The Royal Family of Broadway

THE ROYAL FAMILY OF Broadway is a fascinating snapshot of movie history. The worthy Edna Ferber and George S. Kaufman stage play retains its crackling dialogue but is presented in a stilted, amateurish film. After the sound era was ushered in with the blast of THE JAZZ SINGER, the studios dumped many of their writers in the rush to hire playwrights who could write dialogue. Yet, while the Ferber and Kaufman play, adapted for the screen by Herman Mankiewicz, is sturdy and fun, the film seems to have been made right after THE GREAT TRAIN ROBBERY.

This is interesting. After the sublime beauty and sophisticated techniques of silent films such as SUNRISE, THE CROWD, THE BIG PARADE, even TOL'ABLE David ten years earlier, the medium seems thrust backwards as the filmmakers grapple with sound. Shots are poorly framed, some out of focus; scenes are static with few camera angels as they play out, often in one wide shot. This was George Cukor's third film, still paired as a co-director, but Rouben Mamoulian has already made an inventive and dazzling musical, APPLAUSE, as his first film, and Lubitsch has already demonstrated all one would need to see in how to put together a snappy sound comedy with THE LOVE PARADE.

But this should not deter anyone from seeing THE ROYAL FAMILY, this farcical spoof of the theatrical Barrymore family trying to manage their professional and personal lives. The play still works like a charm and the actors deliver gloriously. Though the great stage actress, Ina Claire, never had much success on film, one wonders why. The movies are the worse for it as she is a very funny and enjoyable comedienne playing the diva torn between her love of adulation and guilt for not settling down. Frederic March displays a flair for comedy, in the John Barrymore role, that I am hard pressed to think he ever equaled. (DESIGN FOR LIVING? NOTHING SACRED? Not quite.) You've rarely been served this much ham, but it is a delectable treat.

All in all, THE ROYAL FAMILY OF Broadway is a very enjoyable comedy and a fascinating look at the movies learning to walk again after the freight train of sound has pulled into the station.

Well the Print I watched this motion picture was scratchy and a little bit blurry I could barley hear most of the actors talk at time but I and persevered continue watching the film. While I have admiration for early talkies this film was intriguing when it came to film history I watched solely on it portraying the Barrymore family. Ina Claire and Fredric march make the movie entreating as it may seem slow at times. Fredric solely steals the show and the film becomes more fast paced and is no wonder he was nominated during the 4th academy awards in 1931. While Not a spoiler I was taken back from the first few minutes of the film of a piano reciting "Sobre las olas" a mexican piece.

"The Royal Family of Broadway" (Paramount, 1930), directed by Cyril Gardner and George Cukor, is a screen adaptation based on the popular 1927 play "The Royal Family" by George S. Kaufman and Edna Ferber. Like so many films from the early talking period with similar titles as "The Gold Diggers of Broadway" (Warners, 1929), "The Shannons of Broadway" (Universal, 1929) or "Lord Byron of Broadway" (MGM, 1930), this extended title is not a musical nor of British royalty of the American stage, but a comedy-drama about an theatrical acting family often classified as one thinly disguised version of the Barrymore (Ethel and John). Though not essentially a biography of any of the Barrymores, it's a fictional narrative of the three generations of the Cavendish acting family of Broadway and how their family tradition has been disrupting their personal lives.

The story begins as Julia Cavendish (Ina Claire), star of ROMERO AND JULIET, leaves the theater at the end of another performance, returning home with her mother, Fanny (Henrietta Crosman), in their limousine driving down Broadway bound for home. Along the way, Fanny notices the movie marque bearing her son's name, Anthony Cavendish, starring in "MAN AGAINST THE GODS," in what she describes as "All talking, all color, ALL terrible." As the narrative progresses through its plot and character development, where it is rumored that Julia plans to retire from the theater and have her daughter, Gwen (Mary Brian) take her place, Julia, having acted most of her life, feels she would be restless away from the theater and her actor friends. Later that evening, she receives a telephone call from Gilbert Marshall (Frank Conroy), a millionaire bachelor and old friend arriving from South America, hoping he could interest her in leaving the theater and become his wife. Gwen, however, wants to break family tradition by marrying Perry Stewart (Charles Starrett), a young businessman, but finds herself pitted against family tradition and true love. As for Anthony (Fredric March), "The Great Lover" of the talking screen, having secretly arrived from Hollywood, also wants to give up acting for a trip to Europe. Situations occur when Fanny is unable to perform on stage, leading to the play for which she is appearing to either close or have a family member sacrifice his or her happiness to fulfill theater tradition of "the show must go on." Others appearing in the cast include: Arnold Korff (Oscar Wolff); Elsie Edmond (Della, the Maid); and Herschel Mayall (The Doctor).  

As with most 1929/30 film releases being talky,stiff with some or no underscoring as well as occasional inter-titles in the silent film tradition, "The Royal Family of Broadway" is no exception, yet succeeds remarkably well through its camera treatment and style in some of its scenes. The most notable one in the entire production turns out to be where Fredric March's character shows no modesty or shame as he slowly disrobes one piece of clothing at a time while talking to his family and walking up the stairs at the same time. The camera captures every movement until his last peace of clothing is removed before entering the shower to wash up in front of both his sister and mother after following him to the bathroom resuming their discussions.

Though Ina Claire's name heads the cast and is the sole figure throughout its 82 minutes, it's Fredric March's performance in general that is singled out with his John Barrymore-type performance that was good enough to earn him an Academy Award nomination as Best Actor. March's character, first appearing 20 minutes into the story, disguised heavily in fur coat, hat and sunglasses, is quite eccentric to say the least, especially when using eye-brow gestures and speech mannerisms in the John Barrymore style. March's swashbuckling on the stairwell comes across more like March doing a Douglas Fairbanks than that of the great profile. Though March's role is secondary, he makes every moment count in his favor. Henrietta Crosman, who gives more of an middle-aged Ethel Barrymore performance than the youthful blonde Ina Claire, also stands-out in her talkie film debut. Yet in spite of Claire's youthful presence, she plays a mother of a grown daughter (Mary Brian), something most actresses of her age and time-frame would refuse to do. It's also worth noting Charles Starrett, who would achieve fame years later as a cowboy actor in matinée westerns, in one of his earliest movie roles, along with Frank Conroy giving a sincere performance as a businessman who loves Julia but not sure whether or not he can ever have her as part of his life to share in South America.

Though March did appear in the stage version to "The Royal Family" and years later in the television 1958 retelling opposite Claudette Colbert and Helen Hayes, the 1930 screen adaptation should be of historical significance as one of many Broadway plays, whether it be musical or not, recaptured on the motion picture screen. Other than rare television revivals, notably on public television's WNET, Channel 13, in New York City during the early 1980s, "The Royal Family of Broadway" did become one of several movie titles selected as part of its film preservation society on American Movie Classics cable channel in 1993. After its final broadcast in 1994, "The Royal Family of Broadway" has become and remains very much now an underrated gem from the early age of talkies. (***1/2)

Fredric March may have gotten the Oscar nom playing Tony, the most histrionic of the fabulously emotive Cavendish family of Broadway stars, but Ina Clair should have copped the statuette. The film's pedigree is impeccable: Cukor directing, a dynamic screenplay from Herman Mankiewicz from the play by Kaufman and Ferber, running the gamut from hilarious to deeply touching. Ina Clair, who was only in 12 films and whom I don't know, has the funniest lines and the beautifully sad and triumphant final shot. I don't know what formats this fine film is in, but it is posted on YouTube.

The Barrymore lineage has been one of the most documented theatrical families in the history of acting. The performing dynasty dates back to its patriarch, Maurice Barrymore, a London stage actor before moving to New York City in 1875, and stretches to present day Drew Barrymore, who first gained notice at seven for her role in 1982's "E. T." Several books have been written about this talented group, including James Kotsilibas-Davis' 1982 'Barrymores Royal Family in Hollywood." Cinema has also paid homage to the Barrymores, leading off with the first talkie that presents a thinly-veiled portrait of them in December 1930's "The Royal Family of Broadway."

When the New York City play which the Paramount Pictures movie was based on first came out, Ethel Barrymore was incensed by it. 'The Royal Family' stage drama, co-written by Edna Ferber and George F. Kaufmann, became an instant hit with the Broadway crowd, running 345 performances at the Selwyn Theater beginning in December 1927. Compounding Ethel's angst was when she saw the Herman Mankiewicz-scripted movie. Both the play and the movie focuses on a fictional acting family, the Cavendishes. Its matron, Fanny Cavendish (Henrietta Crosman), loves the stage and never wants to retire. Her daughter, Julie (Ina Claire), never enamored with acting, wants to get out of the profession and is anxious to marry a South American millionaire. Julie is clearly Ethel. Her brother, Tony (Fredric March), is based on John, who is quite a rebel-rouser loving life to the fullest and is equally talented on stage and in film. Most of the actors in the stage version appeared in the 1930 film.

Ethel hired a high-power lawyer to sue the producers of both the play and the movie. Once reviewing the screenplay, her lawyer said her brother, John, had more of a case for libel than she did. John saw the play with March playing his character. After the performance, Barrymore went backstage and "walked into March's dressing room with a glowering look," according to inside sources. "Then suddenly relaxed, he waxed charming and agreeable, and congratulated the jittery actors on a fine performance." So ended Ethel's thoughts of lawsuits.

March earned an Academy Award nomination for Best Actor. The actor had played the role of Tony Cavendish on the stage, film and on television. March claimed it was one of his favorite roles, mainly because it was spoofing another person, which didn't stress him to interpret a character where he was forced shape it to his own style.

"The Royal Family of Broadway" also gave future director George Cukor the opportunity to become familiar with film production. Shot at the Paramount Studios in Astoria, Queens, New York, he designed the stage settings and blocked the actors before director Cyril Gardner filmed the scenes. Cukor's roots on the stage began in 1920 as a manager and he worked his way up to directing his first play, 'The Great Gadsby,' on Broadway in 1926. He signed with Paramount Pictures in 1929 on the basis of his stage work, and was instrumental in making the movie "The Royal Family of Broadway' a critically acclaimed film, although not totally embraced by the public. The members of the American Film Institute regard it as a great comedy, nominating the movie as one of 500 feature films considered for the Top 100 Funniest American Movies.