Tanned Legs

The further back you go, the earlier in the evolutionary chain of cinema.

Even if the movie is uninteresting in a conventional sense, it has interest. Each of these early movies — and there weren't that many — was a firework shot into a sky, defining it.

This one is a rather crude imposition of a show onto several slightly related stories of romantic situations, and some sexual intrigue.

The show has the legs of the title rather overtly displayed in an obvious attempt to add spice to the stiff staging of the romantic episodes. Some of these involve the participants bursting into song, so its a strange amalgam of a musical on the story and one in the story. The stories are trite, as one would expect, but the women in the stories, even the vamps, are amazingly prim, especially when compared to the show girls.

These show girls, by the way, were selected for a different body type than usual for the period and more in line with modern trends: low body fat, muscle tone. As much is made of the Florida locale, that must have applied.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

"Tanned Legs" from 1929 (!), is a charming pre-Code musical romantic comedy early talkie directed by David Burton and produced by Fox Film Corporation, showcasing the early integration of sound into cinema. Starring the vibrant Glenda Farrell and the suave Ben Lyon, the film's lively narrative revolves around a young woman's romantic escapades and her pursuit of a wealthy husband. With its lighthearted plot and catchy songs, the film captures the early transition from silent films to talkies, highlighted by its sound-on-film technology. This is a great example of what the movie "Singin in the Rain" would explore further decades later. Though not a major hit, its success lies in the fun performances and the technical experimentation of early sound filmmaking, which provided audiences with a glimpse into the future of cinema. This film is almost a century old with cute 20's girls. Whatdya got to lose?

I almost screamed with delight for 66 minutes through this perfect 1920s flapper musical set in a seaside resort with lots of gorgeous girls and guys in their cossies waving their tanned legs about to music. What a delight! Made at RKO in may 1929 TANNED LEGS is simply beautiful to see, with a snazzy modern cast singing and dancing in the most fantastic modern 1929 clothes... and in sets that make any person in love with the era swoon with glee. Several very funny songs include "Jump In - The Water's Fine", "You're Responsible" (with terrific tap dancing reprise) and "Tanned Legs" itself with howling risqué exposure of many tanned legs and what is at the top of them. Arthur Lake in particular is a standout, he was about 24 at the time and is like a lovesick tousled tom cat, especially in his striped dressing gown on the porch. Very modern in tone and style and an utter delight TANNED LEGS is THE BOYFRIEND for real. The film veers off into some melodrama later and ends abruptly which might explain why there is an original running time 5 minutes more than this print of 66 minutes. It seems to have the end missing, which given the way the film starts, should also end with a musical number. However, for the 66 minutes I lapped up it was flapper and swimming cossie heaven. Sally Blaine, who was Loretta Young's sister is astonishingly as beautiful. The film is so early in the talkie era that it is clear the camera is trapped in a glass booth and you can hear the camera whirring. TANNED LEGS is simply gorgeous for every artistic musical and technical reason imaginable. I can't stop watching it. The film is similar to FOLLOW THRU made at Paramount and in color in 1930... and TANNED LEGS clearly needed Jack Haley as well.. there is even one comedian who is similar and only serves to remind us of him. The sound is excellent - photo-phone on film - and serves to explain why it instantly became the industry standard. TANNED LEGS is a complete delight even if the print is incomplete.

The summer resort "Breakers Beach Club" (Laguna Beach, CA) attacks wealthy vacationers and leggy dancers. Pretty blonde June Clyde (as Peggy Reynolds) is embarrassed by her middle-aged parents, who have both found younger romantic interests. Her mother and father are only at the flirting stage, however. "Harmless fun" is how her cute boyfriend Arthur Lake (as Bill) describes the affairs, but Ms. Clyde thinks her parents are "playing with fire." Also worrying Clyde is her beautiful sister Sally Blane (as Janet), who is serious about smarmy Edmund Burns (as Clinton Darrow). Clyde must solve everyone's problems by obtaining a blackmailer's love letters...

This early all-talking musical play lives up to the title "Tanned Legs" -- partly. There are several dance numbers, and director Marshall Neilan gives us a good look at the legs of many attractive young women. Legs go way up. On occasion, dresses do, too. It's difficult to tell in black and white, but the gams do not look especially tanned. Direction is otherwise not notable. As the portly father and matronly mother, Albert Gran and Nella Walker are perhaps most memorable. Broadway favorites Allen Kearns and Ann Pennington give it some authentic musical appeal. Best song "With You, With Me" (by Sidney Clare & Oscar Levant) lingers awhile.

**** Tanned Legs (11/10/29) Marshall Neilan ~ June Clyde, Arthur Lake, Sally Blane, Albert Gran

The title of this film implies a naïve titillation representative of the pre-Code films.

As movies made the transition from silent screen to talkies, there was a lot of experimentation. In this film, they use the occasional title card to explain or advance the story. It is interesting to see the state of the art in 1929, but in many instances it is amateurish compared to later standards.

Cameras are mostly stationary. The featured music and background music have a long way to go to achieve the potential realized in the sophisticated tunes of the great writer-composers that followed in the thirties. The dancing/choreography is unpolished and synchronization is mostly ignored. The script is disjointed and, sometimes, ridiculous. The ending of the film is laughable.

It would not take long for producers and directors to understand the potential for talkies and to harness the advantages of new film technologies and methods. Only ten years after this film, Hollywood would release a host of films displaying the fully-formed artistic visions of "Gone With the Wind", "The Wizard of Oz", "Ninotchka" and many other classics.