El despertar del payaso

Busby Berkeley film is a clichéd story (even in 1935) about a small-timer who makes it big and falls for a pretty blonde actress. This is a Joe E. Brown movie so there's lots of creaky cornball comedy, despite the fact the movie is actually more of a drama. I've never been a big fan of Brown's. His rubber-facing and grating voice is something that probably worked best for the vaudeville crowds he made his name with. In other words, his style of comedy is extremely dated.

Ann Dvorak plays his neglected wife. Dvorak was a beautiful and talented actress who made the most of even the most thankless part. She's the best thing about this film. Another performance of note is Henry O'Neill as a Broadway producer. It's fun to see a great character actor like O'Neill playing something besides a businessman or lawyer. Give this a shot if you're a fan of Joe E. Brown or Ann Dvorak. It's nothing groundbreaking but it's OK.

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.

Dazzled by the BRIGHT LIGHTS of Broadway success, a burlesque actor is blinded as to what's really most important in life.

The film career of Joe E. Brown, Warner's rubber-faced comedian, essentially reached its zenith in this very enjoyable little comedy/drama obviously tailored for Joe's considerable skills. All too soon a change of studios would sidetrack Brown into cheaply made movies which would inevitably dim his celebrity. But here, in this backstage show biz story, his talents may still be enjoyed at full throttle.

Although the movie was directed by Busby Berkeley, it includes none of his celebrated dance extravaganzas, focusing instead on personality rather than pulchritude. The film is fortunate in that Brown, presented as a Broadway star, is genuinely funny when engaging in his slapstick humor. Whether dangerously balancing on a balcony rail as part of his stage act, using his tremendous mouth to great advantage while telling a party story about a 'little mousie,' or engaging in impressive nightclub acrobatic stunts with The Maxellos, Joe is never less than hilarious.

Although the focus is firmly on Brown, he is given able support from the rest of the cast: Ann Dvorak as his patient, long-suffering wife; Joseph Cawthorn as a fatherly theatrical troupe manager; William Gargan as an energetic press agent; and lovely Patricia Ellis as a stage bound heiress. William Demarest appears for a few seconds as a determined detective. Best of all is Arthur Treacher, wonderful as Brown's impeccable new valet.

Movie mavens will recognize sour faced Clarence Wilson as a train station clerk.

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.

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."