Whoopee!

About the production

The film was a landmark collaboration between Broadway legend Florenz Ziegfeld and Hollywood mogul Samuel Goldwyn. It was among the costliest films of its time, costing over $1 million during the onset of the Great Depression. Goldwyn took a massive risk as the public's interest in early 'all-talking' musicals was beginning to wane by late 1930. The production utilized the two-color Technicolor process, which was notoriously difficult to light and required massive amounts of electricity, often making the sets uncomfortably hot for the actors.

Themes

Themes & topics

Historical background

Whoopee! (1930) survives in catalogs and archives as a record of the early sound era.

Why this film matters

Scholars and collectors reference Whoopee! when discussing how the early sound era filmmakers addressed popular themes.

Making of

Busby Berkeley was brought from New York specifically to handle the musical numbers, and he famously clashed with the traditional cinematographers who didn't understand his desire for a 'single-eye' camera perspective. Berkeley insisted on drilling a hole in the studio ceiling to achieve the iconic top-down geometric shots of the dancers, a technique that revolutionized filmed dance. Samuel Goldwyn was initially skeptical of Eddie Cantor's cinematic appeal after Cantor's silent films failed to find an audience, but the addition of sound and Cantor's manic vocal delivery proved to be a winning combination. The production was also notable for hiring Alfred Newman in his first Hollywood composing role; he would go on to become among the leading decorated composers in film history.

What critics said

Where contemporary reviews survive, Whoopee! is read against the tastes of 1930; revival screenings keep it in circulation.

Did you know?

• This film marked the Hollywood debut of choreographer Busby Berkeley.
• A 13-year-old Betty Grable appears as one of the 'Goldwyn Girls' in the opening 'Cowboys' number.
• It is the only film ever produced by the famous Broadway impresario Florenz Ziegfeld.
• The song 'My Baby Just Cares for Me' was written specifically for the film and became a signature hit for Eddie Cantor.
• Future star Paulette Goddard is among the uncredited Goldwyn Girls in the musical sequences.
• Eddie Cantor reprises his role from the 1928 Broadway stage production, which was also produced by Ziegfeld.
• The film features Chief Caupolican, the first Native American to become a Metropolitan Opera star.
• The 'overhead' camera shots that became Busby Berkeley's trademark were first developed and showcased in this film.
• The plot is based on the 1923 play 'The Nervous Wreck' by Owen Davis.
• Despite being a Western, the film's sets were designed to look like stylized, lavish Broadway stages.

Awards & recognition

• National Board of Review: Top Ten Films (1930)

Visual style

The film was shot in two-color Technicolor (red and green) by a trio of cinematographers: Lee Garmes, Ray Rennahan, and Gregg Toland. Toland, who would later shoot 'Citizen Kane,' contributed to the film's innovative use of depth and lighting. The visual style is characterized by high-key lighting to accommodate the Technicolor process and the use of expansive, stylized sets that bridged the gap between theater and cinema.

Innovations

The film is a primary example of the two-color Technicolor process at its most refined. It also pioneered the use of the 'crane shot' for musical numbers, allowing Berkeley to move the camera over the heads of the performers. The integration of synchronized sound with complex outdoor-style musical sets was a significant engineering feat for 1930.

Music

The score was composed by Walter Donaldson with lyrics by Gus Kahn. Key songs include 'Makin' Whoopee,' 'My Baby Just Cares for Me,' 'A Girl Friend of a Boy Friend of Mine,' and 'The Song of the Setting Sun.' The music was performed by George Olsen and His Music, a popular jazz band of the era.

Famous quotes

Henry Williams: 'Last week I looked so terrible, two undertakers left a deposit on me.'

Henry Williams: 'Why do you make overtures to me when I need intermissions so badly?'

Henry Williams: 'I'm not a man, I'm a patient!'

Mary Custer: 'Henry, don't you want to be healthy?' Henry: 'I'd rather be sick and live!'

Memorable scenes

• The 'Makin' Whoopee' sequence where Eddie Cantor sings the title song while sitting on a trunk, using his expressive eyes and hand gestures.
• The 'Stetson' number featuring the Goldwyn Girls in elaborate Western-themed costumes performing synchronized choreography.
• The 'Making Waffles' parody scene where Cantor's character humorously subverts his own hit song while cooking.
• The opening 'Cowboys' sequence which showcases the first of Busby Berkeley's geometric 'kaleidoscope' formations from a high-angle perspective.

What audiences thought

Audiences in 1930 turned the film into a massive hit, making it one of the highest-grossing films of the year. Cantor's 'Henry Williams' character, a neurotic hypochondriac, resonated with Depression-era audiences looking for escapist comedy. It remained a popular staple of early television broadcasts for decades.

Film connections

Influenced by

• The Nervous Wreck (1923 Play)
• Ziegfeld Follies (Stage Revues)
• Vaudeville tradition

This film influenced

• Up in Arms (1944)
• 42nd Street (1933)
• Roman Scandals (1933)
• Blazing Saddles (1974) (Parody elements)

Film restoration

The film has been preserved and was significantly restored by the UCLA Film & Television Archive in conjunction with the Samuel Goldwyn Company. While the original two-color Technicolor elements are fragile, high-quality restorations have allowed the film to be viewed in its original vibrant hues.

Where to watch

• Available on DVD through the Warner Archive Collection
• Occasionally streams on Turner Classic Movies (TCM)
• Available for digital rental/purchase on platforms like Amazon and Apple TV