Aconteceu em Hollywood

I have to say that I have always been interested in the period this film is set in: Hollywood 1928. Hollywood's transition to sound (1927-1932) has been a source of fascination with me. I have done a lot of research on the period and seen a pretty good number of films from that time.

I say this because from my research this film is done very accurately and gives you a real feel for what it must have been like while American films where having a nervous breakdown adjusting to sound movies.

It Happened In Hollywood is just chocked full of inside jokes, authentic early sound technical objects, and realistic dialog. It really does not have the look and feel of any other film made in the 1937 time period. One clue might be that a young Sam Fuller is one of the writers.

It is reasonable to assume that many of the folks who were around in the late 20's and early 30's remembered that period and were able to imbue the production with a realism that would not be possible years later.

If you watch closely you will see the original early sound microphones that were about the size of an artillery shell. We also see the famous "iceboxes" that enclosed the early sound cameras and their operators to keep the camera noise from being recorded. Later on we see one of the early home-made blimps that were hastily designed for the same purpose for shooting outdoors. Early sound films were clunky to say the least.

Franklin Pangborn is very funny as the elocution expert imported from the New York stage to teach actors how to "speak" for the movies. This actually happened all over Hollywood during that time.

RIchard Dix's career was beginning to wane at the time this was made. And he played a cowboy a number of times. He managed to make the transition from silents to sound and had some popularity during the thirties, but his parts had begun to get smaller and smaller. Today hardly anyone knows the name. Talk about life imitating art! Very interesting and worth your time, even if you are not a student of early sound films.

It Happened in Hollywood (1938)

** 1/2 (out of 4)

Richard Dix plays a silent screen cowboy who gets kicked out of Hollywood once sound pictures come into play. He loses all his money, which causes him to lose his ranch, which he was hoping to make a boy's home. He gets a chance at a comeback playing a gangster but can't stand letting down his fans by playing a bad guy. Since this was nearly twenty-years before Singin in the Rain it's rather interesting seeing a film take on the transition from silent to sound. This Columbia movie has been pretty much forgotten today but I think film buffs will find the story interesting and there's some more unique things here. There's a big subplot with Dix wanting to make good to a kid he made a promise to so he decides to throw him a Hollywood party. Greta Garbo, W.C. Fields, Charles Chaplin, Loretta Young, Mae West and Bing Crosby among others show up but it's their stand-ins doing the work. The whole point is to fool the kid into thinking he's surrounded by real stars but we see them as stand-ins, which is interesting as we're seeing the actual people who worked for the stars. I had heard about Eugene DeVerdi's take on Chaplin and must admit that it's pretty good. Fay Wray plays Dix's love interest and does a pretty good job even though her role is pretty much a throw away. Dix is his usual self and fans of his will enjoy his role here. This movie could have been a lot better but it's clear it was meant to be a "B" picture and on that level it works. I think silent buffs will get a kick out of its story while movie buffs will enjoy seeing the real star's stand-ins. Future director Samuel Fuller is credited as one of the three screenwriters.

This is a most enjoyable film which is of particular interest to film buffs for several reasons. The story commences in 1928, the last year of silent films. The amiable actor Richard Dix plays Tim Dart, a star of silent cowboy films (an idea doubtless inspired by Tom Mix). He is in love with another silent star named Gloria Gay, played by Fay Wray, who is glamorous and alluring but loves her cowboy, and wishes he would take more notice of her. (Who could ignore Fay Wray and be unaware of her devotion? But then cowboys can be ornery critters.) All is going well otherwise, and they are both close friends and top of the bill with their respective successful careers. Dix has nationwide fan clubs of young boys who worship him, and we see him whistle-stopping all over America and giving personal appearances at schools and boys' clubs. Suddenly his tour is interrupted by a telegram summoning him back to Hollywood for a 'talking test'. All the silent stars are being tested on the new sound stages for their ability to speak, which had never previously been necessary. (We need to remember that this film was made only 8 or 9 years after this painful transition, when it was all a fresh trauma in everyone's minds.) Dix is not able to deliver his lines properly, and is upset that he has to wear formal attire and pretend to be in a drawing room where the dialogue is absurd. He flunks the test and is jettisoned by his studio, while Fay Wray is retained. With the advent of sound, cowboy films were discontinued for the first few years because the clunky sound equipment could not be used outdoors! So 'we are only shooting plays now and everything must take place indoors,' he is told by the studio head. Exit the cowboy stars. Dix is forced to sell his huge ranch which he had wanted to turn into a giant boys' home, and moves into a small bungalow, completely broke. He avoids Fay Wray because she is still successful and he does not want to be a burden on her. This is an interesting historical dramatisation of the effects of the 'sound revolution' in films, made near enough to the time to ring true and be convincing. Indeed, despite being keenly interested in film history, I had never realized prior to seeing this film that 'outdoors was out' at the beginning of sound, and that cowboy films were a temporary casualty, until the clumsiness of the sound gear could be reduced. I had never actually seen or heard that mentioned before, and it is a detail which has escaped most people of today. A young boy who hero-worshipped Dix turns up on his doorstep and persuades him not to leave Los Angeles. The boy had been near death in a hospital when they met on Dix's tour, and it was only belief in the fact that Dix cared about him which had pulled the boy through. Touched by this intense and total devotion, Dix regains some faith in himself and decides to 'borrow' his old ranch for a day and throw a big party for the boy, so that he can meet all the other famous Hollywood stars, and still believe that Dix is one himself. At this point, the film contains one of the most remarkable and innovative scenes in films of that time: the party indeed occurs and the famous stars are impersonated by their professional imitators and stand-ins. Some are so convincing that one wonders if they are actually 'real' and came along to pretend to be their own imitators for a lark. Certainly 'Mae West' is an imitator, as she sashays too violently and does not look quite right. W. C. Fields seems to be an imitator, but Charlie Chaplin looks eerily 'real', and so does Harold Lloyd in the background. 'Greta Garbo' appears and tells the boy she has to leave now because she wants to be alone. This is a truly bizarre and surrealistic part of the film, and it is worth watching the film just to see the party full of doubles. Eventually Dix realizes that Fay Wray has also lost her place at the top, and all the talk in the trade papers about her thriving career is just pretence created by her publicist to try to get her back into pictures. So they come together again and express their true love at last. But that is not the end of the film. What will happen to them? Will their careers revive, or will they go to live on a ranch as cowboy and cowgirl? What will happen to the boy? Is there to be a happily-ever-after, or will it all be a bit of a downer? This cannot be revealed, but it is all there in the film for those who have an interest in this kind of thing and are lucky enough to get hold of a copy or see it on TV.

Richard Dix stars as Tim Bart, a real-life cowboy who becomes a big silent western star who is particularly loved and idolized by children. Then the talkies come along and the fact that cameras must be static and locked down in soundproof booths at the dawn of sound makes it impossible for westerns to be made for a couple of years.

Bart is blind-sided by the sudden change and initially is given a screen test in the romantic scene of a modern dress drawing room drama wearing formal attire and given ridiculous flowery dialogue to recite. Being completely unaccustomed to dialogue at all, he flunks his screen test and is dismissed from the studio. The rest of the film has to do with how he handles being made obsolete overnight by these technological advances and changing tastes.

This is different from most other films on the subject of big stars being "washed up" because Dix's Bart has such a positive outlook and a generous spirit. He always figures he'll get by, and so there is no bitterness or turning to drink or any other such tropes that you find in the riches to rags stories of forgotten stars. Only when someone else who he cares about needs cash urgently does he even think about making a wrong turn.

Dix's powerful, vivid performance seems inspired by his own image and also knits fact and fiction together for a spot-on replication of many silent movie actors and Western talkie movie actors of that era. An inspired party scene, where doppelgangers for Charlie Chaplin, W. C. Fields, Mae West, Great Garbo, Joan Crawford, and other actors mingle with real-life prominent characters actors creates an eerie mirror image of Hollywood.

I will note that Dix didn't have any such experience in Hollywood even though he was a silent actor for quite a few years before the dawn of sound. Dix was already a "modern dress" actor during the silent era, so not much changed for him. He actually first did more westerns after the movies could begin filming outdoors again, in the early 30s.

This was a real surprise and is a fun film especially for anybody who is interested in this transitional period in filmmaking.

Wonderful flick about the transition from silent movies to talkies. For a B movie, the direction by Lachman is top drawer, and the acting by Dix and Wray (far better here than in famously screamy role in KING KONG, for instance) quite splendid.

The cherry on the cake is that it takes a touching approach to the problem of overnight joblessness in a glamorous, no failure accepted, world, without losing contact with reality. True love can really save the day!