Bancando o Lord

Since _Movie Mirror_ did a fine job of outlining the movie, I won't go into the plot too much. But there are some odd bits I'd like to comment on:

Everything seems to happen quickly in this movie, with the characters' lives changing every few scenes. Harry and Dolores get engaged to each other almost immediately. Harry instantly becomes a star, and wastes no time in starting up his own restaurant/club. Then, before you know it, he goes blind from some bad whisky. Ahh, to be amongst the beautiful people...

The stage sets in the bigger production numbers are beautiful, especially during the title song, where the backdrop of bobbing buildings is quite surreal. Just imagine what it would have been like, to be in the audience at that moment.

Overall, it's fairly easy to tell that this is an early talkie movie. The actress playing Dolores occasionally looks like she's acting in silent pictures. The shallow plot is strung out by a bad case of "excessive musical number-itis". And Harry's voice becomes increasingly difficult to tolerate/take seriously. But it's a good time, and an interesting point in the history of cinema.

The term puttin' on the Ritz refers to people who have achieved a certain level of success and leaving their old friends and neighborhood behind. Millions have done this in the past, and millions more will do this in the future. This film is just one of those stories, and, unfortunately, is not done very well. If you drink and have sex, you will wind up badly, NO-KAY (reference to Mr. Mackey of South Park intentional). Man moves up from Vaudeville to be a star in nighlclubs and leaves his girl and friends behind. WIll his old girlfriend forgive him and take him back? Who cares, one way or the other. Musical numbers fun; the rest is strictly C movie stuff.

There were a lot of musicals made in the early talkie era of Hollywood, and "Puttin' on the Ritz" is one of the more inept ones. It's a creaky backstage musical where the singing and dancing exists because the characters are theatrical performers, but the musical-within-the-musical is a revue--a variety of melodies unrelated to the outer narrative. Most of the numbers are bland or mawkish. The eponymous "Puttin' on the Ritz" may be the best, but you can see it performed much better in "Young Frankenstein" (1974). There's also an "Alice in Wonderland" tune (reused for the opening of the 1931 adaptation of Lewis Carroll's book), which is jazzy and was probably more appealing in its original two-strip Technicolor (as with the rest of the picture, it exists today only in black and white), but is placed within this narrative as if arranged by Tweedledee and Tweedledum. Among other things, the Alice books are remarkable for their lack of a moral--at least, they don't contain the usual blatant and trite lecture. This is the last big number in a film, however, that is all about blatant and trite lecturing.

Not only is this early talkie blind musically, the filmmaking and acting tend to be tolerable at best and atrocious at worst. "Puttin' on the Ritz" begins with some nice tracking shots, but this seems to be an instance of a popular stratagem whereby a film begins with interesting cinematography or editing to disguise the fact that the rest of the picture is primitively composed. The acting is dreadful, too, including by Harry Richman and Joan Bennett. Poor direction, framing and editing surely did them no favors, either. The line readings are bad, and they often don't even seem to know how to stand or move their bodies naturally. James Gleason is a bit better only because he does his usual schtick. Oh, and the moral is that fame and fortune leads to Richman's character, Harry Raymond, becoming arrogant, as well as a joke to high-society types and a jerk to his former friends. The resolution is ridiculously punitive, although it's a good analogy for the entire production overall being blind.

This was in production for quite a while before it was finally released in 1930 as a showcase for Broadway and nightclub star Harry Richman. He stars as a singer who teams up with blonde cutie Joan Bennett after he loses his job with a music publisher. Eventually they make it a foursome with his pal (James Gleason) and her former stage partner (Lilyan Tashman). They get discovered but the Broadway producer only wants Richman and Bennett.

They become Broadway stars and he opens a swanky nightclub where he pals around with high society swells out for a thrill, especially one woman (Aileen Pringle). Bennett leaves him and goes on to solo stardom in a show that features an "Alice in Wonderland" number. Harry keeps on partying until he gets some bad liquor and goes blind. Will the society babe stick to him? Will Bennett come back? Richman sings a bunch of songs in his strong Broadway voice and is notable in the bizarre "Puttin; on the Ritz" productions number that features two groups of chorus dancers as well as swaying skyscrapers. This number as well as the "Alice" number were filmed as now-lost Technicolor sequences.

The film was a hit at the box office, but Richman's ego scotched any real chances for film stardom.

...but remember that the day was a short one. Harry Richman - starring almost as himself as a crooner whose head grows with his fame - was going through a short period of notoriety as a playboy, not to mention he was a popular singer in his own right with his own club at the time this film was released. Joan Bennett as Delores, Harry's love interest, was still a teenager, just getting restarted in a career that would ultimately span half a century. Then there is James Gleason as Jimmy, who actually wrote the dialogue for this one as well as acting in a supporting role as a love interest to ... Lilyan Tashman??? There's about 15 minutes missing from what's left of this film and I sure hope it's found someday and turns out to be scenes between Tashman and Gleason... Oh the possibilities! Tashman was well known at the time, but Gleason was just getting started in front of the camera with sound giving him a golden opportunity as a character actor and as a character in general.

What makes this one interesting has little to do with plot, or acting or even music, in spite of the fact that the songs were written by Irving Berlin. Instead what is breathtaking is the art design. Made just after the stock market crash and before the Depression took hold, it is an art deco lover's dream. If F.W. Murnau had been making a musical in 1929 it would have looked like this.

Of course, this one will always be remembered for just one number - the title one, "Puttin on the Ritz". Sure it's clumsily choreographed, but the nightmarish scene of buildings and billboards coming to life and swaying to the beat of Berlin's syncopated tune decades before any CGI could add to the spectacle is not to be forgotten.

Then there are more than a few riddles today for which we have no answers. Why, when Goldie and Jimmy visit at Harry's Christmas party full of society swells are they wearing matching fur hats and plaid coats? Are they married, if so when did they get married? Why is Delores such a big hit in her own show at the end of the film when all she does is skip and wrinkle her nose with delight during a number about Alice in Wonderland while the chorus does all of the actual singing and dancing? Why would anyone ever believe that the incredibly talented Joan Bennett was a viable singer in the first place? Harry Richman's character is Harry Raymond, yet the neon sign on his club is shown as "Club Richmond". Did they change his character's name and not bother to re-shoot this probably expensive shot of the exterior of the club thinking nobody would notice? Again, if only we could find the missing 15 minutes of this film, maybe some of these questions could be answered. Watch this one for its cast at strategic points in their careers, for the title number, for the spectacular art design, and for an object lesson in the host of problems that plagued so many back-stagers such as this at the dawn of sound.