Bright Lights

Joe E. Brown is usually just annoying, but in "Bright Lights" he is often annoying but he is also frequently amazingly impressive, both as an actor and especially as an acrobat.

He has a lot of fairly moronic dialogue, as the star of burlesque and later Broadway, and, worse, as the character who is a performer. Sorry, but most of his allegedly comic routine is more silly than funny.

Ann Dvorak, on the other hand, is not only more beautiful than usual -- and that's saying a lot! -- but she displays dancing ability I've never seen before, and with really attractive legs, and that gorgeous face expresses more emotions than most other actresses I've seen in a while.

She has impressed me for years but, in this performance, she just steals my heart, captures my imagination, and assures my eternal admiration.

In many ways, this is a routine programmer, but Ann Dvorak makes it memorable, and one to watch again.

Brown was a big comedy star of the 1930s, not as well remembered today as he should be. His career slowed down after WW II and he's best remembered now for his co-starring role in Some Like It Hot. But in the 30s he was big. Too bad he made all those sports comedies like Alibi Ike and Polo Joe. They all blur together because of their sameness.

Bright Lights (1935) is perhaps Brown's most physical comedy. The former circus player uses his great acrobatic skills (even at age 43) in this movie about the heartbreaks of show business. He plays a small-time burlesque player teamed with his wife (Ann Dvorak) who gets discovered because of a runaway heiress (Patricia Ellis). They get into a big Broadway show but at the last minuted Dvorak is out and Ellis (big headlines) is in. Familiar plot.

But what is so special about Bright Lights is that Brown is just plain excellent. The burlesque routine is hilarious and extremely well acted and directed (Busby Berkley), even to the point that the audiences are good. Their reactions are great. Brown's likable persona is used well in this film. The acrobat sequence with the Maxellos is so spontaneous and funny you'd never think it was ever rehearsed! Along with Brown, Dvorak and Ellis also turn is nice performances. Ellis was a minor leading lady who never got anything to do in Hollywood. Here she is bright and funny and a good singer (she also looks great); Dvorak is remembered as a B drama queen, but she started in the chorus (Free and Easy with Buster Keaton) and gets to sing and dance here. Dvorak should have been a bigger star. The chemistry between Dvorak and Brown is great.

Good supporting cast includes William Gargan as the press agent, Henry O'Neill as the verbose director, Joseph Cawthorne as the burlesque director, Clarence Wilson as the ticket seller, Grace Hayle as the plane passenger, Arthur Treacher as the valet, Gordon Westcott as the pill, and William Demarest in a real bit part as the detective.

Lots of fun, good performances, plus the song "The Acrobat's Daughter."

I love this film. It moves along very briskly—a strong point in its favor; Joe E. Brown is in front of the camera almost continuously, another major point; and most important of all, he does good stuff. Lots of good stuff. Now I've only seen 13 (!) Joe E. Brown Movies, so I don't know what else might be out there, but of those 13 this is by far the best. It is not a belly-laugh hilarious film, but I don't require that of a "comedy". It IS consistently amusing and the movie absolutely showcases Brown's multiple talents. He runs, he jumps, he falls, he tumbles, he swings through the air; he uses his rubbery face; he speaks in funny voices and dialects; he sings; he pantomimes; he dances—and boy does he dance! Twice! Two beautiful eccentric dances. All this in one film. I think nothing else need be said, but try to find a good sharp print with sound that is in-sync with the picture; and if you like gymnastics, pantomimic full-body comedy and crazy dancing, this is your movie. If you don't like those things, maybe you should put on a good Capra classic.

Independent-minded socialite Claire Whitmore (Patricia Ellis) runs away. Her father enlists the media to find her. A reporter pursues Claire onto a train which has a vaudeville troupe with comedy team Joe Wilson (Joe E. Brown) and his wife Fay (Ann Dvorak). Claire pleads with Joe for help and joins the troupe as a chorus girl. When Joe signs up for a big gig, he is forced to take Claire over Fay for the act.

The first hurdle is the act with Joe and Fay. I actually find it charming and reminds me a little of George And Gracie. It isn't as fun with Claire, but I do get the idea of a famous person being funny just by their presence. This movie is more a showcase for Joe E. Brown's humor. A scene with the acrobats serve no other purpose. The runway scene is really insane. It can't be real especially with the real actor. It must be an in-camera effect. Sure he's doing stunts, but that one is going too far. As for the story, it's not that dramatic. Joe never seems to be the type to stray. It's the slightest of misunderstanding. It may not be dramatic, but there is some fun along the way.

I think that was one of the problems I had rating this Joe E. Brown picture - it was too out of character for him. Normally, he was too wholesome, corny and even innocent to entertain thoughts of infidelity, and was too focused on succeeding in some sort of endeavor to be a horndog. I don't think the screenplay did him any favors as far as his on screen image was concerned.

He and his wife (Ann Dvorak) are on tour with a vaudeville act which takes in a runaway heiress (Patricia Ellis) who begs for a job. She catches on, catches Joe's eye and soon they become a team, making Ann Dvorak odd man out. It is a comedy tinged with sadness for much of the picture and seemed an ill-advised project for a movie star whose trademark was as a good-natured bragging bumpkin.

There are some very funny moments when he is in character as a drunk in the crowd supposedly heckling his wife, who is onstage singing and dancing. Some funny lines and visual gags. It would have been better all around if the humor had been sustained throughout the movie instead of lapsing into a romantic triangle drama.