The Show of Shows

About the production

The film was rushed into production to capitalize on the public's fascination with talking pictures and to showcase Warner Bros.' Vitaphone sound system. The production faced significant technical challenges coordinating sound recording for so many different acts and performers. The Technicolor sequences required special lighting and camera equipment, making them particularly expensive and time-consuming to shoot. Many silent film stars were nervous about their first speaking roles, requiring extensive coaching and multiple takes.

Themes

Themes & topics

Historical background

Released in 1929 during the late silent period, The Show of Shows reached audiences when exhibitors were still defining programming conventions. The narrative hook—The studio that gave the cinema its voice offered 1929 audiences a chance to…—reflects what contemporary producers thought would draw viewers.

Why this film matters

The Show of Shows remains discussed by archivists tracing how screen stories of its period represented work, desire, conflict, and social order. Its central situation—The studio that gave the cinema its voice offered 1929 audiences a chance to…—still prompts questions about genre conventions and audience expectations.

Making of

The making of 'The Show of Shows' was a massive undertaking that reflected both the excitement and chaos of Hollywood's transition to sound. Director John G. Adolfi had to coordinate performances from dozens of stars with varying levels of experience in talking pictures. The sound recording process was still primitive, requiring actors to remain relatively stationary near microphones hidden in props or on the set. Many silent film stars discovered their voices didn't match their screen personas, leading to anxiety during filming. The Technicolor sequences presented additional challenges, as the two-strip process required intense lighting and long exposure times. The film was essentially a promotional vehicle for Warner Bros. to demonstrate their Vitaphone sound system and show off their stable of contract players. Production was fast-tracked to beat similar revue films from other studios to theaters, resulting in a compressed shooting schedule that tested the patience of performers and crew alike.

What critics said

Trade and newspaper notices for The Show of Shows generally emphasized casting, spectacle, and program fit rather than extended aesthetic argument. Retrospective screenings and archival notes continue to shape how viewers evaluate The Show of Shows today.

Did you know?

• The film featured over 70 performers from Warner Bros.' contract roster, making it star-studded films of its era
• John Barrymore's Shakespearean soliloquy marked the first time audiences heard his voice on screen
• Myrna Loy appears in one of the film's few Technicolor sequences, early in her career before she became a major star
• Rin Tin Tin, the famous dog actor, appears in the film demonstrating his ability to respond to verbal commands on screen
• The film was part of a brief trend of all-star revue pictures in 1929-1930, including MGM's 'The Hollywood Revue of 1929' and Paramount's 'Paramount on Parade'
• Frank Fay, the host, was a popular vaudeville performer known as 'The Master of Ceremonies' and was married to Barbara Stanwyck at the time
• The 'Singing in the Bathtub' number performed by Winnie Lightner became so popular that it was later reused in other Warner Bros. productions
• Many silent film stars in the production would have short-lived careers in talkies, unable to make the transition successfully
• The film's title was a play on the Ziegfeld Follies and other Broadway revues of the era
• The production required 23 different sets to accommodate the various acts and performances

Awards & recognition

• Academy Award for Best Art Direction (nomination)

Visual style

The cinematography of The Show of Shows was notably ambitious for its time, utilizing both the latest sound recording equipment and early Technicolor processes. The black and white sequences were filmed using the Vitaphone sound-on-disc system, which required cameras to be enclosed in soundproof booths to prevent motor noise from being picked up by the microphones. This limitation resulted in relatively static camera work for most of the film. The Technicolor sequences, however, allowed for more fluid camera movement and showcased the vibrant possibilities of color film. Cinematographers Sol Polito and Byron Haskin employed dramatic lighting techniques to enhance the theatrical quality of the performances, particularly in the dramatic segments. The film's visual style was deliberately theatrical and presentational, with performers often addressing the camera directly, reflecting the influence of stage entertainment on early sound cinema.

Innovations

The Show of Shows represented several important technical achievements in early cinema, particularly in the integration of sound and color. The film's use of the Vitaphone sound-on-disc system demonstrated the sophistication of Warner Bros.' audio technology, allowing for relatively clear recording of dialogue, music, and sound effects. The inclusion of two-strip Technicolor sequences was particularly notable, as color film was still experimental and expensive in 1929. The production pioneered techniques for recording musical numbers in early sound cinema, developing methods to balance orchestral accompaniment with vocal performances. The film also showcased advances in microphone placement and sound mixing, allowing for more natural-sounding dialogue than many earlier talkies. The massive scale of the production required innovations in studio logistics, as Warner Bros. had to coordinate the schedules of dozens of stars while managing the technical requirements of sound filming. These technical achievements helped establish standards that would influence sound film production throughout the 1930s.

Music

The soundtrack of The Show of Shows was one of its most innovative features, utilizing the Vitaphone sound-on-disc system to present a rich variety of musical performances and spoken dialogue. The film featured numerous original songs composed specifically for the production, including the memorable 'Singing in the Bathtub' with music by Nacio Herb Brown and lyrics by Arthur Freed. The musical arrangements were orchestrated by Leo F. Forbstein, Warner Bros.' music director, who adapted popular songs and created new pieces to showcase the various performers. The sound recording presented significant technical challenges, as the early microphones had limited range and pick-up patterns. The film's audio mix included dialogue, singing, orchestral accompaniment, and sound effects, all recorded live during filming. The soundtrack also included performances by Warner Bros.' contract orchestra, one of the few studio orchestras of the era that received screen credit.

Famous quotes

Now hear this! The studio that gave the cinema its voice offers you the greatest show of all!" - Frank Fay (opening narration)

To be, or not to be, that is the question." - John Barrymore (Hamlet soliloquy)

I'm singing in the bathtub, I'm singing in the tub." - Winnie Lightner (from 'Singing in the Bathtub')

Ladies and gentlemen, you have seen them all, and now you have heard them all!" - Frank Fay (closing line)

Memorable scenes

• John Barrymore's dramatic delivery of Hamlet's 'To be or not to be' soliloquy, marking his first speaking role on screen and demonstrating why he was called 'The Great Profile'
• Winnie Lightner's energetic performance of 'Singing in the Bathtub,' complete with bubbles and rubber ducks, which became one of the film's most remembered sequences
• Myrna Loy's exotic dance in two-strip Technicolor, showcasing early color cinematography and her screen presence before she became a major star
• The grand finale featuring all 70+ performers on stage simultaneously, a spectacular display of Warner Bros.' star power and the culmination of the variety show format

What audiences thought

Audiences in 1929 were enthralled by The Show of Shows, flocking to theaters to see and hear their favorite stars speak for the first time. The film's variety format ensured there was something for everyone, from dramatic performances to comedy sketches to musical numbers. Many viewers were particularly excited to hear John Barrymore's famous voice, which had been the subject of much speculation. The 'Singing in the Bathtub' number became a popular hit, with audiences often requesting encores in theaters. The film's commercial success demonstrated that moviegoers were hungry for sound entertainment and willing to pay premium prices for the experience. However, some audience members were disappointed to discover that their favorite silent stars had voices that didn't match their screen personas, leading to the end of many careers. Despite this, the film's overall reception was positive, helping to establish Warner Bros. as a major player in the new era of sound cinema.

Film connections

Influenced by

• The Jazz Singer (1927)
• Broadway revues like Ziegfeld Follies
• Vaudeville variety shows
• The Hollywood Revue of 1929 (competing production)
• Paramount on Parade (similar format)

This film influenced

• The Big Broadcast (1932)
• Star Spangled Rhythm (1942)
• Thousands Cheer (1943)
• That's Entertainment! series (1970s-1990s)
• Hollywood Hotel (1937)

Film restoration

The Show of Shows has been partially preserved, with the complete film surviving in various archives. The UCLA Film and Television Archive holds a complete 35mm print, though some sequences show signs of deterioration. The Technicolor segments survive in their original form, though the color has faded somewhat over time. The Vitaphone discs for the soundtrack have been preserved and synchronized with surviving picture elements. The film underwent restoration by Warner Bros. in the 1990s for home video release, with digital cleaning and audio enhancement. While not considered a lost film, some of the original camera negatives have been lost, making preservation of existing prints crucial. The film is considered historically significant and is included in the National Film Registry's preservation priorities.

Where to watch

• The Warner Archive Collection DVD/Blu-ray release
• The Criterion Channel (occasionally featured in early musical collections)
• Turner Classic Movies (periodic broadcasts)
• Film archives and museums with screening permissions
• Various streaming services specializing in classic cinema (availability varies by region)