Houp là

This is one of my favorite movies from Clara. She shows her usual yet incredible range of emotions perfectly blended to her character, Lou. Although a beautiful performance by Clara, the movie seems somehow restrained, not being as heart-stirring as some of her silent performances. It is unique, though, in the fact that Clara seems to have shed much of her "IT" girl image that was so evident in her later silent films. All-in-all, a beautiful performance by Miss Bow and a deliciously intriguing story line.

A brazen fairground dancer finds herself falling for the son of the show's manager after accepting $100 to make him fall for her. Clara Bow's final movie sees her give a winning performance, even though her brassy showgirl is no romantic fit for Richard Cromwell's wet-behind-the-ears youth. The movie starts out strongly, but becomes increasingly formulaic as its story unfolds. Worth watching just to see the fat lady being loaded onto the train!

Carnival manager and barker Preston Foster (Nifty) is going with Minna Gombell (Carrie). When his son Richard Cromwell (Chris) shows up on summer break from law school, Carrie gets the air since Nifty wants to keep his son away from the evil influences of carney life and people. Carrie then pays Clara Bow (Lou) to seduce the son in revenge, but she falls for him.

Nice carney atmosphere but few carnival acts besides Clara Bow's 'Egyptian' dancing. Her costume working the Chicago Worlds Fair midway shows even more of Clara Bow then her nude swim.

Very few performers can take an ordinary or above average script and make the movie stand out and make you want to see it again. I think Clara Bow was one of the few actresses that had that ability- not just with this film (and this story arguably centers around the father-son characters, not Clara's), but many of the others throughout her career. Without Clara in the part of Lou, this is just an average pre-Code film that would have been long forgotten (they certainly weren't trying to put anything by the censors in this one- a skinnydipping scene, Clara undressing, and Nifty's girlfriend upset because she can't spend the night with him because he doesn't want his son to know- by 1935 the Hays Office would would not permit any of this on screen). Watching her seduce the naive son of the carnival barker was fun to watch, as was the scene when she gets busted by a cop and a father for conning a ring from another young man. Hoopla does provide an interesting glimpse into carney life and rail travel in the early 1930s. The supporting cast is fine, particularly Richard Cromwell as Nifty, but I think with a little more effort on the writing and direction this could have even better.

Although this may be one her better sound films, I wouldn't rate it at quite at the same level of Clara's best silent films, It and Mantrap, but it's still enjoyable. Clara clearly thrived in the silent environment and some have said that dialogue and the the constraints of the early sound stages restricted the uninhibited It girl. Maybe so, but I would argue that much of that can be attributed to the average material she was given to work with. This actress was capable of much more if she had been cast in better roles throughout her career. According to her biographer, Clara was not enthusiastic about making Hoopla, she just wanted to get it over with so she could fulfill her contract to Fox and retire. Regardless, if you are a Clara fan or just a fan of pre-Code films, odds are you will enjoy this one. I know I did and will watch Clara again and again!

Despite lucrative offers from the big studios, Clara Bow had already decided to quit the movies by the time she made this. With CALL HER SAVAGE she had proven she was a good actress so just went through the motions with this to fulfil her contract.

Fox Film didn't seem to know what they were doing in 1933 other than to try anything to keep going and make money. They bought the rights to a successful play called The Barker starring Walter Huston as a carnival barker. That play also had Claudette Colbert in a minor role as a tarty carnival dancer who seduces the barker's son and Fox switched the emphasis from focusing on the barker to the dancer so they could showcase, for the last time their cash cow, Clara Bow.

The revised story still allowed the character of the father, played with empathy and emotion by Preston Foster to develop into a real person whom you can care about. Apparently Fox tried to get Walter Huston to reprise his role from the stage production; had that come off, this may have turned out to be something very special but Foster does a reasonable job. His role however was diluted by the greater screen time given to Clara Bow. That whiffed a little of desperation by having their star constantly undressing and putting her in the scantiest of scanty outfits. They were getting their money's worth from her before she retired to live on her husband's ranch in the mid-west. Whilst one one hand it's a shame to see how she allowed herself to exploited for blatant titillation, it has to be admitted that her final 'Snake Hips' outfit is the stuff that young men's and indeed old men's dreams are made of.

The story might have worked as a play but not as a film. It's impossible to believe that any of this nonsense could happen. It's also impossible to believe that anyone as wet and pathetic as the son character could exist, let alone that Clara Bow's firecracker character could fall in love with such an utter drip.

It's sad that after CALL HER SAVAGE, in which she was fantastic, Fox didn't give her something as good to go out on instead of this. HOOPLA isn't a bad film, it's made well, acted well but hardly a fitting end for such an icon of cinema.