Trois cent soixante-cinq nuits à Hollywood

If you're a film buff, "365 Nights in Hollywood" is well worth watching. It's hokey, frenetic and plot-wise doesn't always make sense. But you won't find a better example of where movies were at just a few years after the introduction of sound. Alice Faye, in her second screen role, plays a star-struck kid from Peoria who's conned into signing up with a phony Hollywood talent school. Back when "365 Nights..." was made by Fox (sans Twentieth Century,) she was just hitting her stride as an actress. But she nails the production numbers -- as a succession of singing sirens in one sequence and a chorus of Alice Fayes in another. James Dunn co-stars as the down-on-his-luck movie director, fronting for the school, who sets out to outwit his employer and give her a shot at stardom. And before the fun is finished, he returns to his hoofing days to join Faye in a climactic song-and-dance routine that's a pleasure to watch.

365 NIGHTS IN HOLLYWOOD (Fox Films, 1934) directed by George Marshall, is vintage behind the scenes look at motion picture movie making and the ups and downs of those involved in the business of entertainment. Starring James Dunn, best known for his Best Supporting Academy Award Actor winning performance for A TREE GROWS IN BROOKLYN (20th Century-Fox, 1945), and Alice Faye before her super-star status in 20th-Fox musicals by the 1940s, 365 NIGHTS IN HOLLYWOOD is best classified as James Dunn before his movie decline and platinum blonde Alice Faye early in her career on a slow rise to success. As much as the film in itself is no masterpiece, there are a couple of production numbers both told in story form showcasing Faye's singing talents that make this worth viewing.

Through images from Screen O Graph magazine clippings, the story introduces boy wonder Jimmie Dale (James Dunn) through his rise as top movie director to downfall as an unemployed drunk. His career is given a second chance by J. Walter Delmar (Grant Mitchell) who hires him as an acting teacher for his school "The Delmar Academy of Motion Picture and Dramatic Arts." He also uses the presence of Adrian Almont (John Bradford), a famous actor as one of the graduates from the school for advertising purposes, while in reality Delmar is more interested in the tuition money coming in than on his pupils. One of the new students happens to be Alice Perkins (Alice Faye) from Peoria, having hitched a ride to Hollywood by delivery icemen Percy (Frank Mitchell) and Clarence (Jack Durant) on their truck. Of his students, Jimmie believes Alice has more possibilities as a singer than an actress. While earning extra money as a carhop, Alice becomes acquainted with Adrian, whom Jimmie dislikes, and Frank Young (Frank Melton), who has attracted the attention of Delmar after learning of his $75,000 inheritance. He talks Frank into giving him the money for Jimmy's pet project titled "365 Nights in Hollywood." With Jimmy as director, Frank as producer, Alice gets cast opposite Adrian for the upcoming motion picture. In the meantime, Delmar schemes of making his embezzlement legal and Jimmy the fall guy.

Other members of the cast include John Qualen, Addison Richards, Ray Cooke, Frank Conroy and Arthur Housman. Songs by Sidney Clare and Richard A. Whiting include: "Yes to You" and "My Future Star." During the course of the story, Alice Faye does her imitation of Jean Harlow singing "Hold Your Man," while the comedy team of Mitchell and Durant do their imitations of current trends: Mitchell doing Bing Crosby; and Durant doing Mr. Hyde from DR. JEKYLL AND MR. HYDE (1931) fame. Though the comedy antics of Mitchell and Durant are a matter of taste, and John Bradford and Grant Mitchell being unpleasant characters, it's Alice Faye's presence who makes this 75-minute production better than what it is.

Take notice the ending cast credits is not from the original theatrical movie insertion, but newer titles added in its place. Further evidence of this is the casting future actor Dennis O'Keefe billed as a dancer, who by this time, appeared in countless uncredited bit parts since 1930 under his real name of Bud Flanagan. He didn't become professionally Dennis O'Keefe until 1938.

Virtually forgotten and unknown until decades after its release did 365 NIGHTS IN HOLLYWOOD become somewhat better known due to distribution on both video cassette and DVD at the start of the 21st century. Cable television broadcast to this rare find can be found on demand from MGM-Plus. (**)

An early star-making vehicle for the under-appreciated Alice Faye, this movie spends too much time on the behind-the-scenes rigmarole that goes into the process of turning an aspiring singer into a marketable commodity. Favorite line "Go back to Peoria, learn to cook, and raise a family!" While Faye is given ample opportunity to imitate Jean Harlow, she is given too little to sing; nevertheless, the fabulous production number casting her in a variety of worldwide stereotypes is a hoot. Some of the sexual innuendo is obviously free of the censorship brought on by the Hays Code.

This is one of the earliest Alice Faye musicals I have seen and it's strictly for us, her fans and, perhaps, the connoisseurs of early musicals. While Not among Faye's best musicals, I thought "365 Nights in Hollywood", directed by George Marshall, was above-average musical: likable, pleasing, unpretentious effort that just passes the time. Ms. Faye - very young and looking exactly like Jean Harlow - plays an aspiring, talented movie star that joins a bogus film school, run by Grant Mitchell, and through the help of a has-been director, played by James Dunn, whom she ultimately falls in love, she succeeds and becomes a rising musical star. The songs and production numbers are well mounted and pleasing throughout.

If you like this one, I recommend "George White's 1935 Scandals"(1935), again with Faye and Dunn.

This a quite an enjoyable early Faye effort. At 19, she's quite the trouper and gives a convincing, compelling performance. The big production number of "Yes, To You" is a real show-stopper and I think this is one of Faye's best songs. She gives a playful, comic touch to her impersonations of a Dutch girl, French Chanteuse, and exotic Asian doll. The plot is pure make-believe and everyone seems to be having fun with it. Jimmy Dunn is good and well as such stand-bys as Grant Mitchell. The comic duo Mitchell and Durant are tolerable at best. It's good someone saved this film from obscurity -- it's good entertainment -- now when can they do the same for NOW I'LL TELL? The Faye/ Spencer Tracy Fox film needs the same treatment.