What Happened to Jones?

Plot

On the eve of his wedding to the lovely Mary, respectable young man Reginald Jones joins his friends for a final night of bachelor poker. When the police unexpectedly raid the illegal game, Jones flees in panic and seeks refuge in the nearest building - a Turkish bathhouse. Unfortunately for him, it happens to be ladies' night at the establishment, forcing him to disguise himself as a woman to avoid detection. His predicament worsens when his fiancée and her father arrive at the same bathhouse, leading to a series of increasingly absurd and hilarious complications as Jones attempts to maintain his disguise while desperately trying to explain his presence. The situation culminates in a chaotic confrontation where his true identity is revealed, threatening to ruin both his reputation and his impending marriage.

Historical Background

The film was produced during the height of the silent film era in 1926, a year that saw the release of many classic films including 'The General,' 'Metropolis,' and 'The Battleship Potemkin.' This was also the year when Warner Bros. released 'Don Juan' with a synchronized musical score, signaling the coming transition to sound. The Roaring Twenties were in full swing, with prohibition creating a culture of speakeasies and underground gambling, which the film's poker game sequence reflects. The relatively risqué subject matter of men in drag and mixed-gender bathhouse scenes was becoming more common in comedy films as censorship began to loosen slightly before being reinforced by the Hays Code in 1930. Universal Pictures was establishing itself as a major studio with successful comedy series and adaptations of popular plays.

Making Of

The production faced several challenges during filming, particularly with the Turkish bathhouse sequences which required elaborate set construction and careful choreography to maintain the comedy while avoiding censorship issues. Reginald Denny, who was known for his athletic prowess, performed many of his own stunts during the chase sequences. The drag makeup and costume process took several hours each day, and Denny reportedly found the experience uncomfortable but hilarious. Director William A. Seiter worked closely with the studio's costume department to ensure the drag elements were comedic without being too scandalous for 1926 audiences. The poker raid scene was particularly complex to film, involving dozens of extras and carefully timed action to create the chaos of a police bust. The film was shot quickly on Universal's backlot, typical of the studio's efficient production methods during this period.

Visual Style

The cinematography, credited to Charles J. Stumar, utilized standard techniques of the mid-1920s with clear, well-lit compositions typical of Universal's house style. The Turkish bathhouse sequences featured more elaborate lighting setups to create the steamy, atmospheric environment. Camera movement was minimal, as was typical of the period, with most scenes filmed from static positions. The chase sequences following the poker raid employed more dynamic angles and faster editing to create excitement. The drag reveal scenes used careful framing to maximize the comedic effect of Denny's disguise.

Innovations

The film employed standard technical practices of the mid-1920s without notable innovations. The special effects were limited to basic techniques such as dissolves and irises for scene transitions. The most technically challenging aspects were the bathhouse sequences, which required careful set design to accommodate the steam effects and multiple actors in confined spaces. The drag makeup and costumes, while not technically groundbreaking, required skilled craftsmanship to achieve the desired comedic effect without crossing into caricature that might have offended censors.

Music

As a silent film, 'What Happened to Jones?' would have been accompanied by live musical scores in theaters. Universal provided cue sheets and suggested musical selections for theater orchestras. The score likely included popular songs of 1926 such as 'Bye Bye Blackbird' and 'Baby Face' along with classical pieces appropriate to the various moods of the film. The Turkish bathhouse scenes would have featured exotic-sounding music, while the chase sequences would have used faster-paced, dramatic compositions. No original composed score was created specifically for this film.

Memorable Scenes

• The chaotic police raid of the poker game where Jones makes his desperate escape
• Jones's frantic transformation into drag in the Turkish bathhouse dressing room
• The near-miss encounter where Jones, in disguise, almost speaks to his fiancée
• The final reveal scene where Jones's identity is exposed in the most compromising circumstances
• The elaborate chase sequence through the bathhouse corridors with Jones in drag being pursued

What Critics Said

Contemporary reviews were generally positive, with critics praising Reginald Denny's comedic timing and physical comedy skills. The trade paper Variety noted that the film 'delivers the laughs expected from its promising premise' and particularly praised the bathhouse sequences. The Film Daily called it 'a satisfactory comedy adaptation of a proven stage success' and recommended it for neighborhood theater bookings. Modern critical assessment is limited due to the film's relative obscurity, but silent film historians recognize it as a representative example of mid-1920s comedy programming. The drag elements have been noted by film scholars studying gender performance in early cinema.

What Audiences Thought

The film performed moderately well at the box office, particularly in smaller cities and neighborhood theaters where Universal's programming was popular. Audiences enjoyed the familiar premise and Denny's performance, though it didn't generate the same level of enthusiasm as bigger-budget comedies from major stars like Harold Lloyd or Buster Keaton. The film's subject matter, while somewhat daring for the time, didn't generate significant controversy, suggesting audiences were becoming more accustomed to such comedic situations. The film's success was sufficient for Universal to continue producing similar comedy adaptations throughout the late 1920s.

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