. The film performed well at the box office, benefiting from the public's fascination with new sound technology and Bow's immense popularity. The department store setting and relatable story of working-class romance resonated with contemporary audiences, many of whom were young women working similar jobs. The film's success helped confirm that Bow could successfully transition from silent to sound films, extending her career for several more years despite the challenges many silent stars faced during this period.
Awards & Recognition
- No major awards were won for this film
Film Connections
Influenced By
- The Best People (play)
- Other department store comedies of the late 1920s
- Silent film romantic comedies
- Broadway comedy conventions
This Film Influenced
- Later department store romantic comedies
- Films featuring sister rivalry as a central theme
- Early 1930s romantic comedies featuring working women