Applause

I first half-watched this film on DVD while I was surfing the internet, never thinking it would be that good. Wrong. The next night I watched it again, no distractions. Helen Morgan drew me in with her soulful acting, Mamoulian had the camera man sweep in and out to highlight certain scenes and it just kept pulling me in. I watch a lot of film, mostly early film and this drama ranks up there with the best Mother-Daughter tragedies in the STELLA DALLAS style. But it is an original that has only been poorly copied since. I recommend you give this film your time and you too will be touched and amazed at the power of a very early talky. Like two other great films from 1929, LOVE PARADE & COCONUTS prove, some early sounds films are great not only standing the test of time… but they are great films for ALL TIME!

"Applause" (1929), directed by Rouben Mamoulian (who did the great "Dr. Jekyll and Mr. Hyde"), is a corny but surprisingly effective musical about Kitty Darling, a burlesque showgirl who sends her young daughter April off to a convent to be raised properly. Now that April's a fully blossomed teenager, Kitty's disreputable boyfriend Hitch lusts after the possibility of getting her into the burlesque business and demands that Kitty stop sending money to the convent. April comes back to New York City and is shocked to see where her mother works. However she cannot deny that she loves her mother or that her mother's burlesque money supported her in the convent. April struggles against Hitch's wishes and finally gives in and becomes a showgirl. One night she meets a nice sailor on leave named Tony. They fall in love and Tony proposes marriage and a nice life on a farm back in Wisconsin. At the same time, Kitty loses her job--she's just too old to perform anymore. What will happen? Will it all turn out for the good in the end? "Applause" is important in that it is one of the first great American musicals.

Interestingly, I've always been told that "Gone with the Wind" was the taboo-breaking picture that first transgressed the profanity barrier, but our villain Hitch says "damn" twice in this film, not to mention the surprisingly overt sexuality of the burlesque house.

Applause is without a doubt the best early talkie I have ever seen. The inventive camera angles, the location shots (the Brooklyn Bridge!), the more realistic acting style, and even some pre-Busby Berkeley overhead shots of dancing girls put this film in the 'ahead-of-its-time' league.

Technical achievements aside, I recommend this film to anyone interested in early 1930s culture, backstage drama, hard-boiled slang, or New York City circa 1929 -- it's a great slice of history. Just seeing the Gothic Woolworth building when it was still the tallest structure in the world or hearing Tony's reaction to meeting a girl named April (an unusual name at the time) is a priceless history lesson in itself.

Even if you aren't interested in any of those elements, it's a touching, timeless, well-told story ... and it's available now on DVD. What more could you want?

I know of two films that, comparatively speaking always, rival Kane (before Kane) in their bevy of diverse film technique, both French. Now a third one and the first in sound. Similar to Welles, Mamoulian started out in the theater and moved to film, and like him, an innovator, loved the camera, visual space and movement, and fought with studios on and off throughout his uneven career.

No comparison really. Welles was a narrative mastermind next to his other qualities as a showman. Still, an interesting guy I will be seeing more from—already have Love Me Tonight, a light operetta in the Lubitsch mode.

The plot here is shameless melodrama, a burlesque mother is made by her abusive boyfriend to pull her daughter from boarding school and into the show biz to start making money. The boyfriend is the kind of lecherous villain that audiences back when they thought the actor was his character, would probably boo his every on-screen appearance. In the silent format, the effect would have been somewhat mitigated by the presence of intertitles, and not being able to hear the constant sobs and wails of pathetic anguish of the mother—theatrical voicing on top of theatrical acting.

But no matter. Watch a few films of the era and get back to this, start with The Jazz Singer.

It's a breath of fresh air. The staging is fluid; the places some of them real, explored with a youthful, modern gaze; the camera expressive, cultivating visual space as of equal importance to the story than as simple conveyance for it. I would describe it, relative to its time, as New Wave—think of Breathless by contrast to a late 50's run-of-the-mill crime flick.

The scene of two youthful lovers staring out to sea on top of I think the Empire State Building takes the breath away. Or the two of them wandering by sunup to Brooklyn Bridge—simple poetry, a pan from wrought iron framework to simmering horizon, still modern.

Ultimately, it exhilarates. You dwell long enough in the stringent melodrama and overall depressing feel of the burlesque world, so these free flows, when they come, sweep you out to sea and floating freedom.

It's a smart bit of dynamics. You venture past the limits of the adult stage with these youth (she a dancer, he a sailor), it's got to be you. When they part in the subway, and she looks with a kind of dumb amazement at the pieces of gum in her palm, it's a heartbreaking moment.

Well, it wasn't going to fly. It opened with three weeks to go for Black Tuesday.

Mamoulian's brilliance has been noted here and elsewhere - and properly so. But it should not obscure the poignant, sensitive and altogether touching performance of Helen Morgan. Best known for her singing, Morgan revealed in a number of films that she was a better actress than she was a singer. Here, as in "Show Boat" and "Go Into Your Dance," among others, she plays a woman whom life has mishandled: not quite reputable, doing what she must to hold her life together, seemingly tough on the outside but vulnerable to the wrong kind of man. If her best performances were of a type, she wasn't the first performer to achieve success by doing one thing well.

While it's doubtful if anyone would remember this picture if not for Mamoulian's creativity, Helen Morgan's marvelous contribution should not be overlooked.