User reviews

I think that this is one of Betty Hutton's better films, but it has almost been forgotten by many buffs and critics. There is no doubt that a great deal of free licence was taken with the story of Pearl White and her time in the Hollywood serials, but what there is does represent a lot of fun and Betty has a great time playing the "lady on the railroad tracks". I felt Billy de Wolfe (who really could be a great pain in the neck) was excellent in this film and together with the evergreen William Demarest added a great deal to the entertainment. However, no matter how many tries John Lund was given by Paramount he was always very dull, and fares no better in this. The color was excellent, and the music was good, with "I Wish I Didn't Love You So" a standout. If it is available , it is worth another look.

Don't expect ‘The Perils of Pauline' to cast much truth on the real Pearl White. In line with similar movies of the period, it's entertainment first and truth a distant second. What you do get is the irrepressible Betty Hutton, a kind of female Mickey Rooney. You also get Billy DeWolfe and William Demarest and those three make this movie worth the price of admission. Betty may bear a resemblance to other blondes of the period but it would take a hard hearted viewer not to like her. She's that kind of girl and rarely has an actress worked so hard in a part.

There are some good scenes; the movie factory gets my vote. This has been done both before and since but rarely so effectively. Bill Demarest overacts superbly as her manager, as does Billy DeWolfe as her best pal. The weak link is John Lund. Okay, maybe he's supposed to be that way. I just didn't think he was effective. The movie falls away in the last third but despite that, it's worth viewing. Betty belts out ‘I Wish I Didn't Love Him So' but it's not a particularly memorable song from Frank Loesser.

Five years after this movie, Betty would walk out on her Paramount contract and destroy her career. Like a number of memorable actresses of the great studio period, her star burnt brightly before going out forever. If you see her name in a cast list, on a movie long-forgotten, don't miss it.

Pearl White was a serial queen of the B films of the silent period and this is a take on her life--a humorous one, tailored of course to suit Betty Hutton's style of clowning.

The story begins with Hutton working in a sweat shop and doing one of her frantic song routines before she lands a part with a traveling repertory company where she falls for conceited leading actor John Lund. Lund plays straight man for Hutton's mugging and one scene in particular will have you laughing out loud as Hutton--drenched from the rain--attempts to recite her next line without sneezing. He proves an excellent co-star.

Adding to the merriment is Constance Collier as a wise, veteran stage actress who attempts to teach Pearl the tricks of the trade. Billy de Wolfe and William Demarest add to the fun and there are some nice tunes by Frank Loesser.

Definitely one of Betty Hutton's better pictures, tuneful, brightly technicolored and a good showcase for her talent.

I had never heard of Betty Hutton before this movie. A little research informed me that because of studio disputes, she had an unfortunately short movie career. Most of her work were musicals, which is probably why I had never heard of her - not my favorite genre. This movie wasn't billed as one but there's some singing and dancing as well. I can see why though: Betty Hutton is a ball of fire. She sings, she dances, she jokes - she would bounce off the walls if she could. It would be a waste not to make full use of her talents.

The movie's supposedly biographical but it feels more like a Hutton showcase, though grande dame Constance Collier stands out too. It's too bad the story mostly feels forced - the whole romance bit with her chauvinistic boss... ugh. Still, Pauline showcases Hutton's charm well and that's something at least.

Colorful, predictably bombastic vehicle for Betty Hutton, here playing real-life silent serial starlet Pearl White, who was the toast of matinée audiences at the time of the Saturday afternoon cliffhanger. White is a put-upon seamstress who joins a traveling theatrical troupe in the 1900s, barely learning her craft before walking into job as a moving pictures actress/stuntwoman. Frank Loesser's song score isn't very good, despite an Oscar nomination for "I Wish I Didn't Love You So" (the best of the lot), and Hutton isn't exactly a songbird. However, the depictions of silent-era slapstick filmmaking are well-done, and the stop-and-start romance between White and leading man Michael Farrington (John Lund) isn't too sticky. Hutton is a formidable presence on-screen; she takes no prisoners, it's true, yet she exudes total commitment to what she's doing. Racing around at full throttle, she doesn't quite create a character in Pearl White but instead gives us another dimension of Betty Hutton. Some big laughs, particularly in the film's first-half. **1/2 from ****

this movie is anything but a bio of Pearl White. In fact, aside from a brief re-enactment – at the wrong speed, which makes the sequence look ludicrous rather than funny – of one of Pearl's death-defying stunts on a fast-moving train engine, there is very little in the movie that captures even a feel for Hollywood in the period from 1910 (White's first film) to 1923. Most of Pearl's film were serials, although there were a few features along the way, including her final offering, The Terror, made in France in 1924. Betty Hutton plays Pearl with her usual enthusiasm – no "enthusiasm" is the wrong word. Betty attacks the character with her usual vigor, while William Demarest and Constance Collier do their best to follow Betty's lead. John Lund, however, seems all at sea and plays his role with an air of bewilderment that is sometimes appropriate, sometimes not. And alas, the color on the current DVD, whilst acceptable, signally lacks the real Technicolor gloss and black velvet shading.

OK, so this film was never going to be nominated for an Oscar, but for plain entertainment value it has to get 10 out of 10. Although historically inaccurate; this film about the silent movie queen Pearl White, is the perfect showcase for the effervescent Betty Hutton's remarkable talents. The difference in singing style between the gentle 'I Wish I Didn't Love You So' and the bulldozer of a number 'Rumble, Rumble, Rumble' just goes to show how versatile she is as a singer. In the film she plays an actress of rather limited ability, which is very far from the truth. Betty Hutton was a great actress in her day; a far better actress than she was given credit for. Betty Hutton is still alive and living in Palm Springs. I love her dearly and wish her the very best of health and happiness.

As far as showcasing Betty Hutton's slight talents, "The Perils of Pauline" succeeds. I'm not a fan, however, but she does have some exuberant spunk and the musical numbers aren't bad. As well, there is obviously little to no biographical truth included; it's circumvented for the usual Hollywood romance and fluff. So, I wasn't expecting anything there. From what little I know of Pearl White's life, a faithful movie of it would have probably been much more interesting.

I viewed this film because it's about the silent film era, which is of particular interest to me, as are movies about movies. Unfortunately, there isn't much here, either. I've seen what remains of the 1914 serial "The Perils of Pauline", but not recently. It's lowbrow, as with all serials. This feature film does well to recapture the ridiculous cliffhangers that were almost entirely the premise of such serials. And, there are other worthwhile moments, such as when Hutton pulls Constance Collier through doors leading onto movie sets of different genres. But, this movie does more to disservice its past than it does to celebrate it, or faithfully mirror it.

The recreated images of the silent serial hardly appear anything like their real counterpart. Rather humorously, the actors of this feature overact far beyond that of what Pearl White and other silent actors did. What I especially dislike about the 1947 "The Perils of Pauline" is that it stereotypes early film-making as quaintly goofy. Concurrently, theatre appears sophisticated and restrained. Oddly, it is also on stage where the accidents occur; although in reality, accidents and physical risks occurred frequently in the early days of film-making--not on stage. The 1947 "The Perils of Pauline", indeed, is more in the theatrical tradition, rather than being cinematic, despite it being a movie about movies.

A film similar to this, "Irma Vep" (1996), which is comically about remaking the 1915 serial "Les Vampires", does much better in these respects. It is interestingly self-referential and not merely coincidently so, and it is at least somewhat cinematic while saluting its past. The 1947 "The Perils of Pauline", however, is less a movie than is the 1914 serial from which it takes its name. The serial was certainly lowbrow and doesn't even pass as amusing today, but the filmmakers then took many risks for their art--and occasionally died for it. The professional, safe movie industry that produced this product seems inferior in contrast.

Never was Betty Hutton so funny, charming and sweet. Never have I enjoyed a movie so much. This has some nice songs too.

This is NOT your typical Bio-Pic. This has an entertaining storyline with some great comedic moments, with help from the supporting cast, and what a cast. You have some of the best here, Billy DeWolfe, William Demarest and Constance Collier. John Lund is the love interest here and it is perfect casting. He plays the perfect straightman for Betty. The songs here are not classics, but enjoyable. I still catch myself singing the "Sew Machine" song or "Papa Don't Preach To Me".

This movie flows through it's 96 minutes so you never feel like it is never going to end. The end is pure Hollywood, so don't expect true reality here. All in all, it is a terrific musical from one of Hollywood's best comedians. Thanks Betty!!

There are three points that are indisputable when seeing this film:

(1)The late Betty Hutton was an acquired taste as a musical comedy performer. You either "got" her type of excessive presentation or didn't.

(2) There was absolutely no way for Hollywood to tell the truth in a studio-created film biography, because the producers never trusted the public to accept accuracy regarding the facts in a commercially marketed/mass distributed movie.

(3) Film musicals are essentially escapist entertainment that demand the suspension of any semblance of reality in order to succeed with the audience.

Having said all this, it is still a major disappointment that one of the great pioneers in film history (Pearl White) should be honored by such a travesty as this musical biography. It steers way afield of virtually all the interesting parts of Ms. White's life and career. Instead, we are given heavy doses of fictitious sentimentality and fake romance to fill the picture's 96 long minutes.

Ms. Hutton delivers her usual hyper kinetic performance, which after awhile-----generates considerable fatigue as part of the price of admission. Her male co-star, John Lund, is yet one more chip off the old block of Hollywood's large stable of wooden leading actors (Nelson Eddy, John Hubbard, Hugh Marlowe, John Loder, George Raft, Sonny Tufts, etc.). The talented supporting cast (William Demarest, Constance Collier, Billy De Wolfe, etc.) certainly deserved better.

It ought to be possible for Hollywood to make a reasonably accurate film musical biography that is both entertaining and rings true. Perhaps the only one that comes close is Judy Garland's extraordinary "A Star Is Born" (1954)----but of course that was not given to us as the story of Judy's life---yet so much of it seems lifted from her career.

Meanwhile---for fans of Pearl White and her era----you will have to wait for another day to see her real story on the screen. Too bad. It must have been one truly exciting time to be in show business when Pearl was Queen of the Movie Serials!

Betty Hutton stars as the legendary silent serial queen Pearl White in a highly fictionalized (but entertaining) biopic.

Story has White working in a sweatshop in New York City and accidentally breaking into show biz when she's delivering a costume to an actress (Constance Collier). She joins the theatrical troupe headed by a snotty actor (John Lund) ... can romance be far behind.

After being fired, she takes a job with a silent movie company for $5 a day and because of her fearlessness, quickly establishes herself as a stuntwoman. The 1914 serial "The Perils of Pauline" would be a huge success and make White one of the biggest stars of the 1910s.

White starred in many serials but by the end of the decade, the craze for serials lapsed and she struggled to establish herself in more traditional feature films. She made her final film in 1924 and died in France in 1938.

Hutton is a dynamo here as White and is hugely entertaining. Lund and Collier (she takes a pie in the kisser) are also excellent. Then there's William Demarest as the movie director and Billy DeWolfe as the hammy actor.

Of note, during the opening silent movie-making scenes, many stars of the early silents appear. In the scene where Collier makes her entrance, that's Chester Conklin, James Finlayson, and Hank Mann flinging the pies.

In the romantic set they walk thru, that.s Paul Panzer in black. Panzer had played the villain in the original White serial in 1914.

The film captures the frenetic nature of silent movie making and Hutton in terrific in a star performance.

68/100. Betty Hutton is her usual over enthusiastic, animated and peppy self, but she is effective in the title role. As far as period detail and historical accuracy, very poor indeed. But, it was made to be entertaining, not accurate. Nicely produced, if not a bit overdone. Billy deWolfe stands out in the supporting cast and is quite good, William Demarest is fun as the frazzled director. The musical numbers are decent, but none are outstanding except for the Oscar nominated song "I Wish I Didn't Love You So", a beautiful tune. It's fun overall though, good pacing. John Lund is bland in a pivotal role. For the time, some of the special effects are good.

This is my second viewing of the Betty Hutton musical, having first seen this almost 30 years ago on an independent TV station. It purports to tell the story of Pearl White, famous for those silent serials like the very title of this very movie. But it's really just another showcase for the musical and comic talents of Ms. Hutton which she once again displays considerably especially since the songs were written by Frank Loesser. Fun supporting turns by William Demarest as the serial director, Billy De Wolfe as a fellow actor, and Frank Faylen as her leering sewing machine boss, a much different role than Ernie the Taxi driver from my favorite picture-It's a Wonderful Life. As for her leading man, John Lund was okay though I did like his broad stunts when playing for Demarest's movie. There were also some nice appearances of some silent character actors which included one James Finlayson whose roles were usually bit parts after his last Laurel & Hardy appearance in Saps at Sea. By the way, director George Marshall had previously directed Finlayson in L & H's Pack Up Your Troubles. He had also appeared in that one as a cook. In summary, I still liked The Perils of Pauline despite knowing it wasn't a true story, mainly because of Ms. Hutton and those character actors I mentioned.

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. (***)

The Perils Of Pauline is reputedly a biographical film about the Queen of the silent serials Pearl White as played by Betty Hutton. Of course any resemblance to the real life of Pearl White is strictly coincidental. The real Pearl White (1889-1938) led a very tragic life with several marriages, injuries as a result of her doing her own stunts when she was younger, and dying an alcoholic's death in Paris with her life savings pretty much spent due to booze and medical bills.

Hardly the kind of story that Paramount would want to have brought to the screen, so they made up a story about Pearl White and cast Betty Hutton in it. If The Perils Of Pauline is not the Pearl White story, it is a good vehicle for Betty Hutton to show off her talents.

Case in point the first number in the show the Sewing Machine Song which Hutton does while working in a sweatshop run in Brooklyn by the appropriately accented Frank Faylen. White never saw Brooklyn, she was from Missouri and got into show business with traveling stock companies in the Midwest. Still it's a great number for Betty Hutton.

Frank Loesser wrote the score for The Perils Of Pauline and his song I Wish I Didn't Love You So got the film an Academy Award nomination for Best Song. This beautiful and plaintive ballad which was introduced on screen by Betty Hutton, earned Dick Haymes a best selling record on the Decca label. Sadly this song lost to Uncle Remus and Zip-Pa-Dee-Do-Dah from Walt Disney's Song Of The South. That decision should have sent Frank Loesser screaming about how he was robbed. As for those who think that Betty Hutton only did raucous comedy numbers, watching this film should set them straight.

The film was also a follow-up role for John Lund who had been introduced the year before in To Each His Own. As a lead, Lund was pretty bland and settled back into character parts for most of his career. He plays an egotistical ham actor heading the theatrical company that Hutton joins. He's so arrogant I can't see why Hutton wasted her time with him. Constance Collier has the best part as the old stage actress who befriends and encourages Hutton. Billy DeWolfe was part of the theatrical troupe that Hutton joined and he was his usual good self. They all wind up on the silent screen after Pearl gets her big break.

This film is an absolute must for fans of Betty Hutton, a great technicolor musical from Paramount's golden years.

This sound movie is named after a silent film that I like "The Perils of Pauline" and made many years after it.Not really knowing what this film was about I had no curiosity about it.Usually the only kind of musical that interests me is something like "Go Johnny Go" or "Don't Knock the Rock".Add to this I don't know who Betty Hutton is and chances for me liking this film was slim,too bad I was right.What was the problem? Pearl White was Queen of the serials,this movie wants to show her as a comic/bumbling person,maybe they were trying to pass her off as Mabel Normand.The dragged out sneeze scene was a dud and for some reason they had to have Hutton go around in blackface,maybe someone thought that was a knee slapper. Hutton was suppose to be about 27 years old at this time but for some reason she looks closer to 37.To my recollection I never seen Pearl White with the hairstyle Betty Hutton has in this movie,she looks like Spring Byington from December bride.The two most important guys for Hutton in the movie seem to like talking to each other more than to her.Best part of the movie was seeing silent film stars like Farnum,Conklin,Panzer,Pollard,etc.Had this movie been given another title I more than likely would of never watched it.

What a remarkably entertaining little film loosely based on the life of silent screen star Pearl White. Betty Hutton gives a lively, sympathetic performance. John Lund is the aloof unemotional object of Pearl's affections. Frank Loesser's score is beautiful. Especially the movie's theme song 'I Wish I Didn't Love You So' which Betty performs so tenderly. This movie deserves mention as a classic. If you get a chance have a look at it. It is fast paced but there time in places for a little fun and sentiment.

I have no idea who Pearl White was and until I do I'll judge this movie on its own merits - I love Betty Hutton. I would have volunteered for WWII if they'd promised me a show in the canteen with her on stage. Sure, she sings like her hair is on fire, but that manic energy makes me laugh. The scene where she wanders through a bunch of silent film scenes with Constance Collier is hilarious. And depending on the makeup, hair and lighting she's quite fetching. Check her out as a raven-haired Hawaiian in the revealing dress. Vavoom. John Lund's character is a pill. The film worked a little too hard to make him an a88hole. But Hutton's charms overcome the film's shortcomings and you get a fun hour and a half.

Betty Hutton (as Pearl White) works in a clothing factory; she sings to her co-workers, and dreams of stardom. When famed stage actress Constance Collier (as Julia Gibbs) comes in for a costume, Ms. Hutton reveals she is a fan. Since Ms. Collier doesn't have the $98 for an ordered garment, Hutton offers to deliver it to the troupe, and retrieve payment. There, Hutton receives no $98 (nobody has the money); instead, she is invited to audition for "The Farrington Players" a Shakespearian troupe. Although she can't act, handsome John Lund (as Michael "Mike" Farrington) hires her. Of course, they fall in love. After Hutton ruins one too many plays, she leaves "The Farrington Players", and gets a job working for William Demarest (as George "Mac" McGuire) in the fledging motion picture industry. At "Artcraft Pictures", Hutton becomes a big star, in movie serials like "The Perils of Pauline". BUT, stardom has its pitfalls…

This is a very glossed over version of silent film actress Pearl White's life.

Hutton plays well in the re-created "silent" scenes; though neither she nor the script offer any real characterization. Billy De Wolfe (as Timmy Thompson) is good in a supporting role; he inexplicably teaches her how to "project" after her very successful stage audition (again, it's the script). De Wolfe would have made a nice rival for Hutton's affections. Collier steals the show, and she gets to say, "Greetings, fellow thespians!"

An early song, "The Sewing Machine", is performed poorly by Hutton - you would have the impression she can't act or sing... However, she sings and performs the additional songs well. "Rumble, Rumble, Rumble" is the musical highlight. If you think you've heard "The Sewing Machine" somewhere, it's really just a re-make of "McNamara's Band", which was a big hit for Bing Crosby when this movie was being made. Possibly, the filmmakers liked it, and ordered up a swipe. If you're watching for original silent screen actor appearances, like William Farnum, don't blink.

***** The Perils of Pauline (7/4/47) George Marshall ~ Betty Hutton, John Lund, Constance Collier, Billy De Wolfe