Make Me a Star

Once again TCM comes to the rescue of a forgotten gem. I agree with the posters here who comment on the interesting mix of pathos and comedy in this film. The film is truly touching in a way that could not come across today. Why is that? I think that nowadays it is an either-or : either you are a comedy or you are going for pathos. The trick of balancing both seems to be lost.

There is additional pleasure in seeing Paramount stars of the times in walk-ons in the scenes on the lot or at the disastrous/successful preview. Look quickly and you can see Gary Cooper, Claudette Colbert, Tallulah Bankhead among others.

Joan Blondell is excellent in her specialty, playing the tough cookie with a huge sentimental streak. I found the sweetness of the comedy in the scenes back home in Simsbury absolutely refreshing. Not a touch of cynicism even though these characters are so clearly the objects of humor.

Catch this when you can. I just checked the Turner schedule for the next three months and it doesn't seem to be on.

This movie is indescribably touching. Stuart Erwin is poignant as the naif who comes to Hollwywood to be a star; but he never overdoes it. Joan Blondell, always a reat, is at her absolute best here, as a girl who's been around but is touched by his innocent.

This movie is indescribably touching. Stuart Erwin is poignant as the naif who comes to Hollywood to be a star; but he never overdoes it. Joan Blondell, always a treat, is at her absolute best here, as a girl who's been around but is touched by his innocent.

The character roles are well cast. The writing carries impeccable names as its creators.

When it becomes comic, even though we are sad for Erwin's character because he is being goofed on, the scenes are absolutely hilarious. The shot of him riding a horse on a tightrope alone is worth watching over and over.

Preston Sturges mixed comedy and seriousness in the later, far better known (and wonderful) "Sullivan's Travels." That is a great movie. Perhaps, as this was made early in the days of talking pictures, it isn't great -- though so was "Scarface," and that I would call great.

Regardless, it is a beautiful movie, to be cherished and shared and watched over and over.

This one is slow to get going, as a small town guy who wants to be a movie star (Stuart Erwin) doesn't have any charisma, and his attempts at a couple of pratfalls are weak. Early on it seemed like this would be a pale reflection of a film that came out a few months later in 1932, 'Movie Crazy', starring Harold Lloyd. However, where that film goes for madcap laughs, this one goes for pathos, and it's in Erwin's bumbling but sincere character that we find an awkward, earnest charm. Amidst a few touching scenes in this guy's story, it's also got some behind the scenes looks at Hollywood sets, several cameo appearances from stars of the day, and a small critique of the industry.

Three well-executed and touching scenes stand out:

• After an actress (Joan Blondell) takes pity on him and gets him a part as an extra, we see him get a single line to deliver, which he nervously flubs a few times before being asked to leave by the director. He does the line one more time and nails it, but while triumphantly looking around, sees the stage has emptied for lunch.

• In desperation he begins sleeping on the lot in the hope he'll get another break, and disheveled and broke, he digs through the trash to try to find food. Blondell finds him this way, and treats him with great kindness and dignity, getting him breakfast. Her looks of empathy reminded me of her 'My Forgotten Man' performance in 'Gold Diggers of 1933.' Being down and out and suffering hunger was a theme in Depression era films, and filmgoers were likely moved by Erwin's plight at a very basic level. He plays this scene very well too, with the perfect touch of humility, and little things like his hands shaking while he lifts his coffee cup.

• Fast forwarding a bit, after getting the starring role in a movie he believes is a classic Western, he attends the preview, only to find he's been duped and the movie is a farce. He's been set up to look like a fool not only by the director, but by Blondell. The scene in the theater where the film cuts to shots of audience members guffawing and then back to him squirming in discomfort is brilliant - and it should remind modern audiences of James Franco in 'The Disaster Artist', which perhaps owes a debt to it. We see several scenes on the big screen after having seen them on the set earlier, including a 'blue screen' scene on a horse, and it's really nice work.

If you watch closely, you'll also see many stars, including Maurice Chevalier, Gary Cooper, Claudette Colbert, Tallulah Bankhead, Frederic March, and Sylvia Sidney, adding another bit of interest. The film pokes a little at the phoniness of the industry, epitomized by the cowboy star Erwin idolizes (George Templeton), who isn't such a nice guy in reality. Blondell is charming in her part but Erwin, well, he's almost too damn sincere and milquetoast to really love the film. Its ending is also a bit abrupt. Still, worth seeing, and an interesting little pre-code curio.

"Make me a Star" is a heartrending film, one that superbly demonstrates the sincerity, honesty, and versatility of Stuart Erwin. Although many of the early scenes are farcical and satirize slapstick comedy, specifically the kind directed by Mack Sennett, the movie turns serious when it delves into the boorish behavior of the Hollywood studio system moguls, who prey upon starstruck acting hopefuls. And Stuart Erwin, as one of these unworldly hopefuls, handles both the farce and the drama equally adroitly. The final scene between Erwin and Joan Blondell is heartbreaking. In fact, I was so impressed with the movie that I decided to devote much of one chapter to this remarkable film in my book on Stuart Erwin.

Billed as a comedy about a gormless man who becomes a Hollywood star, this is actually a moving drama about the savageness of the film industry. Stuart Erwin is very fine as the young man, an innocent lost in the wilds of Hollywood. His performance is reminiscent of the performances of Charles Ray in silent films, a winning combination of warmth and naivety. The character wants to be a a serious actor, but his attempts at drama cause only laughter. After describing one such incident Blondell responds to "That must have been funny" with "Only if you find coal-mine explosions funny". Blondell, as a fellow actor, understands Erwin's pain - her performance is also excellent.

Finally Erwin is tricked into making a comedy film - which he believes is a drama. His devastation at the preview, as the crowd roar with laughter around him, will move you to tears.

Sadly the film ends too abruptly without resolving these complex issues. And the stars making "guest appearances" actually just walk through - a shame that something more imaginative wasn't done with them - and Zasu Pitts only has a tiny role (still funny though).

Great to see how early talkies were made - look at the size of the camera with all that casing to mask the noise. Make sure you see this moving "comedy" - most worthwhile. And afterwards see "Show People" (1928) to see how the talkies transformed Hollywood so quickly.