Bright Lights

I think that was one of the problems I had rating this Joe E. Brown picture - it was too out of character for him. Normally, he was too wholesome, corny and even innocent to entertain thoughts of infidelity, and was too focused on succeeding in some sort of endeavor to be a horndog. I don't think the screenplay did him any favors as far as his on screen image was concerned.

He and his wife (Ann Dvorak) are on tour with a vaudeville act which takes in a runaway heiress (Patricia Ellis) who begs for a job. She catches on, catches Joe's eye and soon they become a team, making Ann Dvorak odd man out. It is a comedy tinged with sadness for much of the picture and seemed an ill-advised project for a movie star whose trademark was as a good-natured bragging bumpkin.

There are some very funny moments when he is in character as a drunk in the crowd supposedly heckling his wife, who is onstage singing and dancing. Some funny lines and visual gags. It would have been better all around if the humor had been sustained throughout the movie instead of lapsing into a romantic triangle drama.

Busby Berkeley film is a clichéd story (even in 1935) about a small-timer who makes it big and falls for a pretty blonde actress. This is a Joe E. Brown movie so there's lots of creaky cornball comedy, despite the fact the movie is actually more of a drama. I've never been a big fan of Brown's. His rubber-facing and grating voice is something that probably worked best for the vaudeville crowds he made his name with. In other words, his style of comedy is extremely dated.

Ann Dvorak plays his neglected wife. Dvorak was a beautiful and talented actress who made the most of even the most thankless part. She's the best thing about this film. Another performance of note is Henry O'Neill as a Broadway producer. It's fun to see a great character actor like O'Neill playing something besides a businessman or lawyer. Give this a shot if you're a fan of Joe E. Brown or Ann Dvorak. It's nothing groundbreaking but it's OK.

This film is only funny in a couple of spots, it features mostly static camera, routine burlesque performances, and dated humour. But Joe E Brown is incredibly confident and energetic, generating charisma by the barrelful. Patricia Ellis is quite fetching as the Bad Girl who tries to pry him from Ann Dvorak. Busby Berkeley stages some incredible shots from the ceiling of the theater where the characters are performing, and much of it is so spontaneous it seems like they're making it up on the spot. A lousy comedy, but a very interesting film. The ending scene where Brown returns to his wife's stage performance is as moving as an ending from early Fellini.

If seen as a comedy, this one doesn't have enough laughs, but as a showbiz boy-gets-famous-and-cheats-on-wife tale, it works. Brown is fantastic as a brash, egotistical jokester who rises to the top. The photography is great with director Berkely in top form when he's shooting vaudeville routines from directly overhead. Some of the antics look like they were made up on the spot, and the final scene where Brown returns to see his wife's performance is like something done by Fellini.

Dazzled by the BRIGHT LIGHTS of Broadway success, a burlesque actor is blinded as to what's really most important in life.

The film career of Joe E. Brown, Warner's rubber-faced comedian, essentially reached its zenith in this very enjoyable little comedy/drama obviously tailored for Joe's considerable skills. All too soon a change of studios would sidetrack Brown into cheaply made movies which would inevitably dim his celebrity. But here, in this backstage show biz story, his talents may still be enjoyed at full throttle.

Although the movie was directed by Busby Berkeley, it includes none of his celebrated dance extravaganzas, focusing instead on personality rather than pulchritude. The film is fortunate in that Brown, presented as a Broadway star, is genuinely funny when engaging in his slapstick humor. Whether dangerously balancing on a balcony rail as part of his stage act, using his tremendous mouth to great advantage while telling a party story about a 'little mousie,' or engaging in impressive nightclub acrobatic stunts with The Maxellos, Joe is never less than hilarious.

Although the focus is firmly on Brown, he is given able support from the rest of the cast: Ann Dvorak as his patient, long-suffering wife; Joseph Cawthorn as a fatherly theatrical troupe manager; William Gargan as an energetic press agent; and lovely Patricia Ellis as a stage bound heiress. William Demarest appears for a few seconds as a determined detective. Best of all is Arthur Treacher, wonderful as Brown's impeccable new valet.

Movie mavens will recognize sour faced Clarence Wilson as a train station clerk.