Rain or Shine

Think of THE GREATEST SHOW ON EARTH (1952) done on the cheap and a small scale, very small scale. RAIN OR SHINE (1930) is based upon lead actor Joe Cook's Broadway Show of 1928. In which Mr. Cook single handedly performs as if he was the entire Circus. That is recreated in this Capra film along with all the clichés of the Genre. Bankrupt Circus, Sheriff at the door and the inevitable Fight and Fire. Plenty of stereotypical characters, so if you are P.C. thin skinned you had better skip this one.

Joe Cook as SMILEY JOHNSON saves the Circus for Louise Fazenda as FRANKIE, 'The Princess' only too see it go up in smoke in the last reel. Cook's style was that of VAUDEVILLE, where a rather overbearing character is the center of attraction and supposedly well liked. Cook is unremitting in hammering the audience with his act which does not let up for the entire picture. In fact he probably acted this way 24/7 which makes me feel sad for his significant other.

By 1930 VAUDEVILLE was on its last legs. Beginning in Circa 1880 it was a popular live entertainment particularly for the 'middle class'. By 1920 though Silent Pictures had been established as a major threat. Then mid-decade came Radio, home entertainment provided for free which many Vaudevillians took advantage of, transferring their talents too the new medium. The Great Depression and by 1930 the perfection of the Sound Film, created the death blow. The theaters that supported VAUDEVILLE either closed or converted to movies, those who could cut it either moved too film or radio. As for live performance, you were either on Broadway or you did not count at all. Cook continued with success on Broadway where his style of acting could be tolerated. Film definitely was not his medium.

In the early days of sound films, studios really didn't know how to use the new medium. Instead of normal speaking voices and normal actors, Hollywood felt a need to overwhelm the audience with sound. A lot of vaudeville comics who spoke a mile a minute were shoved in front of the cameras to take advantage of the fact that audiences could now hear the actors speak. Some of these early talkies are downright dreadful while some others are just odd curios. RAIN OR SHINE falls into the category of just plain dreadful.

Most of the blame for this film being so terrible and tough to watch falls on the shoulders of its director, Frank Capra. While Capra did great things for Harry Langdon during the silent era and from the mid-1930s on he made some of the most iconic American films of the era (IT HAPPENED ONE NIGHT, MR. SMITH GOES TO WASHINGTON, MEET JOHN DOE and many others), but even great directors have their duds--and this film was definitely a dud.

The film is nominally about a circus that is chronically on the verge of bankruptcy. However, the entire show was the vaudevillian, Joe Cook. While one of the reviewers thought that Cook was hilarious, he was simply too much--like a giant migraine. He talked and talked and talked and talked. If you liked this sort of in your face routine again and again, then you'd probably like the film. However, I didn't think he was funny and felt the director should have placed more emphasis on the talented members of the cast. That, or simply punched Cook in the mouth and told him to shut the heck up!! Terrible pacing, annoying dialog and nothing to like--this is truly one of the most painful films I have seen. I only kept watching because I assumed it would get better---it didn't.

Imagine a Marx Brothers movie where they took the plot seriously. That's pretty much Rain or Shine, a revue to highlight the vaudeville talents of Joe Cook and a few others but matched with this lightly melodramatic take on the troubles of a financing a traveling circus. It's such a weird combination that only ever really works in one moment, perhaps by accident, creating this dichotomy that clashes more than anything else.

Frankie (Louise Fazenda) has inherited her father's circus upon his death, and the first season with her in charge is coming to a ruinous close. Her circus manager Smiley (Cook), a jokey fellow who always has a line to try and cheer her up, is optimistic about the future, an optimism shared by Bud (William Collier, Jr.), Frankie's beau (though there seems to be a conflict between the two men for Frankie's heart, though it comes to nothing) because they are coming upon his hometown of Shrewsberry where they'll get great crowds and turn things around. At the same time, the star horse rider, Dalton (Alan Roscoe), and band leader, Foltz (Adolph Milar), conspire to pool their resources and ideas to buy the circus out from Frankie when she hits a bad moment.

You see, this story is surprisingly serious, and I bring up the Marx Brothers because they were being introduced to the world in the early sound era through adaptations of their stage plays that were relentless applications of vaudeville comedy. We get that in sections mainly through the interactions of Smiley with the local Amos K. Shrewsberry (Tom Howard) with whom he develops a twisted little relationship based on Smiley's fast talking style to con him out of thousands of dollars while Shrewsberry just sticks around in befuddled style. However, that gets intercut with this stuff around Frankie dealing with the finances, her relationship with Bud, and her attempt to enter high society of Shrewsberry that Smiley completely ruins.

What helps the film is that it allows Cook to do his thing for long stretches. He really does remind me of some combination of Groucho and Harpo Marx (mainly because he does the hat in the foot thing once). He's a fast talker that has his own bits that he plays all the way through, mostly to Howard who works so well with Cook that I assumed they were a team. How Smiley talks Shrewsberry into handing over $5,000 is just a wonderful display of rhetorical excess. How Shrewsberry tries to mimic it later is the work of a talented performer as well. This movie rises and falls on its comedy, and I just wish there was more of it.

Because when the plot reappears with Frankie getting all angry at Smiley for ruining the big dinner, it just feels so out of place. I was thinking of how Margaret Dumont always reacted to Groucho, just kind of accepting his manic behavior as largely normal and continuing on with the action of the plot, and how much that worked as opposed to these starts and stops of earnestness in the face of ridiculousness.

However, I will give the film credit for the scale of its ending. Dalton and Foltz execute their plan to get Frankie desperate and sell the circus to them (considering the crowds, it doesn't make the most sense, but okay), and all chaos erupts, reminding me of the ending to Capra's first film, the Harry Langdon starring The Strong Man. There's something to be said about the sheer amount of chaos unleashed. It's kind of fun to watch.

There's also a very late moment when, in the detritus of the chaos, Smiley and Shrewsberry calmly sit together and go through one of their routines in a quiet manner, which seems to be the one point in the film where the two diametrically opposing tonal forces of the film actually meet. It doesn't lead to anything, but it's a surprisingly nice moment.

So, the dramatic elements are not that good, never really go anywhere, and kind of half-formed at best. However, the comedy is generally pretty good and fun to watch. I just wish that Capra had changed the source material (a musical play by James Gleason and Maurice Marks) more than by cutting out the musical numbers to make it an outright comedy. But, what do I know? It was apparently a box office success.

RAIN OR SHINE is a neat little circus film directed by Frank Capra and based on a Broadway musical that ran for almost a year in 1928.

By the time this film went into production, the vogue for musicals was over, so all the songs were cut from the film (a common occurrence in 1930). Still, there was enough plot to carry the 90-minute film.

Joe Cook was the star. The long-forgotten, Cook was a major star on Broadway. His nickname was "the one-man vaudeville" because he could sing, dance, do comedy, and perform a series of juggling tricks. Cook made his film debut in a 1929 talkie short called AT THE BALLGAME.

In RAIN OR SHINE he plays the fast-talking manager of a failing circus owned by a girl (Joan Peers) who inherited it from her father. Two employees are in cahoots to ensure the circus fails so they can take it over. In a weak subplot, Peers and her boyfriend (William Collier, Jr.) attend a disastrous dinner party at his snooty parents' mansion.

Cook is front and center through most of the film as he attends to all the problems and egos under the big top. There's also a funny running gag with Cook and a local citizen (Tom Howard) and how he becomes a partner with the help of the Princess (Louise Fazenda).

The finale is quite exciting after the bank attaches the day's receipts and the performers realize they won't get paid. Cook is terrific in a series of circus tricks as he tries to put on a big-top show all by himself. Peers and Collier are OK as the young lovers, Fazenda has little to do, Howard is funny as the local, and Dave Chasen (who founded the famous restaurant) is funny as the stooge.

I think previous commentators have missed the boat on this. The film is a matter of the director overcoming the star. Joe Cook's shtick wears thin. His first encounter with the store owner is droll, but a series of non-sequiters do not make a comedy. Capra's direction is brilliant. (Spolier:) Obviously, the elephant pushing the fat lady is a tour de force, and the riot and fire at the climax are spectacular, but notice his great tracking shots. The camera follows characters as they saunter through the circus. What was worth seeing and preserving here is not Cook's quaint act, but the way of life of the circus, a "Water for Elephants" scene.