Blondie of the Follies

The hardscrabble tenement streets shriek of Warner Brothers (though the movie moves from them soon enough), and the slanginess and very pre-Code suggestiveness of pretty young things kept in lavish Deco apartments is rather hard-boiled for the Ars Gratia Artis studio, too. And it's a strange brew, halfway between enjoyable, rude comedy and sentimental soap opera, with the likable Davies and the hard-staring Dove slugging it out for the affections of Robert Montgomery in his leading-man-opposite-MGM-leading-lady days. He's a drunk and a playboy, but also, we are led to believe, a decent and sacrificing guy. The friendship between Davies and Dove is convincing and touching (though it takes some unconvincingly abrupt turns), and Anita Loos could write girl-talk dialog with the best of them. There are also a couple of father-daughter scenes between Davies and the always wonderful James Gleason that will just break your heart. But the movie does keep skirting credibility (could the exquisite Davies and Zasu Pitts really spring from the same gene pool?), and Davies' Act Three laugh-clown-laugh, smile-through-tears demeanor is close to self-parody. Most jarring of all is dragging in Jimmy Durante for five minutes of hideously unfunny special material, including a strained sendup of "Grand Hotel" (also directed by Edmund Goulding) that serves mainly to remind one of Davies' limitations. A fun flick all in all, but when it came to hard-boiled dames and backstage melo, MGM wasn't really at the forefront.

Marion Davies was a very, very unusual actress. Many folks haven't taken her seriously because it has been common knowledge that her lover, William Randolph Hearst, basically bought her a film career. Whether or not she would have become a star without him is a great unknown. However, at least the sorts of movies she made would have been very, very different had he not personally bought her way into Hollywood. In comedies, Marion was great--and her film "Show People" is among the greatest silent comedies ever. However, in the 1930s, Hearst insisted in financing her in dramas--the sort of film where Marion simply was out of her element. While "Blondie of the Follies" isn't a terrible film, the weakest element is probably Marion--because it was not the sort of light comedy at which she excelled. And, in the film's serious moments, she really wasn't up to the task.

The film is, believe it or not, sort of like a cleaned up version of "Showgirls"! It begins with Lurleen (Billie Dove) leaving her working class neighborhood to become a burlesque star--a rather shocking sort of career back in the day. However, he friend Blondie (Davies) remains her friend and idolizes Lurleen. Now this is a weak point in the plot, as throughout the film, Lurleen is a nasty piece of work--and you wonder almost from the beginning how much Blondie will take from Lurleen until she realizes her friend is a jerk. This nasty side of Lurleen rears its ugly head when a rich 'friend'* of Lurleen, Larry (Robert Montgomery), becomes infatuated with Blondie. Lurleen makes it clear that Larry is off limits and like a good friend, Blondie avoids him throughout the film. This is THE major theme of the film. And, when Blondie herself becomes a big burlesque star, she is torn because although beloved and successful, she still is without her Larry. There is plenty more--and you should see the film, since it is enjoyable and pleasant.

The general plot isn't bad and through much of the film, Marion actually carries it off well. However, and this is a serious problem, towards the end, her acting is rather bad. She is SUPPOSED to be a woman who is behaving like she is happy when she is dying inside--but she comes off poorly because of her delivery of her lines. She rushes through the scenes and seemed out of her element. To put it bluntly, she just isn't convincing. These serious moments simply didn't work. Perhaps the director should have re-shot the scenes or given her better direction. Or, perhaps Hearst's meddling is responsible and the director actually didn't have control of the production (a common problem in her later films). All I know is that I cringed in the scenes following Blondie's big accident late in the film.

Regardless of its shortcomings, the film is entertaining and worth seeing. It's just sad that she didn't make more comedies--they were exceptional.

*The morality of "Blondie of the Follies" was very much what you'd find in many Pre-Code films. While it's never explicitly stated, it seems pretty obvious that Lurleen was a paid mistress or high-priced prostitute. So, when Blondie's family is upset with her choosing the stage, this might be a lot of the reason for their reaction.

Marion Davies stars in this poignant MGM drama, directed by Edmund Goulding, which features excellent performances but is relentlessly downbeat. Writers Frances Marion & Anita Loos, two of the very best, really drag their characters through the Slough of Despond, piling emotional outburst upon painful heartache almost without relief.

The writers also give Miss Davies a most curious scenario: that of a lively, vivacious showgirl, not very good at holding her liquor, who, as the mistress of a wealthy, older tycoon, is settled into a life of luxury. Sound familiar? As the girlfriend of William Randolph Hearst, the nation's most powerful media mogul, and the chatelaine of San Simeon, America's most lavish private estate, Davies must have noted, and been amused by, the script's odd similarities to her own life.

Billie Dove gives a fine performance as Davies' oldest friend and bitterest rival, an insecure woman consumed by jealousy. Suave Robert Montgomery plays the object of both ladies' affections and he is both polished and sophisticated. James Gleason steals a few scenes as Davies' loving, work-weakened father.

The incomparable ZaSu Pitts shines in the small role of Davies' no-nonsense older sister. Sidney Toler (a future Charlie Chan) is her affable, lazy husband. Sinister Douglass Dumbrille plays a lecherous tycoon who likes blondes.

Jimmy Durante appears very late in the film and then only in one scene, essentially playing himself as a guest at a Davies party. His lowbrow humor is a wonderful tension reliever, especially during the few moments he and Davies spoof John Barrymore & Garbo in GRAND HOTEL, which Goulding had directed earlier that same year. It's a shame Durante doesn't get to interact with Miss Pitts, but just having him around for five minutes is a real spirit lifter.

Movie mavens will recognize Charles Williams & Billy Gilbert, both uncredited, as the sleazy producers who entice Miss Dove in the film's opening scene.

One of Marion Davies' best performances in this snappy comedy/drama. Davies plays Blondie, a good girl who becomes a success in the follies despite her best friend's effort. Billie Dove (a big silent star in her best talkie role) is excellent as the friend. Robert Montgomery, Zasu Pitts, Sidney Toler, Douglas Dumbrille, and Jimmy Durante co-star. But this is Davies's film from beginning to end. She is totally wonderful, funny, touching, and gorgeous. Again and again I state that Marion Davies was major talent, a great star, and one of Hollywood's great beauties. She's also one of the finest comic actresses EVER! Watch this film and you'll see that Davies was an A-list star, one who deserves to be rediscovered. Blondie of the Follies may be a minor film, but it's well done, entertaining, and boasts terrific performances by Marion Davies and Billie Dove.

The title leads you to expect a breezy showbiz romp, but it actually segues unpredictably back & forth throughout between comedy and drama. The production is lavishly mounted - if in places disjointed - and Marion Davies is backed by a top supporting cast, while throughout proving herself entirely worthy of having such an elaborate edifice constructed around her. Once again we see Marion in drag, Marion the mimic (parodying Garbo in director Edmund Goulding's previous film 'Grand Hotel') and also Marion nimbly nipping about on crutches.

One wonders what those in the know would have then made of Marion's creepy sugar daddy in the film, played by Douglass Dumbrille, forever shrugging his shoulders and remarking "I like blondes", as he unctuously makes his move on her.