Crooner

There is nothing really remarkable about the story in this one. David Manners plays Ted Taylor, saxophonist in a band that has been having a hard time finding quality gigs. Anne Dvorak plays Ted's girl, Judy Mason. When Ted's band finally gets a spot in a club of some quality, their singer falls ill. The only band member that remotely has a voice is Ted, but unfortunately he doesn't have much volume. When he gets up to sing, nobody can hear him.As a joke, a passing drunk (Guy Kibbee) gives him a megaphone and he becomes a sensation, particularly with the ladies.

Time passes, and Ted becomes a big star with his ego growing to match. The best parts of the film are the small anecdotes and scenes that accompany the main story, which is actually quite mundane. For example, after Ted's fame increases, he's singing at a club where he runs into the original drunk that gave him the megaphone. Kibbee yells up to Ted that he's the guy who gave him the megaphone that first night where he is promptly rebuffed by a now self-important Ted. Kibbee responds by saying "I'm sorry fella, I would have never have done it if I'd have known that you'd turn out like this". Kibbee seldom had starring vehicles of his own, but his antics sure could spice up a movie.

There's also a humorous scene where Ted stands up to sing and the effect on the nightclub's wash rooms is shown. In the ladies' room the place empties as the girls rush out to see Ted sing, while the mens' room becomes full of the ladies' neglected and ignored dates. At a nearby table a willowish wisp of a man says that he thinks Ted is divine, while his husky female companion barks back that she thinks he's lousy.

There is also the legend that the part of Ted was slated to be Dick Powell's first film role, and it's interesting to think how he might have done the role differently, though I think David Manners does a wonderful job with what was obviously meant to be one of Warners' B film efforts.

It is surprising that so few motion pictures dramatized the phenomenon of the crooner during the heyday of that singing style. Aside from a handful of features with plots revolving around actual "crooners" like Bing Crosby and Rudy Vallee, the cultural phenomenon of "crooning" - the quiet, intimate delivery of songs by male vocalists which swept America along with the rise of radio as a mass medium - was seldom explored. CROONER is a modest, low-budget, sketchy treatment of this subject. As put together, the story could have, with minor adjustments, just as well have been about a banker, an author or an acrobat or any other professional on the rise, but it happens to locate itself in the popular music world. It says very little of substance regarding the evolution of popular song but does make a few points about the trends of its time.

The plain vanilla David Manners gives an occasionally effective performance in the title role as the saxophone playing leader of a mediocre college dance band who discovers he has a marketable singing voice when he reluctantly subs for the band's ailing vocalist. With the help of his girlfriend (Ann Dvorak) and a publicist she knows (Ken Murray) he achieves overnight fame which over-inflates his ego, creating a crisis which is resolved by film's end. We are repeatedly reminded that his singing appeals to women and offends men, a more or less accurate reflection of the general attitudes towards sotto voce male singers of the period. This state of affairs is crystallized in an amusingly twisted way in a brief sequence during a nightclub performance: an effeminate man praises the crooner ("I think he's superb!") after which his companion, a masculine woman, declares "He's lousy!" The Ken Murray character illustrates how music industry professionals regarded "crooning": he tells Manners to his face that he dislikes his singing, but if the female public buys it he is willing to promote it for 25 percent.

Manners gets interesting after fame goes to his head and he starts behaving in an effete, pretentious manner, which suits his talents. He should have played more haughty, shallow parts, but he was usually cast as a romantic lead and made only a faint impression, and his film career evaporated too soon.

Warner Bros. squeezes every last drop out of a mere two songs: "Sweethearts Forever" by Cliff Friend and Irving Caesar and "Three's a Crowd" by Harry Warren, Irving Kahal and Al Dubin. Inoffensive as they may be, they are repeated excessively. Manners does all of his "singing" into a megaphone, relieving him of the chore of lip-synching to the dubbed voice of Donald Novis. Earlier in the story when Manners is called upon to pretend he is playing a sax, his cheeks don't even move. Director Lloyd Bacon, whose 42nd Street made film history shortly after this effort, handles talking-head dialogue scenes well enough, but his staging of a mini-riot lacks real vigor.

Crooner (1932)

** 1/2 (out of 4)

David Manners (DRACULA) gets his first top-billing in this familiar rags to riches back to rags tale. In the film he plays Ted Taylor, a mediocre singer who rises to fame after a gag with a microphone makes him a hot pick. Soon the fame and money goes to Ted's head and he begins to hurt those around him including his girlfriend (Ann Dvorak). If you've ever seen this type of drama before then I'm sure you're not going to find anything original here as it follows the familiar story that we've seen countless times. What does make the film work is some nice music and some good performances by the cast. This is a Warner "B" picture that doesn't have the greatest screenplay but it does its job, which is to keep you entertained for 64-minutes. Manners, an underrated actor in my opinion, turns in a nice performance as the young punk who quickly gets in over his head. I thought Manners did a pretty good job with the more dramatic moments but he also managed to be quite funny when needed to be. Dvorak is also very good in her role and Ken Murray and J. Carrol Naish add fine support as the agent and club owner. The cinematography by Robert Kurrle is also pretty impressive for such a low budget film and he seems to enjoy swooping the camera in on the intended target and this really mixes quite well with the style of music being played. Those who aren't really fans of "B" pictures probably won't find anything here for them but if you like short, to the point films then this one here isn't too bad.

I'd looked forward to this Warners B as a rare chance to see the underappreciated David Manners in a leading role. As a struggling bandleader who discovers he has a voice and becomes a star, he's fine. But the character is such a jerk. Teddy, aided by a PR man (Ken Murray, who had a long career exhibiting home movies of Hollywood stars, but not much of one as an actor, and this shows why), who lusts after Teddy's girlfriend (Ann Dvorak, always welcome but doing nothing surprising here), soon is vain, demanding, unfaithful, greedy, and unreasonable with his bandmates. Nothing in the backstory indicates why this would happen. It's trite, and so is his comeuppance, as he suffers a PR disaster and returns to his saxophone. Even at 65 minutes it feels padded, with too many renditions of the two same old songs, and it feels like it's shaking a finger at us: Stay nice when you get famous, don't let this happen to you.

Crooner is the story of a bandleader who when the band singer is AWOL does his vocals and with megaphone that a drunk hands him. He becomes an overnight sensation and then let's it all go to his head.

David Manners plays our Crooner and the story is based quite obviously on Rudy Vallee. In fact Manners was a little too close to the real Vallee who probably considered suing.

I think it was a smart move to not have a singer in the part. You might wonder why he didn't have staying power like a Crosby or a Vallee. There are so many out there that are forgotten today who did have their brief moment of glory.

Manners gets good support from the two women in his life girlfriend Ann Dvorak and society girl Claire Dodd who picks up Manners because he was the flavor of that month. Also featured here are Ken Murray as an agent and J. Carrol Naish as a club owner.

Crooner is a quaint piece of depression era nostalgia.