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."

Along with DANTE'S INFERNO and THE MERRY WIDOW also made in 1934, I think this film is the reason the censorship Hays code was rigidly enforced in Hollywood for the next 30 years. Deleriously vulgar and immoral in every scene, all set in a sensational nightclub for all ages and kinky tastes, each leering winking and squabbling, all set to foxtrots and waltzes re-imagined by Busby Berkeley and climaxing with the most hilariously offensive musical number of all time: Going To heaven On A Mule. There's no point explaining it or any other of the screwy dance numbers...including the leather clad S&M themed whipping (and murder) tango by "Inez and Harry"...complete with loud cracks of the whip across the gorgeous face of the awesomely beautiful Delores Del Rio. Someone at Warners must have decided to create a shopping list of production possibilities directly from the planned Hays code of banned themes. It just does not stop being deliberately immoral vulgar and hilariously rude for all of its 88 minutes. I loved all 189 minutes of it because I kept re winding so many bits over and over just to gasp between laughs at the blatant unstoppable cheerfulness of it's violations. All in the most glamorous setting and style imaginable. The orchestral score is excellent - and I have an LP from the 70s with GO INTO YOUR DANCE on the other side. It is created directly from the soundtrack so there is plenty of dialog as well. WONDERBAR is CABARET 1934 for real. Wait 'till you see the epic musical sequence called Don't Say Goodnight where a squadron of negligee clad showgirls dance around massive moving 'pillars' that have big veiny patterns weaving down from the top. That is in between floating past the camera, lit from behind so we can see how sheer their garments are. The scene where two turkey -like old dames ditch their husbands and together pick up the one gigolo (planning a threesome) is a screamer...he clinches the job with the incestuous note "You remind me of my mother" to which they very happily go for him.... and this is all just starters! On top of all this is Al Jolson leering and bellowing, all lustful and creepy... not too much a stretch for Joel Grey in 1972 singing Wilkommen and getting an Oscar! Find WONDERBAR and show it to everyone you know! Colossal and bent as all hell... to music. Read the other comments on this site for the story and viewer outrage. Haha!

In the series of Warner Bros/Busby Berkeley musicals stretching from 42ND Street to Varsity Show, Wonder Bar remains the least appreciated (and perhaps the least seen). It's quite remarkable in that the plot, aside from a few opening scenes, keeps "real time" and relationships begin/end, lives are lost, and and all sorts of minor dramas are tied up neatly in one evening at a nightclub.

Al Jolson, as the club owner, takes some getting used to, but he's actually more low-key than usual here--and even a bit touching in scenes. And how fabulous do Kay Francis and Delores Del Rio look in this film? Who cares if they can't act--they do lots of radiant posing and wear gorgeous outfits. There are some bits with Louise Fazenda and a much younger man that left me gasping. The brief (and very funny) "gay scene" and hunky Ricardo Cortez whipping Del Rio also had me shaking my head in disbelief. Anyone care to count how many censorship Code infractions are contained in this film? It raised a stir with the Catholic church and Legion of Decency, and I've read a memo somewhere that some audiences reportedly were appalled by the goings-on in this movie (it was a hit though--grossing nearly a million dollars for the studio).

If you're reading about this movie you already know about the musical numbers--"Don't Say Goodnight", with its octagon of mirrors and chorus stretching into infinity, and "Goin to Heaven on a Mule", with the blackface angels and dancing watermelon. "Mule" is beyond belief--it must've been a killer on the big screen. Viewers are still offended by it, and certainly should be--all it is missing is a Grand Dragon.

A witty, fascinating, naughty, beautifully photographed film. If 42ND Street is the king of the WB/Busby Berkeley crown, Wonder Bar is the banished, scandalous cousin that is inevitably more fun.

...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.

WONDER BAR (First National, 1934), directed by Lloyd Bacon, is a perfect example of a pre-code movie that dares to be daring and surprisingly different. It's one of the most elaborate musicals to star Al Jolson, with choreography by the Million Dollar Dance Director, Busby Berkeley.

Jolson, in his first Warner Brothers musical after a four year absence, fits his role to perfection as Al Wonder, entertainer and proprietor of The Wonder Bar night club in Paris. In a plot set in a single evening (as does Universal's forgotten 1932 drama, NIGHT WORLD starring Lew Ayres and Mae Clarke, with Boris Karloff as the night club proprietor, which featured one brief Busby Berkeley production number), Al loves the star dancer, Ynez (Dolores Del Rio), who loves her partner, Harry (Ricardo Cortez), but he is carrying on an affair with a businessman's wife, Liane (Kay Francis), etc. Also in the cast are Dick Powell Tommy, the band-leader and singer who also loves Ynez; Robert Barrat as the suicidal Russian; Hugh Herbert and Guy Kibbee as married drunk American businessmen who flirt with a couple of gold diggers (Merna Kennedy and Fifi Dorsay), while their wives (Ruth Donnelly and Louise Fazenda) try to make a play with a young Frenchman. Interesting that this movie includes so much plot and subplot in its tight 86 minutes that director Lloyd Bacon succeeds in keeping the story moving in between songs.

WONDER BAR features some very risqué dialog and scenes that would have kept this movie from being released had it been distributed to theaters after the Production Code enforcement in May 1934. Maybe that's why WONDER BAR played sporadically on local television back in the 1960s, and disappeared before the end of the decade, making it as underplayed as the excellent back-stager 42nd STREET (Warners, 1933) was overplayed. Good tunes by Harry Warren and Al Dubin include "Vive La France," "Why Do I Dream Those Dreams?" and the instrumental tango dance titled "Tango Del Rio." One of the highlights include the production number: "Don't Say Goodnight" (sung by Powell), featuring dancers with overhead angles, which is so mesmerizing to see and tuneful to hear, even at ten minutes. But while the 12 minute Jolson finale, "Goin' to Heaven on a Mule" might offend today's viewers, it is quite a production number just the same, inspired by Marc Connelly's "The Green Pastures," which needs to be seen to be believed. Participating in this number is Hal LeRoy in a brief tap-dance sequence.

While Al Jolson is hailed as a great singer but poor actor, which is evident in some of his earlier film roles, notably SAY IT WITH SONGS (WB, 1929), I feel his acting has improved with this one, and the subsequent roles that were to follow, and he looks more at ease making wisecracks and singing to an audience than giving tearful performances, especially in black-face. His argumentative scene with Ricardo Cortez, in which they play rivals who hate each other, looks so real that maybe they actually hated each other off-screen. When Cortez as Harry puffs cigarette smoke in Al's eyes, it appears as if Al really wanted to sock him. One wonders how WONDER BAR was behind the scenes amongst the other cast members.

WONDER BAR is available for viewing on Turner Classic Movies and video cassette. A record soundtrack to this, double featured with songs from GO INTO YOUR DANCE from the late 1970s, would be an interesting find today. (***)