Fazendo Fita

This for me was a wonderful introduction to the talents and beauty of Marion Davies. She is not only gorgeous but hilarious in this film. (I believe that Lucille Ball may have modeled her later career on Davies' style, that could be termed "zany beauty".) Vidor's direction is light but sure-handed, the story is a chestnut of course but the acting is marvelously contemporary, and the star-watching element for fans of the silent era, with many cameos, adds to the overall fun. It combines the elements of slapstick with adult drama and good old timeless romance quite well. For all movie fans who have a knee-jerk reaction to watching silent films, sit through this one and it may change your attitude.

The great and underrated Marion Davies shows her stuff in this late (1928) silent comedy that also showcases the wonderful William Haines. Davies plays a hick from Georgia who crashes Hollywood with help from Haines. They appear in cheap comedies until Marion is "discovered" and becomes a big dramatic star. A great lampoon on Hollywood and its pretentions. Davies & Haines are a wonderful team (too bad they never made a talkie together) and the guest shots from the likes of Charlie Chaplin, Douglas Fairbanks, William S. Hart, John Gilbert, Elinor Glynn, and Marion Davies (you have to see it) are a hoot. A must for any serious film buff or for anyone interested in the still-maligned Marion Davies!

"Wisecracker," the biography of actor William Haines, offers a gratifying anecdote about the former star when he was past 70 and long retired from making movies. The old gent was not sentimental, and seldom watched his own films, but in 1972 he was persuaded to attend a Los Angeles museum screening of Show People, the late silent feature in which he co-starred with Marion Davies. Before the screening, Haines was worried that this comedy would provoke the wrong kind of laughter, but he was pleasantly surprised (and no doubt relieved) at how well it held up, and how much the audience enjoyed it, especially the younger viewers. Watch the film today and you can see why: Show People is a delightful Hollywood satire, one that retains its charm because it lampoons its targets with wit and flair, yet without malice. It's still funny, and its satirical points still resonate. Needless to say, the technology of movie-making has changed vastly since the silent days, but the pretensions and follies of the filmmakers themselves haven't changed all that much.

Show People also ranks with the very best surviving work of Marion Davies, a first-rate comic performer who deserves a prominent place in the pantheon of great comediennes. Where her career was concerned, however, Davies was both blessed and cursed by the patronage of her paramour, the newspaper magnate William Randolph Hearst. It's well known that Hearst exerted strong influence over Davies' choice of material, and well known too that, despite her gift for comedy, he initially preferred to see her play dignified heroines in period costume dramas. But by the late '20s, for whatever reason, Marion was permitted to strut her stuff in several exuberant light comedies, including The Red Mill and The Patsy. These films are highly enjoyable, but to my taste, Show People, directed by the great King Vidor, is her most enjoyable showcase. William Haines gives an engaging, likable performance as her boyfriend and co-star Billy Boone, but this is the leading lady's show all the way.

Marion plays Southern belle Peggy Pepper, an aspiring actress who storms Hollywood accompanied by her father, determined to become a movie star. (Her dad Colonel Pepper is played by actor/director Dell Henderson, a veteran of Griffith's Biograph dramas who—coincidentally?—resembled Hearst!) One of Marion's funniest bits, often excerpted elsewhere, is her audition at the Comet Studio casting office. While Dad helpfully identifies the emotions she portrays ("Sorrow! . . . Joy!") and drops a handkerchief across her face, Peggy assumes the appropriate expression and posture. She's hired, only to discover that Comet makes low-brow comedies, the kind of comedies where people squirt each other with seltzer, and inept cops tumble over each other racing to the rescue. Of course, Comet is intended as a take-off of Mack Sennett's Keystone, but the real target of the satire becomes clear as the story unfolds. As Peggy Pepper rises in the Hollywood hierarchy she leaves Comet for the more prestigious High Art Studio, assuming the name "Patricia Peppoire" as more befitting her new station in life as a serious actress. At some point it occurs to us, as it surely did to viewers in 1928, that Davies' rival Gloria Swanson started out in Keystone comedies before rising to prominence in dramas for Cecil B. DeMille. And as Miss Peppoire takes herself more and more seriously, giving the high-hat treatment to former colleagues such as lowly comic Billy Boone, Davies' performance takes on an element of wicked parody aimed squarely at Gloria herself. This is especially notable during an interview sequence, when Miss Peppoire's spokesman spouts pretentious nonsense while the star delivers a spot-on impersonation of Swanson. I suppose this was intended as a friendly spoof, but I have to wonder if Swanson maintained a cordial relationship with Davies after this movie was released.

In any event, Show People is a delicious treat for buffs, who will relish the parade of star cameos throughout. Charlie Chaplin contributes a nice bit, sans makeup and looking quite distinguished, eagerly seeking Patricia Peppoire's autograph! And, in a show of good sportsmanship, Marion Davies herself contributes a cameo appearance, evening the score for poking fun at Swanson by poking fun at herself. (The joke being that Miss Peppoire finds Miss Davies quite unimpressive.) This is a silent film that may well appeal to viewers not especially attuned to silents, that is, those who appreciate movies about the movie business. Show People surely belongs in the company of such classics as Sunset Boulevard and Singin' in the Rain, among Hollywood's most expertly produced, invigorating exercises in self-examination.

"Show People" is an absolutely delightful silent directed by King Vidor and starring Marion Davies and Billy Haines. What gems both of them are in this charming comedy about a young girl, Peggy Pepper, whose acting is the talk of Savannah trying to make it on the big screen. Though she's a success in comedy, what she wants to do is make "art" so she moves up to High Arts Studio. Soon she becomes Patricia Pepoire and is too good for the likes of her friend Billy.

Many stars of the silent era have cameos in "Show People," including Davies herself without the curly hair and makeup. I'm sure when people saw the film in 1928, they recognized everyone who appeared in the elaborate lunch scene; sadly, nowadays, it's not the case, even for film buffs. In one part of the film, however, she does meet Charlie Chaplin; in another, author Elinor Glyn is pointed out to her, and Vidor himself has a cameo at the end of the film. Other stars who pop up in "Show People" are John Gilbert, Douglas Fairbanks, William S. Hart, Leatrice Joy, Bess Flowers, Renee Adoree, Rod LaRoque, Aileen Pringle, and many others.

Davies was adorable and a lively comedienne. It's a shame William Haines quit the movies - he was cute and energetic, deservedly an enormous star back in the day.

"Show People" is a simple story told in a witty way. It's also a look back at an exciting era in Hollywood's history and contains performances by two wonderful stars.

A young lady from Georgia (Marion Davies) goes to Hollywood in the hopes of becoming an actress.

"Show People" offers an entertaining inside look at 1920s Hollywood and reflects on the actual acting career of starlet Marion Davies. Though one of the great comic talents of her day, featured in many of the decade's successful comedies, such as "Tillie the Toiler" (1927), she too often appeared in extravagant, costly period romance films at the behest of her newspaper tycoon lover William Randolph Hearst, who supposedly enjoyed seeing his mistress in fancy costume.

This is a great semi-fictional look at 1920s Hollywood, with some great cameos. I especially love the encounter with Charlie Chaplin, because I can relate to the Davies character. It took me many years to be able to recognize him when not in his tramp disguise, and I suspect this is what prompted the scene -- how was one to know what he looked like (or sounded like) at the time without the mustache?