Giorni felici

I refer to one of the cast in the chorus (as far as I know), Harry Lauder. You have flagged him up as the famous Scottish Variety Theatre singer, but that is incorrect. It was not Sir Harry Lauder, who was 60 in 1930.

The Harry Lauder (10 Nov 1902, Hamilton, Lanarkshire, Scotland, - 5 Dec 1951, Sydney, Australia, youngest surviving son of Matthew Currie Lauder) who appeared in "Happy Days" was Sir Harry's nephew, and also named Harry.

Harry II, as he liked to be known, was a child musical prodigy with a rich tenor's voice. Following The Great War his famous uncle, Sir Harry Lauder, sent him to Europe for a musical education, including Milan and Paris, where he had vocal training, and he subsequently sang in minor roles in Paris and Britain in Puccini and light opera. He then went to Chicago, U.S.A., where he appeared with the opera company, also undertaking training as a conductor. He then joined the U.S. Gilbert & Sullivan Rep.Co., and toured widely (notably in Richmond, Virginia.), both singing and conducting.

He subsequently conducted Fox Movietone News for 18 months before William Fox suggested he come to Hollywood to work for him there. He then moved to Los Angeles and set up a teaching studio in Glendale. It is unclear what he did for Fox in Hollywood, although he took minor roles in "Happy Days" (1930) (chorus) and several other Fox films, which seem to have gone largely unnoticed.

Seems like every third sound film of 1929-1930 either was a musical or had a lot of musical numbers in it. Last night I finally decided to watch a musical I've had sitting around for over a year. I was very pleasantly surprised by the film! "Happy Days" (1929) advertises itself as a film with over 100 great entertainers. It certainly isn't bad for a Fox produced film. This one has as its main star Marjorie White, but it features Charles E. Evans and Richard Keene, but it also has in it: Will Rogers, George Jessel, Warner Baxter, Janet Gaynor, Charles Farrell, El Brendel, Victor McLaglen, Edmund Lowe, Stuart Erwin, James J. Corbett (yes, the boxer!), William Collier, Sr., Rex Bell, Walter Catlett, and I'm not finished. If you look in the chorus line, there's Betty Grable. Oh, did I mention Dixie Lee (at this time helping promote the career of her husband, Bing Crosby), Nick Stuart, Frank Albertson, 'Whispering' Jack Smith, Ann Pennington, J. Farrell MacDonald, Lew Brice, Sharon Lynn, Tom Patricola, Tom Kennedy, Lucien Littlefield, and I'm tired of writing these names...

Show actually is not just a revue, but revolves around a story. White's father, Charles E. Evans is captain of a Show Boat. It's going broke and he can't pay the piper. She decides she's going to New York to the night clubs and round up all the performers who had their beginnings with her pop on the boat and bring them back to the boat for a show to save the boat and her pop. Of course she only needs to go to one night club - at least it looks that way in the movie - and everybody wants to do his or her bit. It evidently works, because when the film ends, it's after the last number, with no thank yous, good byes, or "It's a success!". It just ends.

Best number by far is the Ann Pennington dance "Snake Hips", also with Sharon Lynn, followed by the Dixie Lee rendition of "Crazy Feet". Farrell and Gaynor sing a song that probably should have remained unsung. McLaglen and Lowe do a routine that jokes about their Quirt and Flagg routines in their soldier movies, though it never mentions Quirt and Flagg, only McLaglen and Lowe. Lots of other numbers and routines. Only one that was just plain stupid, and that was El Brendel. I know, some just love the guy. Oh, well, to each his/her own.

Highly recommended for those interested in the early sound musicals. This is basically Fox's answer to all the revues done in those first couple of years by the different studios. It's quite good. 80 minutes or just a few more. It won't grate if you know what you're getting into. For those only looking for "Singin' in the Rain" or "Cabaret", stay away or sit back and learn. If you look at the viewer ratings on the IMDb, they range from 1 star to 9. Most are 7 or 8, so most have enjoyed it; but there are certainly exceptions. For the record, the sound and the photography are spot on, not so much the creaky early stuff. Some of the songs aren't perfect in any sense by modern standards sound-wise, but for the day are quite decent. Much of the revue style music is straight on camera shots, but there are a few that seem precursors to Busby Berkeley. This is also the second film released in 70mm wide screen. It's the debut films of both Marjorie White and Betty Grable.

Fox's all-star musical revue is short on star power, but there are a few terrific numbers here.

The plot revolves around a bunch of Broadway stars who get coerced into trying to save a show boat by doing a benefit show. Of course the sets make little sense as they could hardly fit on a show boat stage, but the minstrel theme (similar to the opening of MGM's all-star revue, THE Hollywood REVUE OF 1929) is used to introduce the various acts.

Among the better known stars here are Fox's #1 romantic team of Janet Gaynor and Charles Farrell, who sing "We'll Build a Little World of Our Own." Gaynor would remain a big star throughout the 30s, but Farrell struggled with his voice and had only a so-so career in talkies.

Victor McLaglen and Edmund Lowe sing a novelty song called "Vic and Eddie." Ann Pennington does a terrific dance to "Snake Hips," which is sung by Sharon Lynn. The dynamic Marjorie White and Richard Keene sing "I'm on a Diet of Love." Frank Richardson sings "Mona." Whispering Jack Smith sings the title song of "Happy Days." Other stars who appear include George Jessel (but he doesn't sing), Walter Catlett, William Collier, El Brendel, Frank Albertson, Stu Erwin, Tom Patricola, Nick Stuart, Rex Bell, Warner Baxter, Will Rogers, Dixie Lee, and boxer Jim Corbett.

Lots of energy here and Marjorie White (in her film debut) probably comes off best. She died in a car wreck in 1935. At only 4' 10" White was a dynamo of musical and comedy talent and had good supporting roles on Fox's JUST IMAGINE and SUNNYSIDE UP.

Of all the studio all-star revues, which often introduced many silent stars to talkies, HAPPY DAYS holds its own with THE Hollywood REVUE OF 1929 (MGM) and PARAMOUNT ON PARADE (Paramount) despite the lack of musical star power.

Lavish story-revue from 1929, originally filmed in a widescreen process called Grandeur, puts most of Fox's roster in a minstrel show format; there's a plot surrounding it, but it's forgotten after the first half hour or so. You have to endure some badly dated acts, including the insufferable El Brendel and the sappy Janet Gaynor (she doesn't sing, she coos) and Charles Farrell (body of Adonis, voice of a fifth grader), but along the way you do get some good stuff, and an entertaining look at what was considered top-notch diversion around the time the stock market was crashing. Marjorie White does some hot scat singing and steps lightly; Ann Pennington and Dixie Lee dance up a storm; Victor McGlaglen and Edmund Lowe do a buddy number (McLaglen can actually sing, Lowe can't); the boxing champ James J. Corbett is a personable interlocutor; Will Rogers, Warner Baxter, and George Jessel do cameos; and poor old Charles Evans' show boat gets saved. The chorus girls are beefy and klutzy (Betty Grable's in there somewhere), the production design's clever, and there's an odd lighting effect that turns actors from blackface to white with the flick of a light switch. Heaven knows you couldn't get away with this stuff today, but the songs are catchy, there's some fine dancing, and among the large roster of early talkie musicals, this one's fairly diverting.

I'm a big Marjorie White fan,but as a young actress, on the stage since childhood, and already a big hit in Sunny Side Up, why she agreed to take the part in this one, along with Charles Farrell and Janet Gaynor, I'll never know. On the whole, I find the entire film patently old-fashioned (even for its own time), ridiculously unfunny, except for George Jessel and Will Rogers, and I find it offensive to a great degree, the scene where the guy picks up Marjorie and physically throws her across the room, and the enormous chorus scene of blackface actors just horribly silly. And add El Brendel, the un-funniest comic of his time, and what we end with is a really forgettable piece, insulting, and not entertaining at all!