A che prezzo Hollywood?

Pre-Code insider's look at Hollywood, a precursor to all those STAR IS BORN films.

Constance Bennett is a waitress at Hollywood's famed Brown Derby restaurant specifically for the chance of meeting the right contact to help her break into films. In walks Lowell Sherman, a tipsy but famous director. They take a shine to each other and he wakes up the next morning to find her asleep on his living room couch. He invites her to test for a small part in a film, but she's terrible.

She works all night on her little scene and finally gets it right. Of course she makes a hit and becomes a big star. She's never romantically involved with Sherman, who's more interested in the bottle. She has everything she ever wanted and marries a stuffy rich boy (Neil Hamilton) who never fits in.

Eventually Bennett loses the husband and also loses Sherman as his career slips away because of his drinking. The years go by. One night she gets a call to come get Sherman out of jail where he's been locked up for be drunk and for skipping out on a bar bill. She takes him home and cleans him up, but it's too late.

Hard-hitting story stunned a lot of viewers who wanted to believe that the lives of the Hollywood stars was a bed of roses. Bennett and Sherman are superb. Hamilton is fine as the rich husband. Also good are Gregory Ratoff as the producer and Louise Beavers as the devoted maid.

There were insider Hollywood stories before this. Marion Davies' comedy SHOW PEOPLE showed how fame can go to an actress' head. The following STAR IS BORN films borrowed heavily from this one but the heroines in these (Janet Gaynor, Judy Garland, Barbra Streisand, and the 2018 version) were all married to the tragic figure.

Perhaps a bigger studio than RKO could have secured the Oscar nominations Lowell Sherman and Constance Bennett deserved for this film.

"What Price Hollywood?" is one of my favorite films of the 1930s. With loads of drama, glamour to spare, and some romance too, this movie is one of the best behind-the-scenes looks at the old Hollywood studio system that was ever made. Constance Bennett, looking her radiant best, plays the lead role with finesse. Lowell Sherman also turns in a powerful performance as a washed-up director. This movie was the basis for "A Star is Born." All in all, one great film.

This early effort by director George Cukor had such resonance that it was remade three times as A STAR IS BORN, so it lives on to satisfy the curiosity of those who admire one or more of the later productions. What holds it up after all these years are a strong and realistic performance by Lowell Sherman as a successful Hollywood film director whose alcoholism is destroying his career, decent and sometimes brilliant work by ever-stylish Constance Bennett as the ambitious waitress who becomes an overnight star, beautiful and poetic montages by Slavko Vorkapich, a generally witty and clever script by a team of about eight writers including Adela Rogers St. John and Gene Fowler, and some beautifully directed intimate scenes including the opening in which Bennett dresses for work, copying the beauty tips advertised in the fan magazine she is reading. Highlights: the screen test in which Bennett repeatedly fails to gracefully descend a staircase, deliver one line and then react to the sight of a dead body outside camera range; the filming of a nightclub scene in which Bennett delivers a love song in French (a la Dietrich in MOROCCO) as she strolls among the seated patrons. When you think about it, Bennett is really too sophisticated and worldly for this part, which is why it worked much better for the homespun Janet Gaynor five years later. It really doesn't make sense that a lady who can handle herself with complete ease after being dragged to a movie premiere and unexpectedly shoved in front of a microphone would suddenly turn into a klutz in front of a movie camera in a studio screen test. At one point Bennett is seen to converse in flawless, fluent French and we can only wonder how a lowly waitress with naïve dreams of movie stardom ever got that kind of linguistic education. The only explanation could be that the casting of Bennett required compromises. In any case, her natural charm carries her through.

At times the story drags. Neil Hamilton as the stuffed shirt husband adds to the dead weight. The sound quality in the outdoor scenes is weak and tinny. Gregory Ratoff as a studio chieftain has fun but his accent is a bit too thick given the limitations of the recording techniques of the time. Louise Beavers, as always, enlivens her small role as Bennett's maid.

It's fun to compare "What Price Hollywood," made in 1932, to the more familiar 1937 version of "A Star is Born" (as well as its two later remakes). An important historic event intervened between the two: the Hays Code became rigidly enforced in 1934. The 1932 version is much spicier. Mary, the unknown knockout in in the 1932 version, is a saucy waitress at the legendary Brown Derby restaurant trying to catch the eye of a movie big shot. She's pretty sophisticated and, you believe, would happily do whatever is required to land an acting job. She readily allows herself to be picked up and taken to a premiere by a famous (but fading) director, which launches her great career. In the 1937 version, Esther, the ingenue, is straight off the farm and comes to Hollywood without a clue about the movie biz. She's a goody-two-shoes who would be shocked about what it usually takes to break into the biz. She catches the eye of a famous (but fading and highly alcoholic) actor when she waitresses at a party.

There is one major plot difference: in the 1932 version, Mary marries a rich polo playing socialite who divorces her (while she's pregnant) because he is fed up with movie people. This is highly realistic--movie stars had terrible marital problems. In the 1937 version, Esther marries the actor who was her mentor and is sucked into his hopeless downward spiral. Divorce is a perfectly acceptable solution to marital problems in 1932 but, under the constraints of the Code, was out of the question in 1937.

Both films are well worth seeing. They're loaded with insights about Hollywood and filmmaking (both the creative and the business end), the rapacious movie press, and the fans--an insatiable monster that devours the object of its affection. The declining fortunes of the director (in "What Price Hollywood") and the actor (in "A Star is Born") are quite fascinating. But of the two--the 1932 version is a lot more fun.

One of George Cukor's better films, featuring Lowell Sherman, as an alcoholic director, Gregory Ratoff as a Sam Goldwyn like producer, and Constance Bennett playing the starstruck waitress at the Brown Derby. The film also includes Eddie "Rochester" Anderson as Sherman's sly butler. An early RKO film, it shows the working of the studio, somewhat satirically but lovingly. Also, a world premiere at Grauman's Chinese Theater. It should be better known .