User reviews

BRIGHT LIGHTS (Warners/First National, 1935), directed by Busby Berkeley, captures the spirit of "from burlesque to Broadway" theme as well as the comedy talents of resident comedian, Joe E. Brown, in what many consider to be virtually a "one man show," as indicated during its opening credits with Brown's face in character make-up visible under the opening and closing credits. For Brown, whose wide mouth was his trademark, many of his comedies were one man shows, and in this case, a role perfected to his style and character classified on screen as "The Shakespeare of Burlesque." Berkeley, best known for his creative dance directions of tap dancing chorus girls doing flower formations, is given an ample opportunity directing a story with a theatrical theme, with little creativeness for musical interludes that are performed on a limited scale.

The story revolves around Joe and Fay Wilson (Joe E. Brown and Ann Dvorak), a husband and wife team working for Oscar Schlemmer (Joseph Cawthorn), manager of a burlesque troupe, "Parisian Belle." Claire Whitmore (Patricia Ellis), a runaway heiress, posing as Miss Brown, sneaks on board a train to avoid a hired detective (William Demarest). Through Joe's help, she soon becomes part of the troupe. Dan Wheeler, press agent, recognizes Whitmore and sees a great opportunity teaming her with Wilson for J.C.Anderson's (Henry O'Neill) Broadway frolics. Although Joe refuses to split up his act with Fay, it is Fay who convinces Joe, though Dan's encouragement, to go on with the deal. The Wilson and Whitmore partnership at the Tivoli Theater proves successful. At first Fay is happy with their newfound success until she finds Joe, whom she affectionately calls "Funny Face," drifting away from her and spending more time with Claire, with whom he appears to have fallen in love.

With score composed by Bert Kalmar and Harry Ruby, songs include: "She Was an Acrobat's Daughter" (sung by Joe E. Brown); "Powder My Back For Me" (sung by chorus); "Toddling Along With You" (sung by Ann Dvorak/ by Mort Dixon and Allie Wrubel); "The Lady in Red" (danced briefly by Joe E. Brown and Patricia Ellis/ by Harry Warren and Al Dubin); "You're an Eyeful of Heaven" (sung by Patricia Ellis/ by Dixon and Wrubel); "Toddling Along With You" (reprised by Ann Dvorak). Although there are indications that the "Playboy of Paris" skit was filmed but ended up on the cutting room floor, all that remains in the finished product is Brown's character, sporting huge mustache and striped shirt, returning to his dressing room following the mentioned act.

Others members of the cast include Clarence Wilson (The Station Agent); Arthur Treacher (Wilbur, the Butler); Gordon Westcott, Tom Kennedy and Joseph Crehan in smaller roles.

Shifting from backstage theme to burlesque, BRIGHT LIGHTS contains a plot quite commonly place during the early sound era of 1929, with Paramount's THE DANCE OF LIFE and APPLAUSE immediately coming to mind. One virtually forgotten is MOLLY AND ME (Tiffany), which happens to be the earlier carnation of BRIGHT LIGHTS starring Belle Bennett and the one and only Joe E. Brown. For this version, there's extensive scenes of Brown reciting the poem, "Mousey" ; playing a dummy in a ventriloquist act participated by William B. Davidson; and Brown taking part of an acrobatic act in a night club sequence. There's a moment where one of the acrobats (The Maxellos) pushes Joe to a point of anger (looking all too real to be taken as part of the act or the movie itself) before suddenly extending out a handshake. Aside from Brown, there's Ann Dvorak as his second half of the act who showcases her ability as both actress and singer. Her dramatic moment towards the story's end is well played. Joseph Cawthorn resumes his familiarity with his accented character who adds more confusion with his broken English. Ranging from comedy to drama, the final half becomes the height of hilarity with Brown's trying efforts to retrieve a letter written to his wife he doesn't want her to read.

While not as noteworthy as other Brown comedies, or Busby Berkeley for that matter, BRIGHT LIGHTS, at 82 minutes, can be seen occasionally on cable TV's Turner Classic Movies. The best description for BRIGHT LIGHTS can be easily said through Brown's catch phrase, "Some fun." (**1/2)

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.

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."

Independent-minded socialite Claire Whitmore (Patricia Ellis) runs away. Her father enlists the media to find her. A reporter pursues Claire onto a train which has a vaudeville troupe with comedy team Joe Wilson (Joe E. Brown) and his wife Fay (Ann Dvorak). Claire pleads with Joe for help and joins the troupe as a chorus girl. When Joe signs up for a big gig, he is forced to take Claire over Fay for the act.

The first hurdle is the act with Joe and Fay. I actually find it charming and reminds me a little of George And Gracie. It isn't as fun with Claire, but I do get the idea of a famous person being funny just by their presence. This movie is more a showcase for Joe E. Brown's humor. A scene with the acrobats serve no other purpose. The runway scene is really insane. It can't be real especially with the real actor. It must be an in-camera effect. Sure he's doing stunts, but that one is going too far. As for the story, it's not that dramatic. Joe never seems to be the type to stray. It's the slightest of misunderstanding. It may not be dramatic, but there is some fun along the way.

Joe E. Brown had been many things, an all-round entertainer from circus bufoon to broadway hoofer to radio actor. But his days as a major Hollywood star were slowing down in 1935, and it's pictures like Bright Lights that prove it. This has to be the most basic of all show biz stories. The weary tale of the small time vaudeville couple that's broken up because only one is headed for the big time. When said big time is reached, a sacrifice of it must be taken to get back to the temporarily seperated partner. There must be dozens of films with this chestnut for a heart. Though Joe seems up to all that's asked of him, his eccentric dancing, his acrobatic spills, and required acting, he's got really bad material, especially in what's shown as snappy comebacks and witty gags that cause gales hilarity from crowds around him. It's almost like a bunch of nonsequiturs, and affirmations of the previous lines, delivered in the style of an actual gag would be just as good as the real thing. He sings a song at a party about a mouse that surely must have been intended for a Shirley Temple performance. For her it would be adorable, for Joe, it's just embarrassing to watch. His good fellow-one of the boys interaction with a troupe of tumblers was inept, he seemed to not have any real gag material with them at all, so it comes off like this wouldn't be good enough for a Vitaphone act. All in all, this is the kind of thing that reduced Joe E. Brown to a B-studio has been with only kid appeal. Perhaps there were other lines, other gags that maybe were to be in this. It seems almost scrubbed into squeaky cleanness. Maybe it's stuff like this that cause some afficianadoes to separate films by their "code" and precode" issuance.

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 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.

Joe E. Brown is usually just annoying, but in "Bright Lights" he is often annoying but he is also frequently amazingly impressive, both as an actor and especially as an acrobat.

He has a lot of fairly moronic dialogue, as the star of burlesque and later Broadway, and, worse, as the character who is a performer. Sorry, but most of his allegedly comic routine is more silly than funny.

Ann Dvorak, on the other hand, is not only more beautiful than usual -- and that's saying a lot! -- but she displays dancing ability I've never seen before, and with really attractive legs, and that gorgeous face expresses more emotions than most other actresses I've seen in a while.

She has impressed me for years but, in this performance, she just steals my heart, captures my imagination, and assures my eternal admiration.

In many ways, this is a routine programmer, but Ann Dvorak makes it memorable, and one to watch again.

I am not a huge fan of Joe E. Brown's films. Much of it is that in so many of his movies he plays unlikable guys. Here he's definitely NOT the nicest guy in the world but at least you can understand him and empathize with him--something I couldn't do in films where he played a blow-hard with an ego the size of Pittsburgh!

When the story begins, Joe (Brown) and Fay (Ann Dvorak) are a married couple who have a really good vaudeville act. She sings...and he interrupts the act by pretending to be a drunk. It's a very acrobatic routine and the fans love it. In fact, he's so good that a Broadway producer wants him to bring the act to the big city....BUT the producer doesn't want his missus to be part of it. Instead, a spoiled rich girl will play Fay's part. Well, Joe is hesitant to do this without his wife but Fay insists. She also soon returns to vaudeville and lets him stay in New York...where he's a big success. But not surprisingly, leaving him alone was a foolish mistake and soon Joe's new leading lady is making the moves on him. What's next? See the film.

While this is not one of Brown's funniest movies, it was one of his best for several reasons--the biggest of which is seeing Brown do his acrobatics. It seems that when he was a kid, Brown ran off to be in the circus and was a trained acrobat...and you really get to see a lot of these skills in the film. Additionally, the story is pretty good...a bit predictable but quite good. Well worth seeing and it's a shame Brown didn't make more pictures like this one.

If seen as a comedy, this one doesn't have enough laughs, but as a showbiz boy-gets-famous-and-cheats-on-wife tale, it works. Brown is fantastic as a brash, egotistical jokester who rises to the top. The photography is great with director Berkely in top form when he's shooting vaudeville routines from directly overhead. Some of the antics look like they were made up on the spot, and the final scene where Brown returns to see his wife's performance is like something done by Fellini.

Of all the Joe E. Brown movies I've seen I liked this one the best. The main character has more charm than a typical Joe E. Brown character, so that's good right from the start. And he displays his many talents throughout the movie. I had no idea he could actually dance. But he can. And he can do gymnastics, too. In fact, as a child he was part of an acrobat team that toured the country. In fact, the acrobat scene in this movie is my favorite scene in the whole movie and is brilliant and timeless comedy at its best.

At one point he does a stunt with a live plane taking off that is very gutsy, and it's really him, it's no stunt man. Wow.

If you've never seen any Joe. E. Brown movies I would start with this one. Because if you don't like this one then you won't like any of them. But if you like this one then you're off and running - or should I say laughing. Don't frown, watch Joe E. Brown.

This film is only funny in a couple of spots, it features mostly static camera, routine burlesque performances, and dated humour. But Joe E Brown is incredibly confident and energetic, generating charisma by the barrelful. Patricia Ellis is quite fetching as the Bad Girl who tries to pry him from Ann Dvorak. Busby Berkeley stages some incredible shots from the ceiling of the theater where the characters are performing, and much of it is so spontaneous it seems like they're making it up on the spot. A lousy comedy, but a very interesting film. The ending scene where Brown returns to his wife's stage performance is as moving as an ending from early Fellini.

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.