Wonder Bar

"Wonder Bar" is a good musical from 1934 which held my interest throughout the course of the film. The comedic sequences were fine and Busby Berkeley's choreography was very good, but not quite up to the standards he set in such films as "Gold Diggers of 1933." The sequence where is Al Jolson is in blackface and goes up to heaven is a bit dated, but the film was made in 1934 and one must keep that in mind when viewing the film.

One reviewer take issue with this film calling it "a bad movie," which it is not. The review goes on to discuss "the second huge production number will likely make politically correct folks explode! It's because it's a super-offensive blackface story where the characters are all walking embodiments of the worst stereotypes about black people." According to Wkipedia, Black people were not all that offended by Jolson's use of blackface. Film historian Charles Musser writes "In an era when African Americans did not have to go looking for enemies, Jolson was perceived as a friend."

Entertaining musical all taking place on one evening at the swanky Paris nightclub "Wonder Bar", the film following the stories of several different characters including headline dancers Inez and Harry (aka "the gigolo"), a well-to-do woman (Kay Francis) who has paid for "dance lessons" from Harry with a diamond necklace (now being investigated by her husband and the insurance company), orchestra leader/singer Tommy (Dick Powell) who is in love with Inez, a man who spends the evening giving away all his possessions before his planned suicide of driving over a cliff, two drunken American businessmen (in "Nuts and Bolts") on vacation with their wives, a Russian Count, and at the helm of it all - Al Wonder (Al Jolson), club owner who likes to deliver rather silly one-liners as he oversees and sings sometimes too.

Al loves Inez, Inez loves Harry, the two businessmen are busy chasing after two hostesses/gold-diggers, and their wives are happily pursued by another young nightclub gigolo. All of this is inter-mixed with a selection of musical numbers including a very entertaining dance number in which Harry and Inez dance surrounded by a bevy of platinum blondes and masked men, all dressed in black and white as they flow around the mirrored art deco set and dance floor, and are shown dancing in overhead, Busby Berkley-directed style kaleidoscope effect - cool! Other numbers include "The Gaucho Dance" (reminiscent of Valentino), and the big finale which is possibly the most politically incorrect, jaw-dropping musical number ever filmed featuring Al Jolson in blackface who heads to heaven complete with an entire entourage of dancing angels in blackface, "Pork Chop Orchard" where pork chops grow on trees, "Watermelon Palace" with watermelons free for the taking, "Uncle Tom To-Nite" sign, craps dice, and tap-dancing number in front of waving watermelon slices.

All in all though, this film is quite enjoyable, light fare with enough stories to hold your interest, and the glitz and glamour of what appears to be a very fun-to-go-to hot spot full of well-heeled patrons in gorgeous gowns and tuxedos. I always enjoy the performances of Kay Francis and she is just fine in this, although she's not really given very much to do - same with Dick Powell, who has a small, rather bland role in this film. Guy Kibbee as one of the American businessmen and sidekick Hugh Herbert, as well as Ruth Donnelly and Louise Fazenda as the wife who likes the attentions of a younger man add quite a bit of humor to all this. Definitely worth a look.

...and a great film come-back vehicle for Al Jolson. This film was released on March 31, 1934, just three months before the production code began to be enforced. As such, it is a buffet of items one would never see on film again in the U.S. until the 1960's - adultery as comedy, gigolos, a pair of men dancing with Jolson making the remark "Boys will be Boys", a dancing act involving a woman being whipped, what amounts to house-sponsored prostitution to keep the Wonder Bar's male patrons amused, a suicide that everyone knows about in advance and nobody bothers to stop, and a murder that goes unpunished and even undetected for that matter. However, this film is much more than just a last hurrah for the pre-code years, and I found it quite enjoyable. It is an intersection of Grand Hotel, the world's greatest entertainer, Al Jolson, and that genius of choreography, Busby Berkeley, with plenty of action and snappy dialogue to keep things going.

Of course, it is very ironic that the one part of the film that leaves everyone shocked today is probably one of the few things that the Hays Office had no problem with - that well-known musical number "Going to Heaven on a Mule". It is exactly what you would expect when the over-the-top style of Busby Berkeley's choreography meets the minstrel tradition of Al Jolson's musical style. Every racial stereotype in the book is in this musical number, and it was omitted on the VHS release of this film but was kept in the laser disc Jolson set. That's probably because laser disc was seen as specialty product whereas the VHS release was seen as something for consumption by the masses. The Warner Archives is also seen as a niche market, so the number is included in that DVD-R release. I am glad of that, because the present will never be made better by trying to erase or adjust the past, no matter how uncomfortable it may make people feel.

Highly recommended as great classic movie fun, if you can just remember that this film was made in 1934, not last week.

This is a helluva time, riotous precode stuff—perverse entertainment according to some. The Code was invented for just such a film, though thankfully not in time for it, to rob us of pleasures that someone thought would destroy the common fabric if indulged too often.

It's the Depression, though the film takes place in Paris so as not to offend. The film is by the 42nd Street/Footlight Parade team, so a show about a show being staged. The entire film is one long night of song and revelry in Al Jolson's Wonder Bar.

It would be far fetched to claim this as intentionally analogous to the times. In a way, however, it can be said to parse out from and abstract—in the dreamlike way of Hollywood—a certain kind of Depression-era experience.

What has happened from the perspective of the commonfolk in the audience, is that whimsical gods have decided to throw a crank in the gears of the world, snapping order and mechanism—anything goes for a while. In stark reality, this means bread lines and hobo trains.

Here are some of the situations that develop in the story: adultery, theft and all sorts of deceit and secret drama, what amounts to owner- sanctioned prostitution both male and female, a homosexual couple freely dance together, a man who all through the film insinuates suicide and no one bothers to stop him.. and get this, murder goes unpunished and doesn't even weigh on anybody's conscience.

Instead of being made to feel horror and desperation at this snapping of order, we have a grand time. The focus is on us being entertained. This is of course not uncommon for musicals of the time, in fact it is the very engine of it—the show must go on. Here, however, we have Gold Diggers of 33 grinded out through the dionysian wringer.

How about the actual show? Busby Berkeley is here, and that means gaudiness, scope and sensual razzmatazz. I so love the man, at least in those brief years when inspiration was still fresh. There are two numbers here, the first as you expect it; fresh women, body-particles which contrary to shapeless reality, up on the stage form abstract—erotic— order, vaginal molecules that swirl and shudder and blossom fruits in our imagination.

Now you would expect, as was the norm in the 'backstage' mode, the big number to somehow address the situations, a kind of visual situation of situations. It's why I think this mode matters and have been surveying it, quite apart from the pleasures of frill and song.

Here's where it gets really interesting.

The last number once more has Jolson in blackface and was deemed so vile this one, it was excised by censors from future prints. Now Jolson has been scheming all through the film, as the proprietor, to win the affections of his star, not unkindly mind you, but it leads to some nasty turns. Jolson's character—who would be feeling pangs of guilt in normal reality—in his disguise as humble godfearing tom, goes to heaven on a mule; he is mirthfully greeted there by angels in blackface, kids playing banjo, a chorus of happy souls swirling in the clouds.

God, this is great. Jolson as the great manipulator is reprieved from wrongdoing, two layers here: in his mind and imagination, as having conceived the show, secondly in the public mind, in the show being shared for the enjoyment of an audience both in and out of the film, and in its dazzle of course eclipsing in lasting impression the events of the plot.

You think I'm reading too much? Keep in mind I am always observing dynamics, not deciphering intent.

You will notice that the number is linked and flows out from a previous number ('Gaucho'), where reality seeps into the dance in the form of violent passion and the audience applauds, sanctifying the amoral mechanics of illusion. Dolores del Rio as the voluptuous object of desire looks ravishing, everything happens for her eyes. Imagine: she ends in the arms of meek, boring pretty-boy Dick Powell.

Anything goes—a musical Mabuse of sorts, but the manipulator of cinematic illusion walks away instead of as in Fritz Lang's film, succumbing to madness and police. We applaud, blessing his powers of seduction over reason.

Something to meditate upon.

I love "Wonder Bar." I love it in all its vulgarity and I even love the "Goin' to Heaven on a Mule" number despite Busby Berkeley's seeming determination to include virtually every ridiculous racist stereotype of Blacks. "Wonder Bar" seems to me to be one of the few Berkeley movies (like "Gold Diggers of 1933" and "Footlight Parade") whose plot is genuinely interesting and entertaining in itself and not just an excuse to set up the spectacular numbers. The alternation between drama and comedy which bothers some of the other reviewers is one of the best things about this film; it gives it a contemporary quality even if some of the numbers badly date it. Lloyd Bacon's direction is unusually stylish for this generally hacky filmmaker, the Harry Warren/Al Dubin songs are at least serviceable and sometimes better than that, and though Warners was dubious enough about Al Jolson's continued popularity that they surrounded him with an all-star cast (Dick Powell, Kay Francis, Dolores del Rio, Ricardo Cortez), he triumphs.

One thing I've always loved about Jolson is that -- unlike Eddie Cantor and other contemporaries, who sang in blackface exactly the way they sang in whiteface (viz. the Cantor/Berkeley "Whoopee!") -- Jolson didn't. In his whiteface number in "Wonder Bar," "Vive la France," Jolson's voice is a shrill high tenor with an annoyingly fast vibrato. His singing on "Mule" is in an almost different style: he drops his register, slows down his vibrato, sings from deeper in his chest and genuinely tries for -- and, I think, achieves -- the simple, direct eloquence of the Black singers of the time. Whatever you think of Jolson's blackface act (and I'll admit it dates VERY badly), blackface liberated Jolson and freed him to sing in a deeper, more soulful style. One could make the case that Jolson did for Black music what Benny Goodman and Elvis Presley did later -- as a white performer he could reach audiences Blacks themselves couldn't -- and Jolson actually did it twice, in the 1910's when he got his start on Broadway and the 1940's when the success of "The Jolson Story" launched his comeback. White audiences tired of the bland "crooners" of the early 1940's seized on Jolson's direct, ballsy style, and his comeback paved the way for other Black-influenced white singers like Frankie Laine, Johnnie Ray and Elvis.

Also, if you'll dig out your copy of the "O Brother, Where Art Thou?" soundtrack CD and listen to the 1928 recording of "Big Rock Candy Mountain" by Harry McClintock and you'll find that the fantasy of heaven in the "Mule" number isn't all that different from the one in this song ("where the hens lay soft-boiled eggs ... and they hung the jerk who invented work") by a whiteface performer aimed at a white audience. O.K., so no one would dare do a number like this today, but "Mule" is still astonishing and, despite the patronization, worthy to stand as the one Jolson/Berkeley collaboration.