Hooray for Love

Brash college man Gene Raymond is a would-be producer of musical shows. Ann Sothern sings in a nightclub. Thurston Hall is Sothern's father, another would-be producer looking for some money to put on his show, Hooray for Love, which will star his daughter. Raymond manages to borrow a bunch of money to finance the show, and the trio set about putting on an extravaganza.

Along the way, the show is off-again, on-again. The producers may be wanted by the police. Raymond gets to be great pals with Sothern and they exchange silly dialog. ("If this hadn't have happened, I'd have never discovered what a sap I am, would I?" "Oh yes, you would. I would have told you.")

The action slows way down for a series of musical numbers shown in rehearsal. A ballet bit with the famous Maria Gambarelli is impressive but feels out of a place. It's followed by a comic relief song delivered by Pert Kelton while her manager Etienne Girardot looks on fondly and musical director Lionel Stander makes rude comments. Sadly, it's just not too funny.

Later on, we do get a real musical highlight called "Living in a Great Big Way," with Bill Robinson, Fats Waller, and an almost forgotten dancer named Jeni Le Gon who is sensational. Again, it has nothing to do with the story but it sure is fun.

The plot, such as it is, finally reaches its conclusion and provides the expected answers to questions like, Will the show go on? And Will the stars get together? Overall, it's not great but has some good moments.

'Hooray for Love' is the great title of this goodish B-musical (and of one poor song near the closing). The best assets of this so-so show are its three African-American performers: the great Fats Waller, the great Bill Robinson, and the very talented (and pretty) dancer Jeni Le Gon. In recent years, Ms Le Gon's career has received much attention in retrospective: oddly, she received far too little attention (and far too few film appearances) during her prime years as a dancer. This can't be entirely down to racism, as other black performers were working steadily during that period.

I've never understood why Bill Robinson was nicknamed Bojangles. Some other tap dancers (such as Buck and Bubbles) wore double-plate tap shoes which created a jangling syncopated sound. But Robinson always performed in single-plate tap shoes which gave a clear crisp tone to his expert footwork. He's in fine form here, doing some of the best dancing of his career without the need to simplify his steps so that some lesser partner (such as Shirley Temple) can keep up with him. Jeni Le Gon shows her own expertise, easily keeping step with Robinson. Le Gon appears briefly in male garb, like Eleanor Powell.

As usual for films of Hollywood's classic era, there are some treasures in the cast here. Pert Kelton is less annoying than usual, speaking in a normal voice (for once). She performs a dance number which is intentionally inept, to good effect. Lionel Stander is good here, but would have been better if he weren't lumbered with an accent more appropriate for Gregory Ratoff or Leonid Kinskey. But the real find is Thurston Hall. A prolific character actor who appeared in literally hundreds of films, Hall usually played blustering millionaires. Here, he plays a Vitamin Flintheart-style "ack-torr" of the old school, and he practically steals the movie. Why didn't Hall get more chances like this? Georgia Caine, as a Margaret Dumont-style dowager, is excellent here in her scenes with Hall. (I kept waiting for some reference to 'Hall Caine'.)

The plot of this musical is nothing much. I was surprised to learn that Bradford Ropes worked on the dialogue of this movie. Ropes, a former chorus boy and stage actor, wrote the backstage novel that inspired the film '42nd Street': he was an expert at realistic showbiz dialogue and cynical wisecracks. I can't imagine what he contributed to this lacklustre movie. At least one cliché was avoided here: for once, we see a chanteuse (Ann Sothern) who has to clean up her own dressing room, instead of relying on a chucklin' black maidservant.

One of the delights of films from Hollywood's studio era is the frequent tendency for some obscure actor to be given a piece of business or a line of dialogue which makes him stand out. Here, an actor named Monte Vandergrift (who?) has precisely one line of dialogue ... but his delivery earns him one of the biggest laughs in the movie.

The songs? Forget it. They're all pretty bad, but Waller, Robinson and Le Gon transcend their weak material through sheer force of talent. Also, we get a chance to study Fats Waller's fingerwork on the keyboard ... but not while he's playing his trademark 'stride' piano style. There are minor pleasures throughout 'Hooray for Love', and I'll rate this movie 5 out of 10.

"Hooray for Love" is a film where most of it is very ordinary and familiar. But there's also a part that is pretty amazing and it is well worth watching the movie just to see these performances.

Douglas (Gene Raymond) is a struggling performer and Broadway wannabe. He tries working at the bottom for a local radio station and is soon fired. Shortly after, he meets a bombastic braggard. 'Commodore' Thatcher (Thurston Hall) claims to know people and can get Douglas in touch with some Broadway producers. In reality, Thatcher is a schemer and he mostly is interested in Douglas' money! The Commodore's daughter, Patricia (Ann Sothern) is a singer for this production....and early on there is a meet cute with Douglas and she can't stand him...at first. The rest of the film is about the ups and downs of putting on this show despite the odds.

If all this sounds familiar, well...it is! I have seen many films like it...including various musicals from Warner Brothers (such as "42nd Street") and the MGM Rooney-Garland films. But what makes it stand out are the cameos by Bill 'Bojangles' Robinson (one of the great tap dancers of his era), Jeni Le Gon (a great tap dancer and singer) and Fats Waller (one of the finest pianists...and quite the singer). Seeing the film just for their performances wouldn't be a bad thing! Overall, I give this one a 7....the story is okay and the dancing and music is tops.

Douglas Tyler (Gene Raymond) pursues Patricia Thatcher (Ann Sothern) as both a performing partner and girlfriend. She's not having any of it. He struggles to get anywhere in the business of show. The Commodore talks him into investing in a show after he realizes that it's Pat's father. The show rehersal goes horribly with the bad singing of Trixie Chummy (Pert Kelton). Doug mortgaged his family home and is in danger of losing it.

I love Pert Kelton's comedic section and Bill Robinson's dancing. I really like the first half of the story. I'm less in love with the second half. It's nevertheless pretty good.

Gene Raymond graduates college and heads to the Big Apple to make a smash on Broadway. It's a lot slower than he expected. Then he meets up with songbird Ann Sothern, her deadbeat dad Thurston Hall, who get him to put his last buck in a stage show.

It's 1935, and across the lot Astaire, Rogers and Sandrich were redefining the musical, a book musical. This one has a book, which is ok, but the musical numbers are specialty acts.... but what specialties! Pert Kelton has a very funny routine as a ridiculous singer, Maria Gambarrelli, soon of the NYC Met, offers some ballet. The standout number has Bill Robinson and Jeni Le Gon singing and dancing to Dorothy Fields' and Jimmy McHugh's "I'm Living in a Great Big Way" while Fats Waller plays the piano. How are you going to do better than that?