Cuori e motori

Speedway (1929)

** (out of 4)

William Haines' final silent film has him playing the same type of part he did throughout the decade. In the film he plays Bill Whipple, a cocky race car driver who thinks he's the greatest thing in the world. He eventually sells out his best friend (Ernest Torrence) and gets overlooked by a girl (Anita Page) he has his eye on but soon Bill starts to realize that he's not as great as he thought. SPEEDWAY isn't a very memorable film and it's safe to say that the screenwriters simply copied earlier Haines' films as this thing doesn't offer anything original or fresh. If you really want to see Haines in a good role and film it's best to check out TELL IT TO THE MARINES or SPRING FEVER because this one here just doesn't cut it. I think when you mention Haines' name today you're going to find many film buffs who simply hate him and I can understand this. The characters he played were such jerks that it's easy to see why so many people might be turned off but in terms of a performance I thought he was terrific because of how well and easy he made this character seem annoying. It's the characters that are annoying and not Haines' himself so I can't fault his performance. I do think this film goes way too far in terms of that cockiness because even I started to really hate this guy and I couldn't care what happened to him. One example takes place when Haines walks into a restaurant and gets upset because the menu isn't clean. Fine, a bad joke. However, instead of just letting it go this scene continues to play out to the point where it's certainly not funny and you can't help but really start to hate the character because of how he's acting. Haines and Page appeared in a few films together but their chemistry here really isn't where it should be as the romance side of things never comes across. On their own both give fine performances but together there's just no spark. Torrence and Karl Dane are wasted in their supporting roles. The one interesting thing about this otherwise bland movie is that the race at the end was actually shot at the 1929 Indianapolis 500 and featured that events winner Ray Keech doing some work for this picture. It's strange to note that a man was killed during this actual race and that Keech himself would be killed during another race seventeen days later. Being able to see the actual event and how it looked in 1929 was certainly the highlight of the movie and the only real reason to watch this otherwise forgettable picture.

Love & revenge, thrills & spills. A cocky young man. A beautiful young lady. A nasty celebrity racer and a decent old driver with a bad heart. They will all come together for the great Decoration Day Race at the Indianapolis SPEEDWAY

This is a fairly typical William Haines silent comedy. He chases pretty Anita Page throughout, engaging in antics so annoying they'd get him arrested today. Haines' personality is a bit much at times, but he is never anything less than entertaining. He benefits here by much location shooting at the famous Raceway.

The supporting cast is good: Ernest Torrence & Eugenie Besserer are the old driver & his wife who've taken Haines in like a son; Karl Dane is a good-natured, if slow-witted, mechanic; John Miljan is properly repugnant as the bad guy. The ubiquitous Polly Moran scores in her one scene as a frowzy hash house waitress.

Bill Whipple (William Haines) is a fun-loving prankster mechanic working for his father figure and racing star Jim MacDonald. He has a crush on Pat Bannon. He gains good publicity after saving her life and team owner Renny gives him a car to drive in the Indianapolis 500. At the last minute, he gets double-crossed by Renny.

The Whipple character is interesting and he has good character growth. I like his back and forth with Pat although sometimes I want him to be nicer. The planes are mostly fake but the parachuting has an exciting angle. It looks like they shot from a plane looking down on the parachute. It's fun to see the old cars. I love the racing footage but I would like some during the early parts of the movie. There are some crazy crashes. It's probably the real deal. That is enough to worth a watch.

This is a typical William Haines silent film: brash young man makes an ass of himself and lets everyone down. Then he has a "right of passage" in his humiliation and comes back to win the day. No one could play this formula like Haines could, and the formula made him a top MGM star of the late 20s and into the early 30s.

Here he is a mechanic, but the opening scene has him waving to the crowds as Mac's (Ernest Torrence) racing car is towed through the downtown streets of Indianapolis. But Haines is waving and mugging to the crowds as though he is the racing star. He acts the same way when he spies Anita Page and tries to get her attention in a hash house. Haines plays a big goofy kid, and there's no one quite like him in silent films. He's not really a comic, but filmgoers of the era loved his silly antics.

After being a fool and falling for the rival's promises, Haines comes back to save the day (and the race) for old Mac. He also wins the girl.

SPEEDWAY is notable for its location shooting and exciting racing sequences. There's a sound-effect track tacked on to the racing finale but no talking sequences.

Haines and Page are an attractive couple and have chemistry. Torrence is also good as the gruff old man. Karl Dane plays a mechanic. Eugenie Besserer is the mother figure, and Polly Moran is funny as the hash house waitress. John Miljan is the evil Renny.

But this is a William Haines film all the way and he's hardly ever off screen......

SPEEDWAY (Metro-Goldwyn-Mayer, 1929), directed by Harry Beaumont, stars William Haines in a typical race car story in typical William Haines fashion. With William Haines in the cast, the story revolves around two characters, William Haines and his portrayed character, Bill Whipple, which equals to William Haines. Aside from this being his final silent movie, SPEEDWAY is also notable for actual participation of world famous drivers with actual race car sequences through the cooperation of the Indianapolis Speedway Association.

Opening title: "According to Bill Whipple's impression of Bill Whipple, nobody had anything on Bill Whipple but Bill Whipple." Plot development focuses on Bill Whipple (William Haines), a top mechanic for the Indianapolis Speedway, assisted by Dugan (Karl Dane), his mechanical friend. Bill has a close relationship with Jim MacDonald (Ernest Torrence) and his wife (Eugenie Besserer), who treat Bill more like a son than a close friend. Mac, also a race car driver who's big dream since 1911 is to win the annual 500 mile decoration day racing classic. Mac holds a serious grudge against Lee Renny (John Miljan), a race car rival responsible for his serious crackup in Altoona a year ago. Bill, who never takes anything seriously, meets and becomes attracted to a beautiful blonde named Patricia Manning (Anita Page) while in a diner. His brash personality turns her off, but regardless of her rejections, he refuses to give up on her. When the doctor (Alfred Allen) diagnoses Mac's heart condition and to not participate in the upcoming race, further complications ensue as Mac and Bill become rivals caused by Bill's association with Renny. Aside from race car driver Harry Hartz appearing as himself, Polly Moran makes good with her five minutes as a wisecracking waitress which males any avid film buff think of future comedienne, Patsy Kelly.

Released in the final year (1929) of the silent movie era, SPEEDWAY is accompanied by fine 1920s style orchestral scoring through much of its 76 minutes, except during the annual 500 mile decoration race where sound effects and roaring of the crowd take precedence. One amusing sequence occurs when Pat (Page) piloting an airplane in her attempt of teaching Bill (Haines) a lesson by giving him a thrill ride. Bill, who fears airplane rides, appears ill at ease one moment, to suddenly smile the next in pretense of enjoying himself as Pat faces his direction. He and Page commend each other well enough to work together again, such as an early talkie and 1929 release of NAVY BLUES. Ernest Torrence, a gruff older man with a heart of gold, never disappoints with his presence while Eugenie Besserer (best known as Al Jolson's mother in THE JAZZ SINGER (1927), offers another sympathetic and caring performance. Though MGM used the title of SPEEDWAY for another race car story in 1968 starring Elvis Presley and Nancy Sinatra, it was not a remake.

Considering its typical story with Haines annoyance or entertainment value (depending on the viewer), it's a wonder had SPEEDWAY been a talkie would the movie have had the same affect? Unseen for many years until the arrival of Turner Classic Movies cable channel in 1994, SPEEDWAY has also been made available for rediscovery on DVD. (** finish lines)