Alice in Wonderland

This film opens up with a catchy theme song, written by future Oscar winning composer, Irving Berlin. Then things start to fall apart from there. Alice looks about 30 years old, but after looking closer to the cast list, it turns out Ruth Gilbert (Alice), was actually 19 in this film. In the original novels, Alice is explained as between 7-8 years old. In the 1951 Disney classic, she looks about thirteen. I always assumed Alice would be an average of 10-15 years old in these films, from what I have seen in the 1951 classic. So when 19 year-old, Ruth Gilbert, looks 30, playing a 13 year old, that means, we are back to low-budgets, bad make-up and bad costumes. This is where the trouble begins with this film. Alice in Wonderland (1931), opens right up with Alice, already in Wonderland. There is no scene in the beginning of the film, explaining why she falls asleep. She is just there already.

This is the first talkie for the character of Alice. An interesting, early attempt at breaking the fourth wall, has Alice talking to the camera/audience, with a blithering speech, that makes no sense. The use of the camera is primitive, even for 1931. You can tell the crew was inexperienced with sound film. Sound film was in its fourth, full year of use in the film industry at this point. The B-Team, low-budget crew, hired for this film, allowed the camera sound noise to be heard in the background of the film. Alice's first shot at a sound film has most of her dialogue muffled by camera gears grinding in the background. The audio in this film is bad, even for 1931. The poor audio issue is very distracting and adds to the fact that this is a badly made movie. I was wondering why this film had such a low rating. Now I know.

The entire film production is low budget, looks amateurish and shows the inexperienced nature of the crew. The use of the camera is archaic at best. This is a film by a low-budget, independent film company, named Metropolitan Studios in New Jersey. The film did not do well at the box office and was panned back in 1931 too. Now comes the stage acting. The Cheshire Cat is a dude, in a bad costume, with bad make-up on, who keeps screwing up his lines. For being the moment when sound film was finally here, so the filmmakers could take advantage of all that new dialogue and all those new plot points, which were things they couldn't do in the silent era, they fumbled the ball badly, in Alice in Wonderland (1931).

This first sound film strip of Lewis Carroll's literary classic can be seen as a B-movie attempt even by the standards of the time, but the film was definitely shot on a very low budget. The unknown actors, the still inexperienced director and the incomplete craftsmanship behind the scenes are undermined in their effect by the madness of the visual design, because: The costumes and scenery are, also due to the often taken frontal shots and the interspersed songs, today probably the Stuff little devils were made of. Creepy masks, grotesque and not just cheap-looking backdrops, as well as the facial expressions of the leading actress Ruth Gilbert, consistently take the viewer on a historical-cinematic journey through time in images that could be recycled in places into nightmare sequences of modern films today. It's a pity, of course, above all, the severely slimmed down version of the original novel, which hardly gives the actors and those working in the background air to breathe original air. In principle, one has to state that hardly a book page was left unturned to squeeze this story into just over 50 minutes of film. This film is above all interesting, due to its historical side effects, it - and above all its promo pictures - triggered a real Alice hype in the then cosmos of theater and cinematic acting. However, Bud Pollard's version of the story itself could not benefit from this long-term effect and in cinematic fashion this picture finds its long-term effect above all through the nature of the shots and the crazy and terrifying costumes. If you plan to write a book about the history of the Carroll film adaptations, you should take a look at this film, because the strip has its place in this series. But looking in for fun would not do justice to this period photograph and such a project would only be very promising if you use historical glasses with lenses cast from a love of cinema. All in all a piece of contemporary history, but paradoxically not a big hit for the cinema itself.

The first sound version of ALICE IN WONDERLAND exists in a shoddy copy, with fuzzy details, an echoing sound track, and performers who seem to be reciting their lines instead of performing them, even when they are not doing Lewis Carroll's butchering of popular children's songs of his era. The characters are made up for pantomime, as they typically were on stage and in the movies, but Bud Pollard's cast of unknown and forgotten performers aren't much fun. You can skip this one.

Apparently, this is the first talkie transmutation of Lewis Carroll's "Alice in Wonderland" to screen. Most others seem to rate this version relatively low, but it does surprisingly well in one important aspect of adaptation: retaining and cinematically translating the nonsense. Of only two years later, Paramount's 1933 iteration is good example of how stilted Alice movies can be. Sure, this low-budget 1931 film is a creaky early synchronized-sound film, has poor production values (the Mock Turtle part looks especially lousy), isn't particularly faithful to the source (e.g. a love affair between the White Rabbit and the Duchess), and the acting is atrocious, but it moves at a brisk pace and without the hindrance of ever appearing to take itself seriously. Indeed, for the first time in film history, the spectator heard some of Carroll's nonsensical wordplay to go along with the picture's visual imagination.

Setting the pace and tone from the start is a jazzy tune by Irving Berlin during the credits and opening shots, which is recycled from "Puttin' on the Ritz" (1930). Relatively rare for an early talkie, another early scene features a score as Alice's image is stretched and shrunk while staggering beside giant mushrooms--the film's only reference to the character's growing taller and smaller from the book. The picture jumps right into Wonderland, too, without the preamble of it being framed as a dream--although, of course, it still ends that way--or of her following the White Rabbit. Alice even seems to be breaking the fourth wall without a direct address to the audience with the first words spoken in the picture. The primitive special effects have a charm to them, as well; these include spinning images, use of distorting lenses, blurred images, superimpositions, iris masking, stop-substitutions and dissolves. Also somewhat unusual for a film from 1931, the camera movement has zing to it, including beginning shots with quick adjustments to focus on a character. There are many of these during the Mad Hatter's tea party, with some seemingly employed to disguise the editing, as though the camera is flowing between characters in a continuous tracking shot of their conversation. The only thing I think needlessly slows down the proceedings are the fade outs between episodes. Regardless, thanks to its pace of shot succession and scene dissection, the average shot length here of 9.75 seconds (my count) is good for a 1931 talkie.

Moreover, while the acting is generally poor, including actors looking off in strange directions (the Duchess and Alice not looking at each other while talking in one scene stands out), the Cheshire Cat stumbling through his lines, and some awful singing, everyone appropriately plays it light. Alice adaptations after the Disney cartoon tend to focus on the frightening aspects of the story, and some are decidedly more for adults than children, so it's refreshing to see this brisk early talkie have fun with the nonsense. Ruth Gilbert does a good Alice, too, in the respect that she plays the wide-eyed, slack-jawed and excitable dumb blonde part well. That Alice seems to be having fun makes all the difference.

This quickie version of the children's classic shot in New York doesn't actually compare that badly with the mess Paramount made of it a couple of years later, and achieves a fair degree of the book's wit and certainly its strangeness; which the cheap stylised sets if anything enhance. Director Bud Pollard does his best to embellish things with occasional optical and editing effects; although for most of the rest of the time his blocking of the action leaves something to be desired.

Against this ramshackle backdrop nineteen year-old Ruth Gilbert's good-humoured, gurgling-voiced Alice carries the film rather well; although looking nearly as bizarre to modern eyes as the rest of the cast in her obvious platinum-blonde wig and vampish Lily Munster makeup.