Aconteceu em Hollywood

The film opens on young children watching a silent film, as it ends, and they applaud and the young boys say they want to be just like the cowboy when they grow up. One boy in particular, who is sick and laid up, takes it all to heart and hopes to meet the actor someday, who is Richard Dix. But Richard's world will be toppled, when he is asked to be a gangster in a film robbing a bank and killing innocent people. He has an image to uphold to his fans. The studio tells him it's this or nothing. He starts the film, but he can't stomach this brutality and quits. Such is his predicament, dignity but no money, and soon the boy will appear at his door. What ensues is a very thoughtful and moving experience about our idols and how they are only human and how we try to be what people expect of us. Though the ending is rather abrupt, I enjoyed this unique little film which also boasts a lot of lookalikes of celebrities of the time. Discover "Once a Hero" today and see for yourself how a hero, although human, is always a hero.

There haven't been many movies on the subject of THE most fascinating and terrifying era of Hollywood history - the chaotic and brutal transition from Silents to Talkies (that period ended WAY more Hollywood careers than the McCarthy blacklist era). The best known, of course, are "Singin' In The Rain" (the most complete treatment of the subject, and DAZZLINGLY funny), and "Sunset Blvd" (oh-so-dark, and with razor-sharp teeth), and they were both 20+ years after the fact. Here's one that's less than 10 years removed, when the wounds of the victims were still pretty fresh and oozing, and it's flawed but TERRIBLY fascinating in that light. This page categorizes it as COMEDY, but I didn't detect any (intentional) laughs, except perhaps in the bizarre (and tacked-on-feeling) party sequence near the end featuring actual stand-ins for many major stars of the day. One suspects that Dix played a major role in bringing this story to the screen, and that it might have represented his own story (his thinly-fictionalized character fails to make the switch to talkies because of a mild drawl, and because, supposedly, Westerns are finished due to the inability to take the new technology outdoors). As I studied his filmography on this site, I'm seeing that he was never unemployed during that era, but that he DID go from making 5 or 6 films a year in the mid-'20s to 1 or 2 a year in the early thirties, so I guess that might have been a sufficient jolt to his lifestyle to embitter him a bit. REALLY interesting stuff, and Fay Wray is GORGEOUS and memorable (as always). Absolutely recommendable to any Hollywood history buff.

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.

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!

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.