As long as it sticks to the Dance Hall, this Early Talkie programmer from Warners is a nifty Depression-Era slice-of-life, with journeyman director Ray Enright unexpectedly limber on the dance floor as couples compete for trophy cups. Back in the real world, the drama is warmed up tripe as Grant Withers (young, tall & handsome back then) and accidental bride Sue Carol (too cutie-pie sweet to sustain a career) find married life a challenge.* But that’s alright, since action on the parquet is the point here. And check out those opening credits with a series of hot-steppers doing their stuff between ‘Wipe Edits’ to bring on the next couple. In static shots from the waist down, it’s a fabulous unknown clip. Just part of the real Depression atmosphere in here, nicely caught by cinematographer Robert Kurrle, who belies Early Talkie stiffness with fluid camera moves. (Loaded with excellent credits, Kurrle is barely known having died in 1932, only 42.)
DOUBLE-BILL: Sydney Pollack’s Depression-Era Dance Marathon pic, THEY SHOOT HORSES, DON’T THEY/’70, now looks overstated & effortful (typical Pollack faults), but has its champions. OR: *Next year’s BAD GIRL/’31, an Oscar-winner for director Frank Borzage, takes the struggles of early married life more seriously. A subject he’d previously done as light comedy in THE FIRST YEAR/’26.
SCREWY THOUGTH OF THE DAY: The film feels like a Two-Reeler that grew to Six which is just how the first All-Talkie pic, LIGHTS OF NEW YORK/’28, came about.
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