THE PERILS OF PAULINE (Paramount, 1947), directed by George Marshall, is not an updated weekly serial to the famous silent 1914 adventure, but a fictitional biographical tale of the woman who became known as "The Serial Queen," Pearl White. Oddly cast by Betty Hutton, better known in the forties for her oddity singing and comedic style, this was the studio's follow-up attempt to her popular portrayal of night-club entertainer, Texas Guinan in INCENDIARY BLONDE (1945). Though Hutton's style might have been better suited for 1920s wacky songstress, Winnie Lightner, whose name was forgotten by this time, it's a wonder if the younger generation of 1947 has ever heard of Pearl White, let alone her most famous serial of long ago. Yet, Columbia's contribution to Al Jolson in THE JOLSON STORY (1946), starring Larry Parks, did bring forth a new generation of fans to a singer whose prime was way before their time, thus having other studios contribute its own ideas to other once famous names of the past to be relived again, even so briefly, in modern times.
Produced by Technicolor, credited as a salute to Charles W. Goddard who wrote the original serial, "The Perils of Pauline," the story opens with theater audiences watching Pearl White's Pauline (Betty Hutton) on the screen in her death defying scene on a moving train before the title card flashes, "TO BE CONTINUED NEXT WEEK" followed by its introduction: "All this was thirty years ago. We assure you that Pauline DID escape. Week after week, our heroine, portrayed by Pearl White, defied death and foiled the dastardly villains who always pursued her. She had to - on account of the next episode. But let's start at the beginning ..." Pearl White is introduced working for the Metropolitan Garment Company where she later socks her supervisor, Joe Gurt (Frank Faylen) on his jaw for getting fresh with her. Witnessed by Julia Gibbs (Constance Collier), a customer and grand dame of the theater coming for her costume, she finds she's unable to get credit for $90 and must pay cash, which she does not have. It's up to Pearl to go with Julia and get the money owed Gurt. Because of Pearl's desire is to become part of the troupe, actor Michael Farrington (John Lund) offers her the opportunity to perform on stage while he and the other actors, including Timmy (Billy DeWolfe) prepare themselves for their stage production of "Romeo and Juliet." Pearl's singing style stops the show, and becomes part of the Farrington Players. Michael, however, finds Pearl a rotten actress for using hand gestures rather than being natural. Because of Farrington's conceitedness towards her, Pearl walks out on him for a job elsewhere. Accompanied by Julia, and unable to acquire theater work, they are talked into trying the "flickers" instead. Julia gets the job first, but it's Pearl's dynamic personality that grabs the attention of director, Chuck McManus (William Demarest), eventually leading her to star in the weekly serial, "The Perils of Pauline" for Artcraft Studios. Success comes to Pearl, especially when Michael comes back into her life as her leading man in the serial. Forced to use hand gestures in his scenes, Michael leaves both Pearl and the movies for military duty during the World War. Pearl attempts further perils in Paris, but can't stop wondering the real reason why Michael left her the way he did.
The supporting players, consisting mostly of former screen actors appearing in cameo roles, include William Farnum, Chester Conklin, Paul Panzer, Snub Pollard, James Finlayson, Bert Roach, among many others. Billy DeWolfe acting as a dastardly villain during the serial filming portion shows good casting on his part, while William Demarest memorably as the harassed movie director. New songs by Frank Loesser, mostly sung by Betty Hutton, include: "The Sewing Machine," "Rumble, Rumble," "I Wish I Didn't Love You So," "Poor Pauline" (by Raymond Walker and Charles McGarron)," "I Came to Paris" and the show-stopper, "Papa Don't Preach to Me." Though much of the plot has characters dressed in early twentieth century style costumes, the production numbers appear too 1947 modern in both orchestration and costumes. Even the Paris scenes, supposedly set during the Roaring Twenties, shows Hutton sporting a 1940s headdress.
As with most biographical films saluting famous entertainers from the past, THE PERILS OF PAULINE is more Betty Hutton than Pearl White. It is uncertain whether White sang professionally or not, or whether the extended runaway hot-air balloon involving Pearl and the fictitional Michael actually occurred. The screenplay eliminates certain names of Pearl's life, including Elmer Clifton, her leading man from "The Perils of Pauline." It also eliminates other serial titles for which she starred, along with few feature films for which she appeared during the early 1920s. Though she did take up residence in France performing in music halls later in her life, it makes one wonder what actually happened as opposed to what was presented here.
A public domain movie title, the 93 minute edition to THE PERILS OF PAULINE saw frequent broadcasts on both network and public television, along with video cassette and DVD releases by various distributors,. Cable television showings include American Movie Classics (1996-2001) and Turner Classic Movies (TCM premiere: November 3, 1998). Though there have been other PERILS OF PAULINE titles, such as the updated 1934 Mascot Studios sound serial starring Evalyn Knapp, there was another in 1967 for Universal starring Pat Boone, with the most famous being either the 1914 Pearl White silent or the 1947 Betty Hutton musical. Regardless of inaccuracies, this THE PERILS OF PAULINE is quite nostalgic to say the least. (***)
