Il sorriso della vita

Sunnyside Up lays claim to the fact that it is the first original musical for the screen. It might very well be and if so deserves no small credit to the score that the Broadway team of DeSylva,Brown&Henderson wrote for it.

It also was the talking debut of the Fox screen team of Charles Farrell and Janet Gaynor. They do sound a bit arch for today's taste, but at this time nearly everyone on the screen sounded that way. There singing voices are pleasant, but nothing else. But the screen chemistry is unmistakable.

The plot is typical for a stage musical at the time involving a poor girl falling for a rich boy. Farrell is the society kid who almost runs down a kid in Gaynor's neighborhood in the city. She takes him and he gets the bright idea to bring her out to Southampton to make his prospective fiancé Sharon Lynn jealous. But it all works too well as Gaynor goes for Farrell big time.

The thin plot is just an excuse to hang several musical numbers at the society party in the Hamptons and at a block party in the city which was the case for stage films. As Sunnyside Up was written directly for the screen, they didn't have to rewrite it to disguise any stage origins. Although Gaynor and to a lesser degree Farrell do their numbers most of the singing and dancing is taken up by Sharon Lynn and friends of Gaynor, Marjorie White and Frank Richardson.

The two best known songs I'm A Dreamer Aren't We All and If I Had A Talking Picture Of You were a couple early records that Bing Crosby did with the Paul Whiteman band. They are probably the best known recordings from this score.

Sunnyside Up still retains a lot of the charm it had even if its overacted for today's audience taste.

This is a unique film in the history of musicals. Neither of the leads can sing; most of the dancing, whether by the stars or chorus girls, is rudimentary at best; the story is a familiar litany of 1920's stage cliches, and was dated almost immediately. Yet, it is utterly charming and effective. Part of this has to do with the appealing cast (particularly Janet Gaynor), but most of the credit goes to songwriter/producers DeSylva Brown & Henderson, and director David Butler. The music is integrated into the story in a dramatically sophisticated and cinematically daring way. The production number "Turn On the Heat" is, conceptually, a model for what Busby Berkeley would do in the 1930's.

If your only exposure to early musicals is that award-winning dud "The Broadway Melody", check out "Sunny Side Up" (or, for that matter, "The Love Parade"). You'll be pleasantly surprised.

This is the first sound picture for the popular silent romantic team Janet Gaynor and Charles Farrell and the result is a split decision. Gaynor is no Ruth Etting but she does have a sweet appeal that allows her to triumph with Betty Boop cutesy and a pedestrian falsetto. Farrell? Well they do make a good looking couple.

Molly (Gaynor) and Bea (Marjorie White) live a meager but merry existence above a market in congested lower Manhattan. Out on the far reaches of Long Island in the Hamptons poor little rich boy Jack Cromwell broods over his flirtatious intended. At a party for well heeled swells he gets drunk and goes slumming and crashes his car in Molly's neighborhood. To get his fiancé jealous he moves Molly and her pals into a mansion next door. Secretly in love Jack, Molly reluctantly goes along with the ruse.

For an early sound work Sunnyside Up does a fine job of capturing large as well as small action with decent clarity. There's an excellently tracked and recorded scene establishing the lower east side melting pot and Gaynor's warbling of "I'm a Dreamer" live is an early highlight of the technology.

While Gaynor has a passable voice Farrell is reduced to being arm candy leaving the funny moments to Elf Brendel and Marjorie White's ball of energy Bea. The plot is improbable like most musicals but it's worth putting up with to hear a rendition or two of Sunnyside Up and If I Had a Talking Picture of You.

Did Busby Berkeley view this film before making THE GANG'S ALL HERE (also at Fox)? The "water curtain" effect is exactly the same...the production number is also set on a Long Island estate...the heroine sings a sad solo number to the audience at the benefit...there are big inflated bananas. It's hard to imagine this wasn't at least an inspiration for his big Technicolor triumph.

SUNNY SIDE UP defies all the expectations you have of early sound musicals...it's lively, well acted, funny and--get this--beautifully photographed. If you have only been exposed to pioneering musicals like THE Broadway MELODY, THE SINGING FOOL, and SHOW OF SHOWS, this will feel like it arrived from Mars. Time has been kind to Janet Gaynor, who had a marvelous range (see her in Murnau's SUNRISE) and was almost devoid of the usual affectations and Talkie mannerisms. She gives a beguiling performance here. And as an added bonus: one of the most insane of all pre-Code musical numbers.

The great reviews don't lie. See this!

This was the first talkie for Charles Farrell and Janet Gaynor, who starred in numerous romantic silent films together. Their chemistry is wonderful. This film was also one of the first film musicals. The supporting cast is terrific and there's a fun cameo by little Jackie Coogan who recites a poem (or at least starts to recite). The "Turn Up The Heat" dance sequence is a hoot. Very pre-code sensual with chorines writhing on the floor and palm trees complete with bananas shooting erectly up out of the floor (the movie theater audience howled) . Saw this film today at The Museum of Modern Art here in NYC as part of their "To Save and Project" series. The film has been beautifully restored and future generations will now be able to see this "classic" pristine print. Thank You MOMA.