What makes this one better than most "movie movies" is that it doesn't feel phony. The film the story of the hot-headed director and his rise and fall and rise, by using real recognizable names and events during the silent and early sound eras. Instead of the generic "sound will put us out of business" business, they actually SHOW Jolson and "The Jazz Singer". The acting is really quite good, with believeable performances from Don Ameche, Alice Faye and J. Edward Bromberg in particular.
Add a Review
-
jaynashvil8 March 2001
-
bobc-517 March 2001It's 1913. A studio prop boy spies the actress who is going to become Hollywood's next great movie star and he's the director that's going to make it happen. After inventing pie throwing and the keystone cops, his dream comes true. Being completely absorbed in his film-making, however, he fails to notice that he is losing his leading lady to another man. Several over-budget flops later, he is known as nothing more than the director who turned down Rin-tin-tin. Fortunately for him, the loyal and compassionate residents of Hollywood are untainted by ambition and ego. He'll be okay as long as he still has his friends.
This movie starts out as a mad-cap comedy typical of the time period, and in the opening scenes it holds its own with the best of them. It has a playful lack of self-consciousness which is sorely missing in most of today's comedies. Shortly into the film, however, it moves away from this mode of comedy and instead attempts to entertain us using the films within the film. These are silent slapstick comedies, well done but nothing out of the ordinary, and they go on for much longer than is necessary for any audience which has seen the originals. Upon returning, the film takes a dramatic turn. It's well written and the cast does an excellent job of making the transition, but the movie really should have decided from the beginning what it was going to be.
By the end of the film, it has transformed once again - this time into a paean to the glitter of Hollywood. The small town of Los Angeles has grown up into the city which makes the movies that entertain the whole world.
In spite of its promising beginnings, this film has not aged particularly well. Nevertheless, it does have some strong scenes, a certain nostalgic appeal, and an entertaining sub-text about the people who made it and the audiences it was made for. -
lugonian7 September 2007"Hollywood Cavalcade" (1939), directed by Irving Cummings, became 20th Century-Fox's answer to David O. Selznick's ever popular and often imitated Hollywood story, "A Star is Born" (1937) featuring Janet Gaynor and Fredric March. As with "A Star is Born," "Hollywood Cavalcade" begins with opening titles in type written form on a movie script, and, with the exception of theatrical screenings of silent comedies and re-enactment of "The Jazz Singer," the entire production is in Technicolor. Unlike "A Star is Born," however, the photo-play goes back further in time, in fact, during the silent years of motion pictures instead of a ten year cycle concluding to the present day. While one might expect Gaynor to appear in this "Star is Born" imitation set during the cycle where her career actually began, the surprise turns out to be Alice Faye, better known for musicals, whose screen career started in 1934, assuming the role as a silent movie queen. Don Ameche, on the other hand, minus his famous mustache in the early portion of the story, is appropriately cast as Faye's guide and director.
As for the fictional account to an existing era, the plot begins in 1913 where Michael Linnett Connors (Don Ameche) and his partner, Dave Spingold (J. Edward Bromberg) come to New York City where they attend a stage production of "The Man Who Came Back" featuring Molly Adair (Alice Faye), an understudy filling in for Trixie Farrell, whose come up with laryngitis. Although Molly's performance comes across as bad, it does attract some attention by Connors, who offers her a studio contract in "pictures" for $100 a week. At first she declines, but after much persuasion, she takes him up on his offer and heads for Hollywood. Molly's screen test for Globe Pictures makes an impression, especially in a slapstick comedy starring Buster Keaton where she accidentally gets a pie in her face that has audiences roaring in laughter. Pie throwing comedies become a sensation, but eventually fade for more sophisticated productions. As years pass, Mike attempts new ideas, making Molly as top star in dramatic roles. While Molly has fallen in love with Michael, his mind is mostly on his work, creativity and his own movie studio bearing his name. He realizes his error too late when Molly marries Nicky Hayden (Alan Curtis), her leading man (who was discovered working in a gas station). Having lost Molly, whose career is at its peak, Michael falls to hard times, with no movie offers due to his big budget costs and bad temperament towards his actors and crew. With the 1927 premiere of "The Jazz Singer" that becomes the talk of Hollywood, putting an end to the silent era, closing a chapter to old careers and opening the door for the new, the studio is faced with the dilemma as to what to do with Molly's unfinished silent production of "Common Clay" with Michael now back in the director's chair.
A great idea to an old story, "Hollywood Cavalcade" is a fun film to sit through, full of nostalgia and re-enactment of how silent movies, especially comedies, were made. Guest appearances by silent comics now past their prime including Buster Keaton, Ben Turpin and Chester Conklin are a plus; Eddie Collins, Hank Mann, Heinie Conklin, Snub Pollard and James Finlayson adding to the enjoyment as The Keystone Kops; with added bonuses of comedy director Mack Sennett delivering a testimonial at the Cocoanut Grove; Lee Duncan, the man who discovered Rin-Tin-Tin, the first dog superstar, as played by Rinty Jr.; as well as the legendary Al Jolson appearing briefly in the Sabbath prayer sequence of "Kol Nidre" from "The Jazz Singer" during the latter part of the story. Up to then, the fun has dimmed due to melodramatics and tragic circumstances that take up the second half with harsh realities taking place during the close of an age of silent movie making.
In the supporting cast, look for the familiar faces of Stuart Erwin as Pete Tinney, the cameraman; Donald Meek as Lyle P. Stout; Jed Prouty, Chick Chandler, Irving Bacon, Willie Fung, and much more.
Because Alice Faye was a specialized singer, it's a wonder why the screenwriters didn't think of having her perform in an early sound musical? A missed opportunity put to better advantage years with MGM's "Singin' in the Rain" (1952) starring Gene Kelly and Debbie Reynolds. As for "Hollywood Cavalcade," it's sadly forgotten due to lack of revivals, even with Technicolor, though it would have been more authentic with black and white photography. Out of circulation for many years, it did have some repeated showings on American Movie Classicscable channel in 2001, followed by the Fox Movie Channel where it can currently be seen and studied by film enthusiasts. Thanks to its authentic recreation of a bygone era and a grand first hour or so, "Hollywood Cavalcade" is recommended viewing. (***) -
eldorado@vcoms.net11 September 2002In the earliest years of silent cinema, former prop boy Mike (Don Ameche) "discovers" a charming Broadway understudy, Molly (Alice Faye), and impulsively hires her to a personal contract to star in pictures. With Mike as director, Molly is set to appear in a film with Buster Keaton as her boyfriend -- but things get out of hand, the first day on the set.
By accident, Buster flings a custard pie into Molly's lovely face, thus throwing off the rhythm of their primly choreographed love scene. Soon Molly, Buster, and the "villain" of their scene (George Givot) are covered in custard, and the laughing and applauding onlookers convince Mike he's discovered a new screen genre. He milks it for all it's worth, launching a series of slapstick comedies -- with pies, bathing beauties, and Keystone-style Kops -- all featuring Molly, who becomes a big star.
If "Hollywood Cavalcade" had continued in this same vein, it would probably have become a classic. Instead, about halfway through, Mike makes the decision to turn Molly into a dramatic actress, starring in serious photoplays and leaving her slapstick days behind.
The film's second half turns maudlin when Molly, whose love for Mike seems unrequited, marries her new costar Nicky (Alan Curtis). Having lost his biggest star, Mike slides into despair, his films regularly losing money. Then Nicky is killed in a traffic accident and Molly teams up with Mike again. They make a hit picture, and discover that they've loved each other all along.
"Hollywood Cavalcade" marked two firsts for Alice Faye: her first Technicolor film, and also the first in which she sings not a single note. But her performance was generally lauded by the film critics. -
blanche-220 May 2008"Hollywood Cavalcade" is a mildly entertaining 1939 film starring two staples of the 20th Century Fox roster, Don Ameche and Alice Faye, and containing a couple of in jokes.
The film concerns a Max Sennett type, Michael Connors (Ameche) who brings an actress to Hollywood, Molly Adair (Faye) and makes her a big silent comedienne, eventually moving her into more dramatic roles. He becomes extremely successful with her as his star. Obsessed with his work, he's absolutely shocked when she and her leading man (Alan Curtis) run off and get married. He's so shocked, he dumps her. She and her husband go off and continue to be more and more popular while Connors' studio starts losing money at an alarming rate. Before you know it, he's through. Molly wants to help and asks that Connors direct her next film.
There's lots of Keystone Kop type footage, which is quite funny, and some fantastic slapstick by Buster Keaton, who is wonderful. The film also has a scene from "The Jazz Singer" when the talkies take over. The in-joke, of course, has to do with Rin Tin-Tin, for whom Zanuck used to write. In one scene, Rinny's trainer brings him in as a potential contract player for Connors' studio. Connors throws both of them out of his office. A few scenes later, Rin-Tin-Tin is shown to be #1 box office. The role of the famous German shepherd in this film is played by Rin Tin-Tin, Jr., daddy having passed away in Jean Harlow's arms in 1932, one month shy of his 14th birthday. Fortune smiled on him even at the end.
Alice Faye is very pretty and does a fine job, as does Ameche, who turns in an energetic performance. J. Edward Bromberg and Stuart Erwin provide very good support.
Unfortunately, this film isn't quite sure what it is - history, comedy, romance, or drama. However, "Hollywood Cavalcade" is still quite watchable. -
AlsExGal21 March 2017The first half of this film is a fast-paced comedy that seems to have promise. The story has Don Ameche as director Mike Conners, who spots Molly Hayden (Alice Faye) one day and thinks this great beauty could be a big star. He signs her to a contract and she is set to make her debut in a dramatic film. However, Buster Keaton is on the set, cast as Molly's romantic interest in the film. He hurls a custard pie at her and a food fight ensues. Mike has discovered a new form of cinema - slapstick comedy. Molly is his big star, but he is ignoring her personally. At the point where he decides to make Molly a big dramatic actress instead of a comedian, the film also goes from comedy to melodrama. It's not that the movie is bad drama, it's just after the humorous first half I was hoping for more of a humorous second half.
This film is also notable for Buster Keaton's first appearance in an American-made feature film after he was fired from MGM in 1933. The intensity of Buster's pie attack on Alice Faye was quite a surprise to her. After the scene was shot apparently she grabbed her own pie and chased Keaton quite a distance before he could finally outrun her. -
scorfield-517115 September 2016An extremely overlooked homage to silent cinema, this film charts the rise and fall of a self-made director whose personal ambition blinds him to the emotional attachment he has to the actress whose star he plots from theatrical obscurity to leading lady of the silver screen. Often regarded as a fictionalised account of the life of the 'King of Comedy', Mack Sennett, this long-term pet project of Darryl Zanuck serves as more of a composite portrait of several silent screen moguls, including the aforementioned founder of Twentieth Century Fox himself.
There can be no doubt that Don Ameche's energetic and consumed protagonist, Michael Connors, shares much of Mack Sennett's creative drive in establishing his own movie company, and particularly by introducing audiences to both slapstick comedy and bathing beauties. Moreover, Sennett imbues the whole of this feature, aside from being employed as technical adviser, and appearing briefly onscreen as himself, his influence over the production is entrenched further through connections to both cast and crew.
Firstly, there are the swansong appearances by several members of his stable of silent comedy stars, such as Ben Turpin and Chester Conklin, never mind the celluloid act which would become synonymous with his directorial career - the band of Keystone Cops. In addition, the director of the black and white chase sequences which feature here, Malcolm St Clair, had learnt his trade under the auspices of Sennett. Indeed, although uncredited here, this feature served to reinvigorate his career, which had faltered with the arrival of sound, giving him the opportunity to direct four Laurel and Hardy vehicles when the latter left MGM to join Twentieth Century Fox.
Another who had benefitted from a well-paid apprenticeship under Sennett was Hollywood kingpin, Zanuck himself. Despite being illiterate, Zanuck had the knack of being able to churn out movie plots. His connection to St Clair was that they had devised the hugely successful Rin Tin Tin series of police-dog movies - there is even an appearance by Rin Tin Tin Jr within the movie.
The other notable influence on 'Hollywood Cavalcade' is that of Buster Keaton, for whom this production served as a brief return to the limelight. Having had his career blighted by alcoholism, with his MGM contract terminated five years earlier, Keaton had been reduced to employment as a gag writer for the Marx Brothers. In another twist of fortune, the author of Keaton's rehabilitation was this feature's principal director, Irving Cummings, a former actor whose own big break had come in Keaton's debut feature, 'The Saphead'. Keaton's orchestrate custard pie battle reminded cinema audiences of his genius and talent.
As for Cummings himself he would become associated with the studio's successful Technicolor output, and particularly musicals. Here he provided Alice Faye, one of the ten biggest box-office draws in Hollywood at the time, with her first foray in a non-musical role. Faye not only convinces as a melodramatic actress, but also as a worthy successor to the likes of Normand in silent comedy. As for the male lead, despite the fact that another of his performances from that same year would capture public and critical attention more, Faye's erstwhile co-star, Don Ameche, captivates every scene in which he appears as the driven and innovative young director. Despite the stubbornness and excess of pride his character demonstrates, Ameche's performance is so seeped in humanity that the audience adopt Connors as their champion. Having unconsciously driven the love of his life into another man's arms, those of the handsome young actor he discovered, Connor's misplaced fury at being betrayed leads him to fire both stars, and consequently, watch his own career torn into tatters. This reviewer was probably not alone in being desperate for Connors to just let her know his true feelings.
Many reviewers criticise this film as not having decided what it wanted to be, and for its sudden shift from comedy to melodrama. For this reviewer, this sea-change heightens the drama and in itself the feature sums up the history of Hollywood more accurately with the blend. The only point of criticism would be the chosen film title. The love-story has real emotional power, especially when the tragic death of Fay'e husband, played competently by studio heart-throb, Alan Curtis, provides our forlorn director with a second chance to be the support his widowed and injured leading lady needs.
Although the screenplay is often regarded as a fictionalised account of the stormy relationship between Sennett and Mabel Normand, the reality is that Normand was already an established movie actress when they met, and her career would be mired in far greater scandal and end more tragically than that of the female lead here.
Serving as Twentieth Century Fox's answer to Selznick's Oscar-garlanded 'A Star is Born' from the previous year, this production is rare in crediting another studio with its contribution to cinema. However, this apparent generosity of spirit somewhat masks the underlying self-aggrandisement of the film's producer. Firstly, Zanuck has an opportunity to shine himself in glory for previous successes he had achieved at that rival studio. The film illustrates Connors' loss of instinct as to what equates box office gold, in rejecting Rin Tin Tin. The rise of this four-legged star was one of Warner Brothers' major successes, and Zanuck himself had risen to prominence as head of production within this rival studio for overseeing this canine star's trajectory. Moreover, in this same vein Zanuck also played a significant part in fashioning Warner Brothers' output, in particular in developing the production of 'The Jazz Singer' which is heralded by Ameche's character as signalling the end of the silent era. Thus, this is very much a vehicle to glorify Zanuck's contribution to the history of Hollywood.
One final ironic footnote revolving around this production's storyline concerns Zanuck's relationship with this movie's female lead. As Ameche noted Zanuck like many others in the studio pursued her, and Faye would ultimately turn the tables on his disloyalty like no other female star has done before or since. When she discovered that the producer had cut her scenes in order to promote his 'new-find' actress, she just upped and walked away at the height of her popularity. Having originally blackballed her for breach of contract, he would make desperate attempts to lure her back. However, she returned all scripts unread. -
HotToastyRag26 January 2019In this sweet salute to old Hollywood, Alice Faye plays a silent movie star vaguely reminiscent of Mabel Normand, often remembered by her pie-throwing work in silent comedies. When Alice goes to Hollywood with her ambitious director Don Ameche in tow, she and Buster Keaton accidentally become responsible for inventing the pie-in-the-face gag. She rockets to stardom, but when Don seems like he's more interested in her career than her heart, she finds comfort in Alan Curtis's arms.
The romance in Hollywood Cavalcade is predictable, but still manages to be sweet and tragic. It's obvious to the audience that Don cares, and when Alice confronts him, he shows off his acting chops in a wonderfully dramatic scene. His character is extremely strong, stubborn, and prideful, but he gives enough humanity in his performance to make the audience root for him unconditionally. In contrast, Alice comes across as flaky and weak, but since Don's the protagonist, it's alright.
The other half of Hollywood Cavalcade shows what it's like to be in the business. Here today, gone tomorrow, and all at the whim of the audience and the studio. Several silent legends gave cameos and received a special thank-you during the opening credits-Buster Keaton, Lee Duncan, Chester Conklin, Ben Turpin, Hank Mann, Jed Prouty, Snub Pollard, and Al Jolson-and it was sweet to see them reliving their heydays. And when talking pictures come, Don delivers an incredible monologue about the power of sound in films. "They were looking at shadows on the screen, only they weren't shadows anymore," he describes. I'm sure audiences of 1939 remembered how they felt in 1929 during that speech.
All in all, this is a very good movie, but generally overlooked because of the year it was released. If you're looking for a better, more dramatic version of Singin' in the Rain, check this one out. -
Gblakelii30 April 2009The plot: Michael Linnett Connors has done everything in films but direct, and is looking for his 1st big chance. He discovers Molly in a play and at once knows she will be a big film star. He signs her to a contract with the stipulation that he must direct. The producer agrees and their big time careers are under way. What follows is a recreation of the silent film era and early sound movies with great emphasis on comedy. And, oh yes, there's romance, and a little sadness too. The performances by Don Ameche and Alice Fay are top notch. The music is a real plus too with some old familiar tunes heard. Lots of DVD extras as well in this restored version released in 2008. It must be emphasized that this movie is a story 1st, not just a tribute to silent films. Later years would bring similar films such as, Singin' in the Rain(1952) & Dick Van Dyke-Carl Reiner's, The Comic(1969). What is special about this film, though, is recreating silent movies in 1939. We see portions of them as the cinema audience would in that bygone era(although some sound effects are included)in glorious b&w, while the rest of the movie is in pristine color. One of the greatest in the silent era, Buster Keaton, who at this point was on an uphill climb, is used superbly in 2 silent film recreated scenes and he is on the top of his game! It is said that he had some input on his scenes as well. But the real reason to watch the movie, if your a motion picture history fan, is that beyond everything else, Hollywood Cavalcade is Mack Sennett's film legacy. It doesn't take a genius to realize this movie is a "positive" reworking of Mack Sennett's and Mabel Normand's life. The character Michael "Linnett" Connors is Mack Sennett, whose real name was Michael Sinnott. And Molly, of course is Mabel. Sennett had the pie throwings, the bathing beauties and Keystone Cops. He worked with Buster Keaton, Ben Turpin(cameo), Roscoe "Fatty" Arbuckle(body double) and fell in love with his leading lady. Not only all that, but Sennett was technical adviser for this film and appears in it as well. As most film viewers today prefer sound features, those who were associated with short subjects and silents are left out to pasture. As Mack Sennett fell into that category, it is fortunate that there is Hollywood Cavalcade! Sennett was of course very instrumental in the evolution of comedy in movies. His career started in 1908 as an actor, then writer, director & producer. He semi retired in 1935 with about 500 films to his credit. He had worked with the best, such as Charlie Chaplin, Gloria Swanson, Bing Crosby, W.C. Fields, Keaton, Harry Langdon, Arbuckle, and even Roy Rogers(in Way Up Thar).As film comedy is an extremely difficult path to continue for an entire career, Mack played it wise & did only selective work for the next 25 years. In 1931 he had received an academy award in the short subject category, and another in 1937 for a lifetime of work. In the 1940's his presence was still felt, e.g. Here Come the Co-Eds(1945)where a recreation of the oyster soup scene used in Mack's Wandering Willies(1926)is done. In 1947, The Road to Hollywood, used some of Sennett's Crosby films. 2 years later brought some nostalgia with the film Down Memory Lane in which he participated. With his knack of always associating with the right people, a guest role with the eternally popular Lawrence Welk & his radio show came about later in the year. 1950 brought a re-release of his greatest triumph, Tillie's Punctured Romance(1914) with sound. In 1952 he was honored on TV's, This Is Your Life, then his autobiography, The King of Comedy(1954), which is a great companion piece to Hollywood Cavalcade, was published. 1955 brought a more concrete association with Abbott & Costello, as he had a cameo in A&C Meet the Keystone Kops. Finally in 1957, another tribute with the compilation film, The Golden Age of Comedy. So when you watch Hollywood Cavalcade it is the legacy of a motion picture pioneer. In the film at the banquet scene the camera pans over the guests at a long table. As we get to the silver haired Mack, he alone turns his head to the camera as if to say, "here I am!". When he rises to give a speech a short while later, he is at his most subdued, underplaying the words given him as if to mentally convey, "I know my influence on comedy will never end, but will people forget Mack Sennett the individual. Maybe this movie will help."
-
bkoganbing1 July 2011After doing a character based on Fanny Brice in Rose Of Washington Square, Alice Faye in Hollywood Cavalcade decided to do an early version of the story of Mack and Mabel for Hollywood Cavalcade. Alice does not come to as tragic an end as Mabel Normand and Don Ameche as the Mack Sennett character had far more grandiose ambitions than Sennett ever had.
Budding young director Don Ameche sent to sign stage actress Alice Faye for a studio instead signs her to a personal contract and then uses that to blackjack studio boss Donald Meek into a chance for him to direct the film. Meek reluctantly caves in, but the film is a hit, a star is born and nothing succeeds like success and careers for Ameche and Faye are born.
Ameche loves Faye enough, but never shows a tender side always thinking of business. She marries co-star Alan Curtis and they become instead of Mack and Mabel more like Douglas Fairbanks and Mary Pickford. Ameche in a fit of pique tears up their contract and then makes a series of bonehead decisions that tears up his career.
For reasons that remain inexplicable Darryl Zanuck decided to cut a version of Alice Faye singing Whispering and the song is only heard in the background. As the song perfectly suits Faye's warm contralto, film fans are left with a loss. Maybe it will be restored one day to Hollywood Cavalcade.
The main weakness of Hollywood Cavalcade comes from Ameche who is too much the nice guy to play the part he does. This role far more suited Tyrone Power who had the hero/heel down to perfection.
On the plus side we get to see Buster Keaton playing himself and many of the original Keystone Kops in a film showing the development of slapstick comedy. Alice takes a good pie in the face. And Al Jolson repeats his singing of the Kol Nidre chant from the Yom Kippur scene in The Jazz Singer. Good thing Faye was not involved in a scene with Jolson because after working with him on Rose Of Washington Square she could not stand him.
Hollywood Cavalcade is not a bad film, but some mistakes made in casting and in editing left it not as good as it could have been. -
dougandwin7 March 2005As most moviegoers know, 1939 was a year of some very great movies, but "Hollywood Cavalcade" was not one of them. It probably was a big hit at the time, as it adventurously combined Technicolor and Black & White photography, but it has not stood the passing of time nearly as well as many of those made in the same year. One expects with the casting Of Alice Faye and Don Ameche it would be a musical - this is not the case although there were many opportunities for some songs of the era. The story is a pretty hackneyed one of girl meets boy, girl loses boy and finally girl gets boy, so there is no need to dwell on that. The inclusion of some of the stars of the silent era (including the Keystone Kops) is the most interesting feature, but the sequence with Al Jolson was a bit much!!! J. Edward Bromberg made a very interesting character adding some zing to the story. If you see it on Video or DVD, it is interesting enough to pass a 100 minutes or so.
-
preppy-38 June 2010In 1913 New York City a prop man from Hollywood named Michael Connors (Don Ameche) convinces talented stage actress Molly Adair (Alice Faye) to come to Hollywood to become a star. She does and hits it big in silent comedies with Buster Keaton and the Keystone Cops (all appearing as themselves). She also falls in love with ridiculously handsome Nicky Hayden (Alan Curtis). Connors loves her too...but can't say it.
Faye's first color film and she gives a good performance and looks great. Also there are black & white sequences of her doing comedy with Keaton and the cops--and they're actually pretty funny! Who knew Faye could do slapstick? The story is unbelievable from the start but it's breezy and cheerful with Faye, incredibly handsome Curtis and suave Ameche giving their all. There are also quite a few in jokes for silent film fans (I love it when Ameche casually says "Hi Roscoe"). SPOILER!!! Unfortunately it takes a sharp detour at the end where if becomes VERY melodramatic and somber including having a main character die (I have to admit I didn't see that coming). Still it's fun through most of its running time.
I never even HEARD of this film until FOX played it recently. It's good that they're showing good old unknown films. BTW--this needs serious restoration. The b&w sequences look great but the color is badly faded (Faye's face looks pure white a few times!) and needs to be fixed. -
JohnHowardReid28 April 2018Copyright 13 October 1939 by 20th Century-Fox Film Corp. New York opening at the Roxy: 13 October 1939. U.S. release: 13 October 1939. Australian release: 1 February 1940. Copyright length: 9,048 feet. 100½ minutes. Australian length: 8,739 feet. 97 minutes.
SYNOPSIS: Hollywood director signs ingénue, turns her into a star.
NOTES: The scene from The Jazz Singer is not a clip from the Warner Bros, film but a re-enactment which must have delighted Jolson no end as here he actually gets to sing "Kol Nidre". In the original his voice was dubbed by Cantor Joseff Rosenblatt
COMMENT: Alice Faye's first Technicolor film. The photographers have treated her most kindly and director Cummings has allowed her numerous attractive close-ups. She looks great in her Herschel costumes too. And her acting is nothing short of utterly entrancing.
Unfortunately, however, Alice doesn't get to sing a single note. It seems that three songs (including "Whispering" by John Schonberger, Richard Coburn and Vincent Rose) were recorded and shot by Alice. But they are no longer in the film. Presumably they were deleted merely to shorten the running time.
What is worse is the fact that the script for Hollywood Cavalcade - for all its good intentions - is not really worthy of her talents. Don Ameche comes over as a boringly brash and unendingly garrulous lead, while the rest of the cast is strictly second-rate. Yes, I include Al Jolson hamming it up with his "Kol Nidre" and Buster Keaton unfunnily throwing custard pies. Even the Keystone Cops lack the verve, the vitality, the split-second timing of the originals. -
mark.waltz30 December 2011In the same year's "Rose of Washington Square", the two stars of this movie played fictional versions of Fanny Brice and Billy Rose, with Tyrone Power as a re-named Nicky Arnstein. In "Hollywood Cavalcade", they are playing amalgamations of a variety of early movie making legends, most obviously Mack Sennett and Mabel Normand. Like "Rose", this film later was further explored as a Broadway musical-"Rose of Washington Square" was legitimized as "Funny Girl", and part of "Hollywood Cavalcade" became "Mack and Mabel".
In "Hollywood Cavalcade", Don Ameche plays a variety of Hollywood creators rolled into one; Other than Sennett, bits of Cecil B. DeMille and D.W. Griffith are thrown in as well. Alice Faye could be anybody from Pearl White (the Serial Queen), Gloria Swanson, and Mary Pickford, in addition to Normand. The first half of the film is a tribute to Sennett and Normand with the creation of the first pie fight to the bathing beauties and Keystone Cops. The second half has Ameche's character taking a more serious look at his art, making romantic thrillers much like DeMille and an "Intolerance" like epic. Normand's drug usage is never explored, although Faye's character of Molly Adair goes through many tragedies and Ameche finds himself on the outs as his temperamental ways get the better of him.
What doesn't work about this film is the usage of two different moods. The first is light-hearted; the second is much darker. Many of the great silent era comics (including Buster Keaton playing a fictionalized version of himself) appear or are mentioned (one heavyset character, only seen from the back, is referred to as "Roscoe", the real name of disgraced comic legend Fatty Arbuckle). The romance between Faye and Ameche is never really explored, although it is obvious that they both love each other in completely different ways. They are only reunited professionally because of Molly's admiration for her Svengali. This is an enjoyable film, with Ameche and Faye both photographing beautifully, but the convoluted screenplay is against them. -
Jon-16310 September 1999This is a movie about the old silent movie days in Hollywood and I think one of the best movies about the subject. Don Ameche and Alice Faye are terrific. But in my opinion the real treat is watching Buster Keaton perform his unforgettable slapstick for the first scene in the movie studio, and the recreation of an old Mack Sennett style comedy. (Which was supervised by Mack himself.) This is a great movie for silent film buffs... and anyone for that matter. But unfortunately you can't get it on video, but it's on T.V every once in a while so try and catch it. Chio!
-
ALICE FAYE is very lovingly photographed in her first Technicolor film, even though it does require her to get a few pies thrown in her face. DON AMECHE puts so much energy into his role as a wanna be director that he often sounds like Jackie Gleason on "The Honeymooners" when he goes into one of his tirades. Both perform well within the limits of a tiresome boy meets girl, boy loses girl, boy wins girl kind of story set against the early days of motion pictures.
The premise is a good one--using B&W whenever depicting scenes from the films that Molly Adair (Alice Faye) is doing with the Keystone Cops, Buster Keaton, Eddie Collins, Ben Turpin and Chester Conklin, real stars from the silent era. But what starts out as a promising romantic comedy soon delves into trite romantic situations with Faye pining for Ameche, whose mind is never on romance but only on hard work as he dreams up new ideas for her future films. ALAN CURTIS is the leading man Ameche chooses for her and she falls in love with him. But never fear, the script makes sure that she winds up with a reformed Ameche at the end.
Most of it is good fun but the middle part sags a bit and the script loses all originality once it starts to feel sorry for its heroine. It's a shame nobody gets a chance to sing or dance--which may have livened things up a little after the midway point.
Interesting mainly as a glimpse at how silent films were made from the period 1913 through 1928. There's even a peek at Al Jolson's breakthrough talkie "The Jazz Singer," although it's a recreation and not a clip from the original. -
planktonrules18 November 2012You can't take the story in "Hollywood Cavalcade" as gospel. It is a story about the silent film era and while it has many parallels to real people and events, so much of it is fictionalized that it is NOT a true history of early Hollywood. Now this isn't a complaint--just a warning for the viewer not to believe everything in the story. So, while Don Ameche's character may seem a lot like Mack Sennett and Alice Faye's may seem a lot like Mable Normand, they are, in fact, fictional. And, while you do see a lot of old silent comedians (such as Buster Keaton), the stuff they do often has little to do with their silent careers.
The film begins with an excited film maker (Ameche) discovering a talented stage actress (Faye). They begin making films in the 1910s and quickly become a sensation making comedies--and later, dramas. She is devoted to the man BUT he only thinks about making movies and seems to have no interest in romance. When she tires of this and finds another man, her career and that of her mentor are in for some rocky times.
What makes this film really unique is that Faye does NOT sing in this one! Instead, there's a bit of comedy, quite a bit of drama and some romance. Another unique thing is that this 20th Century-Fox film actually talks about a film from another studio ("The Jazz Singer" from Warner Brothers as well as mentions of Vitaphone early in the film)--something unheard of at the time. And, it's also unusual because it's Alice Faye's first Technicolor film. But, most importantly, while the film has a lot of formula (such as the very familiar unrequited love theme), it is quite entertaining and worth your time.
Oh, and by the way, although pie fights are a HUGE part of the film, in fact they were very, very rarely done in films. Apart from a Laurel & Hardy film ("The Battle of the Century") and a few sound films (such as "The Great Race" and a Three Stooges short), there aren't that many pie fight films--perhaps only a half dozen or more in all. And, our perceptions that slapstick films abounded with the fights is probably due to "Hollywood Cavalcade". -
After about a year of this being on the "long wait" list on Netflix, the DVD was finally delivered a couple of days ago and I finally got to see this after about a couple of decades being curious about it because I read about Buster Keaton throwing a pie in the face of Alice Faye in his bio in an encyclopedia of movie comics called "Funsters". Seeing Keaton years after he seemed to have fallen on hard times due to his alcoholism was refreshing when he performs his silent antics especially when he does those pie scenes. Oh, and Ms. Faye does a nice tribute to Anita Garvin in The Battle of the Century when she falls on a pie. Don Ameche isn't bad as her director who guides her through slapstick comedies and then dramas but can't see the forest for the trees, if you know what I mean. Obviously, if you're familiar with silent movie history, you can see that Ms. Faye and Ameche are a mix of various celebrities from then but also Mack Sennett and Mabel Normand. Sennett himself cameos in a party scene making a speech on the fictional stars depicted. I did not notice James Finlayson-best known to me for his work with Laurel & Hardy-as one of the Keystone Cops. The silent comedy sequences were really well done. The dramatic scenes were okay. I'm guessing Al Jolson didn't recreate his blackface numbers from The Jazz Singer and instead did his stint as a cantor from that was because he already did those in a previous Faye picture called Rose of Washington Square. I'm obviously babbling now so on that note, I recommend Hollywood Cavalcade.
-
rdbqpaul13 July 2022I spotted this on Reel Classics late one evening and although I had never heard of it, I thought "Alice Faye-Don Ameche" it must have something.
My instincts were correct. This early look at silent Hollywood is very enjoyable. Appearances by the already aging silent stars, especially Buster Keaton, added immeasurably to the charm of this 1939 gem.
The silent comedy sequences were well played and quite funny. Alice Faye deserves extra credit for the pratfalls, pies in the face, soaking in shallow ponds over and above and her usual beautiful smile.
Classic Reel must be commended for bringing this film out of obscurity. The Technicolor print used is beautiful. It's well worth your time. -
GManfred18 January 2011Didn't like "Hollywood Cavalcade" because it was a disappointment. Don't be deceived by the glitzy picture of happy faces on the title page, this is a somber drama which starts out happy, but quickly descends into discord and bitterness. The question is why Ameche and Faye? I guess because they were two of Fox's brightest stars and money was hopefully to be made. Ameche played a scold who wallowed in self-pity and Faye was his verbal punching bag. Talk about casting against type.
Not one song. This picture didn't need technicolor, or either of the stars, it needed black-and-white and a twosome like John Garfield and Claire Trevor, and a heavier hand on the script, if Fox was going for strife and pathos. I got this picture in a Fox Musical DVD set and it doesn't fit in.
Its only redeeming quality is a look into silent-movie Hollywood, with some of its stars in small parts. I think movies like this - "Singing In The Rain" is another - fill in the blanks for those of us who were too young when silents gave way to talking pictures. Otherwise, "Hollywood Cavalcade" was a chore to watch.