Au pays du rêve

I watched this movie because I wanted to see what Marion Davies could do in a comedy, which is supposedly what she did best. She was an attractive woman, with - at least on screen - a pleasant, unpretentious personality, so I figured she might indeed do well in comedy.

But this script, by the much admired David Ogden Stewart, gives her nothing to work with. She delivers her lines ok, but the lines are so uninteresting that I don't know what Helen Hayes could have done with them.

Davies has to dance, and she's passable but no better. But then, no worse than Crawford or some other actresses of the era who were given dance numbers. Davies has to sing, and again, she's not bad, but nothing special.

In short, this movie doesn't make a case for Davies as an actress in comedy. It doesn't make her look bad, but it doesn't make you think she was a great comedian, either.

For me, the best thing, the only really good thing, in this movie was Bing Crosby's delivery of some of his musical numbers, in particular *Temptation*, a great song that he brings off very well. The other musical numbers, like the script, are bland and forgettable.

I'm surprised that Hearst, with all his money and power, couldn't have seen to it that Davies had better material. But then, perhaps the problem was not with her but with him: maybe he couldn't tell if a movie script was good or bad and imposed bad ones on her.

Beautiful blonde French teacher Marion Davies (as Sylvia Bruce) quits her job to pursue radio crooner Bing Crosby (as Bill Williams) to Hollywood, where Mr. Crosby is going to star in a motion picture. In Los Angeles, Ms. Davies moves in with new pal Patsy Kelly (as Jill Barker), who thinks Davies could be a movie star "better than Norma Shearer." Good one. Davies continues to swoon over Crosby, who is only has eyes for French co-star Fifi D'Orsay (as Lili Yvonne). Which of the dueling damsels will win Crosby's heart?

A fine supporting cast, director (Raoul Walsh), and budget make this is a pleasant Bing Crosby musical masquerading as a Marion Davies movie. Two of Crosby's Brunswick 78 RPM recordings were hits: sung herein to Sterling Holloway, "Beautiful Girl" reached #11; the best film song "Temptation" went to #3; and, the big production number "We'll Make Hay While the Sun Shines" peaked at #8.

"Three Radio Rogues" singing impersonations are also highlights, with Jimmy Hollywood managing Kate Smith's "When the Moon Comes Over the Mountain" with uncanny ease. Mainly, though, it's Crosby's show.

***** Going Hollywood (12/22/33) Raoul Walsh ~ Bing Crosby, Marion Davies, Fifi D'Orsay, Patsy Kelly

French teacher Sylvia Bruce (Marion Davies) teaches at an exclusive boarding school for girls where all of the other teachers are decades older than she is. She's restless and dissatisfied with her sterile environment. Then one night Sylvia turns on her radio and hears crooner Bill WIlliams (Bing Crosby) singing. He makes her feel alive again, so she packs her bags and leaves the school.

Sylvia ends up on the train to Hollywood that Bill is taking as he is going to make a movie. Not only does she tell Bill how much his singing meant to her, she declares her love for him. They don't know one another, they've never even met. The best way to describe her is a weird stalker character. Even though Bill has expressed dismay at her declaration and is obviously keeping company with the French actress of the film, Lili Yvonne (Fifi D'orsay), Sylvia still pursues him.

At first she gets a job as Lili's maid. When that doesn't work out she follows him to the studio and gets a job as an extra so she can get close to him that way. In the 21st century this would be a neo-noir with creepy music to match Sylvia's creepy behavior. I would bring up "Fatal Attraction" as a comparison, but at least there Michael Douglas was initially attracted to Glenn Close's character and did make the first move.

The plot is thin in this one - there's a pedestrian radio act inserted into the middle of the film that goes on interminably, probably just to pad the running time so it gets past an hour.

What's good about it? There are several great standards sung by Bing in top vocal form - "Beautiful Girl", "Temptation", and "Going Hollywood". Ned Sparks is great as an ascerbic director. Stu Erwin is the financial backer of the film who seems to be his normal passive self until he surprisingly finds his voice late. The production values are top notch - It's just that horrible plot!

I guess that in 1933, like now, wads of cash can cover a multitude of sins, and they sure covered William Randolph Hearst's sins in thinking he knew much about the art of motion picture making.

Spirited young teacher leaves uptight girl's school for fame and fortune in Hollywood.

I tuned in to catch the legendary Marion Davies, WR Hearst's (Citizen Kane) favorite squeeze, and was generally impressed even though the movie is unexceptional. She's got some natural charisma, and can dance and act as well as most musical performers. So this is not a case of a rich Daddy Warbucks making a silk purse out of a no-talent.

The movie itself is expensively produced with a couple impressive dance numbers (e.g. the massed train station), plus a youthful Crosby crooning at his most tuneful. But except for the torchy Temptation, the selections themselves are pretty forgettable. Nonetheless, the many behind-the-scenes look at movie sets remains fascinating. At the same time, macho director Walsh and noir producer Wanger may seem odd choices for the production end of a musical, but this is still early in their respective careers.

Speaking of directors, Ned Sparks who plays the raspy director in the movie appears to have swallowed a lemon and followed it up with a load of sandpaper, providing much of the comedy relief, along with a young Patsy Kelly. But funnier than anyone without even trying is D'Orsay's cartoonish French siren. For cultural historians, there's the guy mimicking radio personalities of the day, making an informative and entertaining novelty act. But I can't help noticing a couple of Davies', shall we say, unusual costumes—one is so fancy, it looks like the crinoline is swallowing her, while the other resembles a big furry snow cone minus the snow. Good thing the rest of her wardrobe is 30's conventional.

All in all, it's a good glimpse back in time, even if the musical end lacks staying power.

Bing Crosby truly was the quintessential vocalist of his time. I strongly recommend Gary Giddins bio on Bing; an excellent reference.

Anyway, the story may be weak in this film, but the songs and Bing's clear baritone voice make up for it.

An interesting tidbit about this film: Of course Marion Davies was W.R. Hearst's mistress, and Hearst financed the film. Ms. Davies thus took full advantage of the situation by showing up for filming at 10 AM, shooting a scene or two before a four hour lunch replete with all the catered trimmings and wines. The day wound down by 4PM.

It's no wonder it took six months to shoot this film in an era when the typical film was shot in 2 weeks!