Whoopee!

Plot

Sally Morgan, a young woman living in the American West, is deeply in love with Wanenis, a man of mixed Native American heritage. However, her father insists she marry the local sheriff, Bob Wells, leading Sally to hatch a desperate plan to escape her wedding day. She tricks the eccentric and perpetually anxious hypochondriac Henry Williams into driving her away, leaving behind a note that falsely suggests they have eloped to protect her true intentions. As Henry unwittingly becomes a fugitive, he is pursued by the vengeful Sheriff Wells and his own love-struck nurse, Mary Custer, who is determined to marry him. The chaotic journey leads to a series of comedic misunderstandings at a remote ranch, eventually culminating in the revelation of Wanenis's true lineage which resolves the social obstacles to his and Sally's union.

Historical Background

Released in 1930, 'Whoopee!' arrived during the transition from the 'Jazz Age' to the 'Great Depression.' It represents the peak of the early Technicolor musical craze before the genre temporarily lost favor with audiences in the early 1930s. The film also reflects the pre-Code era's more relaxed attitudes toward suggestive humor and double entendres, particularly in the lyrics of the title song 'Makin' Whoopee.'

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 one of the most decorated composers in film history.

Visual Style

The film was shot in two-color Technicolor (red and green) by a trio of legendary 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.

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 Critics Said

At the time of its release, critics hailed the film as a technical marvel, particularly praising the vibrancy of the Technicolor and the energy of Cantor's performance. The New York Times called it 'a lavish and spectacular production.' Modern critics are more divided, often praising the historical importance of the musical numbers while criticizing the dated 'Borscht Belt' humor and the uncomfortable racial politics of the plot.

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.

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