Dias Felizes

Fanatics will have to see this. People who just like early show business more or less will find much to enjoy with their finger hovering over the fast forward button.

The black face minstrelsy is probably 100% authentic given how many people involved with it in the 19th century were probably associated with this production. The ad-libbing by the Broadway crowd when the plot is being laid out is kind of dull, but may be an authentic replica of how those guys talked. George Jessel is making it up as he goes along and is not at his wittiest. But you get to see how the guys who seemed to be having all the fun dressed, walked, spoke, emoted, and loved each other.

The familiar now obsolete acts are here: burlesque of "high-class" dancers, heavy-accented "Yiddish" monologist, meek man with much taller over bearing wife, and so on. Come to think of it, this stuff never goes away entirely.

Correction to an earlier reviewer: the sets do make sense because if you listen to the set-up the show is in a theater, not on the show boat (remember, Jessel asks the theater owner if his theater is "dark", meaning is it unoccupied so this fund raiser can be presented in it).

It thankfully ends with the entire company taking a bow, and you silently applaud them up in Show Business Heaven.

Fox's all-star musical revue is short on star power, but there are a few terrific numbers here.

The plot revolves around a bunch of Broadway stars who get coerced into trying to save a show boat by doing a benefit show. Of course the sets make little sense as they could hardly fit on a show boat stage, but the minstrel theme (similar to the opening of MGM's all-star revue, THE Hollywood REVUE OF 1929) is used to introduce the various acts.

Among the better known stars here are Fox's #1 romantic team of Janet Gaynor and Charles Farrell, who sing "We'll Build a Little World of Our Own." Gaynor would remain a big star throughout the 30s, but Farrell struggled with his voice and had only a so-so career in talkies.

Victor McLaglen and Edmund Lowe sing a novelty song called "Vic and Eddie." Ann Pennington does a terrific dance to "Snake Hips," which is sung by Sharon Lynn. The dynamic Marjorie White and Richard Keene sing "I'm on a Diet of Love." Frank Richardson sings "Mona." Whispering Jack Smith sings the title song of "Happy Days." Other stars who appear include George Jessel (but he doesn't sing), Walter Catlett, William Collier, El Brendel, Frank Albertson, Stu Erwin, Tom Patricola, Nick Stuart, Rex Bell, Warner Baxter, Will Rogers, Dixie Lee, and boxer Jim Corbett.

Lots of energy here and Marjorie White (in her film debut) probably comes off best. She died in a car wreck in 1935. At only 4' 10" White was a dynamo of musical and comedy talent and had good supporting roles on Fox's JUST IMAGINE and SUNNYSIDE UP.

Of all the studio all-star revues, which often introduced many silent stars to talkies, HAPPY DAYS holds its own with THE Hollywood REVUE OF 1929 (MGM) and PARAMOUNT ON PARADE (Paramount) despite the lack of musical star power.

When the showboat she performs on is threatened with repossession, Marjorie heads to New York where she persuades all the stars there -- which seems to be the list of Fox contract players -- to perform in a minstrel show to lift the mortgage.

Yes, much of it is in blackface. Performers in solo and specialty numbers have the make-up removed, and the last twenty minutes or so is performed without the hated shoe polish. This is a good one, not for the number in which Edmund Lowe and Victor Mclaglen sing about how they really like each other, or for Charles Farrell and Janet Gaynor singing the forgettable "We'll Build A World Of Our Own." But Broadway star Charles MacFarlane has a fine singing voice; Tom Patricola does a dynamite eccentric dance; and to watch Ann Pennington and Sharon Lynne dance "Snake Hips" in very revealing costumes is a treat.

This was the second movie shot in Fox's Grandeur Process, an early 70mm format. Unhappily, the copies at are available are in standard format and rather blurry. But there are some surprising techniques, like a Busby Berkeley shot and extended sequence of single dancers in full body length, well before these techniques became standard.

It's one of those movies that the major studios made in this brief period, showing off their stars in song and dance, whether they could sing, dance or not. Given the inherently mixed bag nature of the genre, this is a pretty good example of the revue format.

This film, which was just another musical in that crowded time of 1929-30, is truly dreadful to experience today. ANY of the musicals done by the other studios during this time would have been better. Charles Farrell and Janet Gaynor do a horrible number guaranteed to rot your teeth from all the sugar. Why Fox insisted on putting Frank Richardson in a musical is anybody's guess. A hideous shrieking screeching singer who could give a deaf person a headache. A few of the chorus numbers are okay, but pale next to the work in films like King of Jazz or Show of Shows. This was originally filmed in the early wide-screen process "Grandeur", but now is seen in an old dupe like the vastly superior Just Imagine from the same studio. I like Charles Farrell as Gale Storm's father in My Little Margie, and Janet Gaynor in the terrific A Star Is Born from 1937, but together, they may have been part of the reason for the big backlash against musicals in 1930. They are.......Icky!

I'm a big Marjorie White fan,but as a young actress, on the stage since childhood, and already a big hit in Sunny Side Up, why she agreed to take the part in this one, along with Charles Farrell and Janet Gaynor, I'll never know. On the whole, I find the entire film patently old-fashioned (even for its own time), ridiculously unfunny, except for George Jessel and Will Rogers, and I find it offensive to a great degree, the scene where the guy picks up Marjorie and physically throws her across the room, and the enormous chorus scene of blackface actors just horribly silly. And add El Brendel, the un-funniest comic of his time, and what we end with is a really forgettable piece, insulting, and not entertaining at all!