La feria de la vida

A farm family encounters situations both poignant & hilarious when they leave home to spend time at the exciting STATE FAIR.

Janet Gaynor gives a sensitive performance as a country girl eager for romance amid the attractions of the Fair. She is both fetching and delightful. She was a big celebrity at the time and gets top billing here even over Will Rogers.

Will gets his own back by deftly underplaying his role as her farmer father. By keeping the corniness to a minimum, he gives the film a special touch of bedrock sensibility and good humor.

The Production Code had obviously not taken effect quite yet, as can be seen by some of the language and situations. These will come as a surprise to some, but were not rare before 1934.

All of Will's scenes are fun - especially those with Miss Gaynor or the hogs. The formidable Louise Dresser appears as his wife. Lew Ayres makes a fine romantic interest for Gaynor & Victor Jory is very good in a small role as an honesty-challenged barker.

Can I be slightly crude here and say that an alternate title for this wonderful pre coder could be 'Rutting Season'? I have always been unable to stomach the saccharine 1945 version and the 1962 version is just awful, but this one seems to me far more 'real'. It certainly is quite frank regarding sexual attraction, and not just between hogs and sows. If you pay attention there's more spice to be found in the subtext than in Ma's prize winning pickles. A fascinating film and one that deserves to be shown more than it is.

Having previously watched both the 1945 and 1962 musical versions of this film, and knowing YouTube had this non-musical version on its site for the last several years, I finally watched this version of State Fair just now. Other than the added songs in the later versions, this is basically the same story for all three...well, except since this one was produced before the Production Code became more strict, it's implied the male teen had something of a real affair with a female performer. (Though I didn't see the scene of them talking off-screen while the bed on-screen was messed up with another scene of a lingerie on the floor during that. Must have been cut after the Code was enforced.) The humor is both verbally subtle and occasionally visual like when the Janet Gaynor character is on somebody's shoulder and she unknowingly plays with that someone's head when she gets excited about a certain horse in a race. Will Rogers as the father is his charming self as he looks after his pig he hopes wins the big contest. And I always loved when the mother (in this version, Louise Dresser) enters her pickles and mincemeat in another contest because of what is in those foods when they're entered! By the way, I like all three versions but if you don't want to hear those songs, I definitely recommend this version of State Fair.

State Fair is actually a pretty good movie that's mostly just a vehicle for Janet Gaynor. But it ends up being more than that with the help of Will Rogers and Lew Ayres.

The story revolves around a farming family who enters a prize pig in the State Fair. The two children of the family go off on their own separate adventures while the two parents stay with the pig.

Gaynor is one of the children and she meets and falls in love with Ayres. Their chemistry together is a very intriguing one. Will Rogers is the father who is mostly the comic relief.

You'll most likely like the film and it deserves to be liked. Its a great gem from the early '30s that isn't seen much anymore.

I was able to finally watch the film when it was on The Fox Movie Channel last year. It might be on again soon. I suggest you find out.

This 1933 film of STATE FAIR is nearly impossible to see except on one Fox cable channel, but is the best of all versions, with genuine and unsentimental writing and acting. Director Henry King propels the leisurely plot with a thrilling moving camera that efficiently depicts the varied sensations of a state fair, from wholesome contest fun to the menace of barkers and carnies.

King has a consistent handle on the theme, that the state fair is a quick microcosm of life, an event that thrusts persons together in a venue that makes possible the "rollercoaster" of infatuation (and sex--this is pre-code pleasure), the tension of competition, and the diversion from hard work in this depression era America. Even "Blue boy" the hog and "self object" of Will Rogers' likeable character discovers the same conflicted feelings of sexual attraction. The cast is excellent, with standouts of Rogers, a most natural performer, in a film that is unpolluted by awkward stereotyped supporting players common to his films. A truly stunning-looking Lew Ayres is a dream of a roller coaster partner, and Victor Jory in his silk shirt perfectly embodies the carnie whom small children fear to encounter outside the midway. But it's the quiet moments that register the most--the pensive characters driving at dusk to the fair, full of private anticipation, still totally one as a family. Modern films rarely dare such introspective glimpses, but this film doesn't bore because it is so true. These rural citizens are proud and flawed, but like the wonderful characters in MEET ME IN ST. LOUIS, they embrace the chance to take in the fun and mystery of life.