O Sonho que Viveu

This movie is so entertaining. Janet Gaynor is sweet but doesn't make you sick. She does some great dancing, funny thing is she does some moves you would see Fred Astaire do but he wasn't even in the movies when this movie came out, so I guess it's true when they say nothing is really new, someone has done it before. I didn't even know Janet could dance and sing. I can see why she was considered America's sweetheart and the personification of an young American girl, many felt she was a positive role model and introduce a new image unlike wild Clara Bow. Marjorie White, she has yet to disappoint me in any performance she gives. She steals just about every scene she's in but the whole cast holds their own. Marjorie was a great comedienne and so pretty. She was the first musical comedy star in my eyes. I wish more spotlight is put on her and her films. She's as better or up there with Carole Lombard, Patsy Kelly, Lucille Ball, and Thelma Todd. Marjorie is a natural. She died young and tragically in 1935. This is a nice little movie, Hollywood don't do movies like these anymore, innocent but not saint and it's so entertaining and charming. Like the other reviewer I thought it be a dud to. Just about all the stars of the movie sing and dance to sweet songs. Sharon Lynn sings a sweet song. Frank Richardson is a riot. Charles Farrell and Janet Gaynor were the top screen couple in the early 1930's. Farrell couldn't seem to get out of that shadow. Movie fans always wanted to see them together, it was a hard for either to break and do other things. This is a nice movie to enjoy with your family, it's a change from what we see on TV today. Oh another thing to point out is I think Marjorie White was the first to say a curse word in a major movie. She said "hell" It's not really bad but it had my jaw drop because I never heard any stars say that in early movies, its such an innocent time, of course I wouldn't be shock by it today, people use worser words then that but it was funny and cute coming from cutie pie Marjorie White.

This was the first talkie for Charles Farrell and Janet Gaynor, who starred in numerous romantic silent films together. Their chemistry is wonderful. This film was also one of the first film musicals. The supporting cast is terrific and there's a fun cameo by little Jackie Coogan who recites a poem (or at least starts to recite). The "Turn Up The Heat" dance sequence is a hoot. Very pre-code sensual with chorines writhing on the floor and palm trees complete with bananas shooting erectly up out of the floor (the movie theater audience howled) . Saw this film today at The Museum of Modern Art here in NYC as part of their "To Save and Project" series. The film has been beautifully restored and future generations will now be able to see this "classic" pristine print. Thank You MOMA.

Sunnyside Up lays claim to the fact that it is the first original musical for the screen. It might very well be and if so deserves no small credit to the score that the Broadway team of DeSylva,Brown&Henderson wrote for it.

It also was the talking debut of the Fox screen team of Charles Farrell and Janet Gaynor. They do sound a bit arch for today's taste, but at this time nearly everyone on the screen sounded that way. There singing voices are pleasant, but nothing else. But the screen chemistry is unmistakable.

The plot is typical for a stage musical at the time involving a poor girl falling for a rich boy. Farrell is the society kid who almost runs down a kid in Gaynor's neighborhood in the city. She takes him and he gets the bright idea to bring her out to Southampton to make his prospective fiancé Sharon Lynn jealous. But it all works too well as Gaynor goes for Farrell big time.

The thin plot is just an excuse to hang several musical numbers at the society party in the Hamptons and at a block party in the city which was the case for stage films. As Sunnyside Up was written directly for the screen, they didn't have to rewrite it to disguise any stage origins. Although Gaynor and to a lesser degree Farrell do their numbers most of the singing and dancing is taken up by Sharon Lynn and friends of Gaynor, Marjorie White and Frank Richardson.

The two best known songs I'm A Dreamer Aren't We All and If I Had A Talking Picture Of You were a couple early records that Bing Crosby did with the Paul Whiteman band. They are probably the best known recordings from this score.

Sunnyside Up still retains a lot of the charm it had even if its overacted for today's audience taste.

SUNNYSIDE UP (Fox, 1929), directed by David Butler, the fourth screen teaming of Janet Gaynor and Charles Farrell, ranks one of their most enjoyable outings. Following their success of SEVENTH HEAVEN (1927), STREET ANGEL (1928) and LUCKY STAR (1929), produced during the tail end of the silent film era, SUNNYSIDE UP introduced them to the new cycle of "talking pictures" in which they not only talk but sing as well, with Gaynor's voice resembling that of a child. Although she sings adequately, Farrell does not. With so many musicals produced during the dawn of sound, SUNNYSIDE UP, subtitled "an original musical comedy," promises just that. No backstage story in "The Broadway Melody" tradition nor reworking of old Broadway shows as "Rio Rita" for example, but a contemporary love story set in the summer where two unlikely dreamers of different backgrounds meet and make sweet music together.

Chapter One: "New York, July 4th, with 4 Million" The story opens with a view of residents from the lower East Side of Manhattan going about their every day lives prior to the upcoming block party. Living in the community are Eric Swenson (El Brendel), a grocery store owner; the youthful Molly Carr (Janet Gaynor) sharing her tenement apartment with her best friend, Bee Nichols (Marjorie White), whose boyfriend, Eddie Rafferty (Frank Richardson), is a songwriter. Molly is a dreamer who reads society columns about her dream man, millionaire Jack Cromwell. Chapter Two: "Southampton, Long Island, .July 4th with the "400" Jack Cromwell (Charles Farrell), the youthful son of society snobs, is hopelessly in love with the upper crust Jane Worth (Sharon Lynne), who refuses to marry in favor of remaining in circulation with the fun crowd. After seeing her walking off with another man, Jack drives off his estate in anger. Later that night Jack ends up on the lower East side where he loses control of his car to avoid hitting a child. In a bewildered state, Swenson offers the young man his apartment to rest for a while. As fate would have it, Jack turns up in Molly's apartment instead. After getting acquainted and watching her perform at the block party, Jack invites her and her friends to act as entertainers for their charity carnival. Chapter Three: Feeling she would be out of place, Mary agrees to appear as Jack's guests, posing as a society girl with Eric as butler, Bee the maid and Eddie as her chauffeur. All goes well until vicious rumors circulate about Molly, whose dreams are soon shattered by Jack's proposed decision.

With a bright score by Buddy DeSylva, Ray Henderson and Lew Brown (credited with their surnames only), the motion picture soundtrack is as follows: "I'm a Dreamer, Aren't We All?" (Sung by Janet Gaynor directly to the camera); "You'll Find the Time and I'll Find the Place" (sung by Sharon Lynn); "Pickin' Petals Off Daisies" (sung by Frank Richardson and Marjorie White); "Sunny Side Up" (Gaynor/ reprized by Richardson and White); "Turn on the Heat" (Sung by Sharon Lynn /Frank Richardson/ danced by chorus); "If I Had a Talking Picture of You" (sung by Farrell, Gaynor and children); "I'm a Dreamer, Aren't We All" (sung by Gaynor); "Anytime You're Necht of a Broad Moonlight" (sung by Marjorie White) and "If I Had a Talking Picture of You" (sung by Farrell and Gaynor).

Had SUNNYSIDE UP been a silent, there would be no doubt that "I'm a Dreamer" would have become its theme score. "Sunnyside Up" is a lively tune where Gaynor sings, shuffles and concludes with her jumping over a hat during the 4th of July festival. Being one of the hit tunes of the day, it was later vocalized for its closing to the 1973 comedy PAPER MOON (Paramount) starring Ryan and Tatum O'Neal. "Turn on the Heat" gets the production number treatment at the society party consisting of risqué lyrics and energetic dancing. As for the "Talking Picture" song, it's quite timely, considering its introduction during the advent of "talking pictures." With a considerable amount of movie extras filling out the crowd scenes, look for future child star Jackie Cooper as Jerry Maginnis as the little boy reciting a poem at the block party. The actor playing Joe Vitto, undertaker and master of ceremonies, is enacted by Joe Brown, whose name can sometimes be linked or confused with famed comedian Joe E. Brown. Marjorie White and Frank Richardson are agreeable as the secondary couple supplying fine comedy relief.

While many references label SUNNY SIDE UP with the running time of 81 minutes, it's surprising to find it's actually 122 minutes. In spite of its length, the movie moves briskly and surprisingly doesn't have that primitive appearance as most first talkies have prior to 1930.

Formerly available on video cassette in 1998 by Critic's Choice Video Masterpiece Collection, television revivals for SUNNY SIDE UP have been extremely rare. Aside from limited broadcasts at some local public broadcasting channels in the early 1990s, it became part of cable TV's American Movie Classic's annual film preservation festival that took place appropriately enough in July 1996, and finally Turner Classic Movies (TCM premiere: December 21, 2010). Regardless of its age and "corny" situations, SUNNYSIDE UP is still an entertaining antique. This, along with DELICIOUS (1931), another musical featuring Gaynor, Farrell and Brendel, should be an appropriate companion piece if ever considered as part of a double feature presentation on DVD. (***)

"Sunny Side Up," a major hit in its day, still entertains probably because of the combination of a winsome leading lady (Janet Gaynor), a game director (David Butler) and last but not least an integrated script and score, both created by DeSylva, Brown and Henderson at their creative peak as a trio.

The film opens with a much admired, ambitious crane shot that explores a crowded tenement street, peering into open windows and back out to the cobblestones. Much of the action is stagey and a bit forced, but the spirit behind it is admirable and prefigures a more elaborate and technically slicker sequence in "42nd Street" a few years later. This opening panorama of a certain section of society is echoed later when the action shifts to a garden party at a Southampton Estate.

The sweet-natured story involves a poor working girl (Gaynor) who dreams of pairing with a wealthy high society gentleman (Charles Farrell) whose picture she spots in the newspaper in relation to a charity function. Since this is a movie from the late 1920s with DeSylva, Brown and Henderson songs, her Cinderella dream comes true, making it all the more appropriate that she sing the best song in the film, "I'm a Dreamer, Aren't We All" not once, not twice, but three times, and always to stunning effect despite her weak and wavery vocal chords. She also manages to pull off a dandy vaudeville dance number in a street fair scene. Her leading man, Farrell, fares less well, though he transmits innocence and sincerity as well as a clear and melodious song delivery. Marjorie White and Frank Richardson contribute great supporting energy as pals of Gaynor.

Other outstanding songs are "If I Had a Talking Picture of You" and "Turn on the Heat," the latter a playfully erotic concept wherein Eskimo women are so sexy that they melt their icy surroundings, transforming them into steaming, and eventually flaming, tropics. It is the only big production number in the film, the others being focused on one or two performers in medium close-up.