The Great Gabbo

This film about a ventriloquist who lives a self-imposed life of lonliness because of his personality is absorbing, different, and dated. Shortly produced after The Jazz Singer(1927), the film is an early talkie with all the characteristics of an early talkie. It has somewhat stilted stages, little camera movement, and most annoying, a bunch of Busby Berkley type musical numbers that have little to do with the plot. All that notwithstanding, the lead role of Gabbo, a man who lives to be successful no matter what it takes, who is willing to forsake personal happiness to achieve, who runs the scope of emotions in minutes, is played with gusto by that wonderful actor(and even greater director) Erich Von Stroheim. Von Stroheim uses all his European charm(and decadence) as the man who shares life and lives with and through his dummy Otto. There are no supernatural aspects about the relationship with Gabbo and Otto. The movie is in no way a horror picture(although very often advertised as such). It really is a story of the problems a man has exhibiting his emotions, living with others, and living with himself. Some of the scenes are very well-done, including the last shot as we see Gabbo avoid a ladder. The rest of the cast is effective with Betty Compson as a love interest doing a fine job, and Donald Douglas as a lead singer/romantic figure being absolutely absurd. If for no other reason, see the film to see Von Stroheim in action. There was no one like him.

Though I agree with previous reviewers' comments about the good performances turned in by Erich Von Stroheim and Betty Compson, I thought the movie was disappointing overall. There isn't really much of a story, the dramatic scenes are often slow, and the rather bizarre musical numbers are poorly integrated into the plot. I'm not sure why this movie isn't classified as a musical, though; it has as many numbers as "42nd Street" and other similar titles from about the same period. Unfortunately, as a previous reviewer said, these scenes are not as creatively done as those by Busby Berkeley; the choreography is often unappealing, and the dancers don't look very well-rehearsed, though there are some bright spots.

Interestingly, the contemporary "Variety" review mentioned a color sequence in the film, which was not present on the Video Yesteryear VHS copy I watched. I wonder if this piece is lost, or available on other editions?

This is a strange little number because it's a pretty dark subject matter, which at times is pretty chilling to watch, but then they throw in lots of songs. I'm not too sure what the Directors were going for when they filmed this. I say this because it's evident, at times, that quite a few scenes were added later... and I cannot figure out why.

I really like the idea of the mad ventriloquist. In this stories concept, he is in love with his assistant, Mary (Compson), though finds it hard to fully converse with her. As The Great Gabbo (Erich von Stroheim), as he sees himself, he's nasty, offensive, and disagreeable. However, when he speaks through the dummy he can be loving and charming. It's this fissure that eventually leads to his mental breakdown.

I know that the musical moments are there because it's set in the vaudeville and theatre life, though for most of the time these feel more like padding - filling out time. I think this could be remade and be an actually powerful movie. Reduce the musical side and expand on the breakdown. There are times in this movie where chills ran down my spine. The part where Mary walks out on The Great Gabbo and the Dummy calls her softly back, to be reprimanded by Gabbo is both heartbreaking and creepy as hell.

The film, in general, is entertaining, though I have to say I found the number of musical intermissions too much. These are also 1920's musicals so are not so relevant today. Also, the dancing isn't up to par with bigger productions. Though I have to say the scene where Mary throws herself off a giant spiders web to be caught inches from the ground is breathtaking. I would say, for all creepy doll fans and those who like a psychological edge to their dramas, it's worth a watch.

Clunky solid gramophone sound and some sensational Ziegfeld stage numbers make this early talkie musical drama a real treat for viewers forgiving of 1929 movies. Vile schizophrenic ventriloquist brute, Von Stroheim, with his very creepy dummy (like the terrifying one in the DEAD OF NIGHT sequence with Michael Redgrave) seem somehow to be the toast of the stage. This 1929 showcase for both the technology of the day and the stage and screen stars rightly celebrated over the period are shown to be both fascinating and versatile as this film progresses. Other comments on this site will tell you the story and some criticize it's 1929 limits, but really THE GREAT GABBO is an excellent film of its day that rightly and clearly shows the force of Von Stroheim and the expert stage and screen dance entertainment popular in the 20s in the Ziegfeld sequences seemingly filmed right in front of a real stage. If you have seen THE BOYFRIEND the 1970 Ken Russell comedy you will get an idea of how fabulous THE GREAT GABBO must have looked in color. Most of the massive stage scenes are pale in my B/W copy and clearly are those sequences in Multicolour which the opening credits alert us to (be missing). Betty Boop sister Majorie Kane appears and most of the musical numbers are hilariously delightful, crowded with teens leaping about and bumping into each other in a great array of all sorts of fantasy costumes. The silliest and most enjoyable of which is a spider and fly number in which the above quote is hissed during a squabble in between verses. THE GREAT GABBO is a major find for students of 20s art deco, early talkie technology and very strong and effective acting. Von Stroheim must have been such a pain to Hollywood, a brute on screen and off. This film is full of wow! scenes. Highly recommended for anyone wanting further insight into the era. Other films worth seeing that add to the experience are GLORIFYING THE American GIRL, and THE 1929 SHOW OF SHOWS. The sound on my DVD copy is very good.

Bizarre in the extreme but a highly entertaining film about a mad ventriloquist and the woman who loves him.

Erich von Stroheim makes his talkie debut as the spooky/mad ventriloquist who often speaks through his dummy (Otto) and eventually goes totally mad. Betty Compson plays his harried assistant who is finally driven away through his cruelty and madness. But they meet up again 2 years later when von Stroheim has become a star.

We get several scenes about the masochistic relationship between the stars played out against the background of a big New York revue. There are several terrific 20s songs in this film and one unforgettable production number with Compson and Donald Douglas as a fly and spider perched on a giant web.

The film also boasts the zippy Marjorie Kane who intros "That New Step." Von Stroheim is good and has a surprisingly light accent, but Compson steals the show as the pathetic assistant who can't understand him. She also gets to sing "I'm in Love with You" and adds one more talent to her resume of skills. Compson was also a concert violinist (see INSIDE THE LINES).

Compson and von Stroheim are excellent and the whole production becomes more and more surreal as it goes on. Certainly worth a look even if one number is missing (the "Ga Ga Bird") as are the Technicolor sequences. The whole film is black and white. The number "Every Now and Then" is tops.

Compson was one of the busiest actresses in Hollyword during the late 20s and early 30s.... she's a gem.