Paramount on Parade

This was the type of variety show which most of the studios made which was popular in the early days of sound. In this case, the film consists of various short sketches, including musical numbers, comedy bits, and even a dramatic scene. The stars include Maurice Chevalier, Clara Bow, Ruth Chatterton, Fredric March, Gary Cooper, George Bancroft, Jack Oakie, Skeets Gallagher, Buddy Rogers, Kay Francis, Jean Arthur, Mary Brian, Fay Wray, Evelyn Brent, Leon Errol, William Powell, Warner Oland, Clive Brook, Eugene Pallette, Lillian Roth, Stu Erwin, Helen Kane, Nancy Carroll, and Mitzi Green.

Paramount also enlisted a posse of directors, including Edmund Goulding, Dorothy Arzner, Ernst Lubitsch, Rowland V. Lee, Victor Scherzinger, and more. Several of the film's segments, including a few in early Technicolor, were missing from the copy that I watched. In fact, the segment featuring Cooper, Brian, Arthur and Wray only consisted of the intro. My favorite segments include the very silly detective bit with Clive Brook as Sherlock Holmes, Powell as Philo Vance, and Oland as Fu Manchu; Chevalier and Brent in a lover's quarrel; Ruth Chatterton as a sad French prostitute who sings a song to American G. I.s (including March) about to return home from WWI; and a comedy piece with Chevalier as a gendarme patrolling a park popular with lovers. Most of the song and dance numbers were largely forgettable, though. Still, it was nice to see for a different look at the various stars.

You get to see dozens of early talkie stars in this hodgepodge. The short "drama" sequences and most of the "comedy" sequences are awful, but the singing and dancing routines are tops. My favorites are the "I'm in Training for You" routine (Jack Oakie and Zelma O'Neal), the "Dancing to Save Your Soul" routine (Nancy Carroll and an uncredited Al Norman - the great deadpan rubberlegs dancer), Maurice Chevalier singing "All I Want is Just One" and "Sweeping the Clouds Away" and little Mitzi Green imitating Chevalier.

"Paramount on Parade" (Paramount, 1930), with various directorial credit including Ernst Lubitsch, A. Edward Sutherland and Victor Schertzinger, among others, became Paramount's attempt in an all-star movie revue, following the earlier attempts of MGM's "The Hollywood Revue of 1929" and "The Show of Shows" for Warner Brothers, and while many claim this to be the best of the revues, I find it to be a disappointment mainly because the print that's been circulating on television over the last couple of decades, and later cable television, not being the entire movie. Even though I wasn't around when the 102 minute presentation of "Paramount on Parade" was released in theaters, the cuts are quite obvious, especially when French entertainer Maurice Chevalier gives Italian singer Nino Martini a special introduction, and later on in the revue, director Edmund Goulding preparing his cast of actors who are to appear in a Civil War setting musical skit, "Let Us Drink to the Girl of My Dreams," with Gary Cooper, Fay Wray, among others, which never comes. At present, "Paramount on Parade" runs 78 minutes, minus Technicolor segments. Whether the missing scenes are lost forever, or a complete copy is displayed somewhere in a dark vault gathering dust, is anyone's guess. However, at present, it appears that possible restoration of this movie is unlikely to occur.

The "Paramount on Parade" program is as follows, with the deleted scenes preceded with asterisks (*): * SHOWGIRLS ON PARADE (with Virginia Bruce); * PARAMOUNT ON PARADE (chorus); "We're the Masters of Ceremonies" (sung by Jack Oakie, Richard "Skeets" Gallagher and Leon Errol); "Any Time's the Time to Fall in Love" (sung by Buddy Rogers and Lillian Roth); MURDER WILL OUT (a comedy sketch with William Powell as Philo Vance; Clive Brook as Sherlock Holmes; Warner Oland as Fu Manchu, with Eugene Palette and Jack Oakie; THE ORIGIN OF THE APACHE (with Maurice Chevalier and Evelyn Brent); IN A HOSPITAL (comedy sketch with Leon Errol, Jean Arthur, Phillips Holmes and David Newell); "I'm in Training for You" (sung by Zelma O'Neal and Jack Oakie); * THE TOREADOR (with Harry Green singing "I'm Isador the Toreador" from Bizet's CARMEN, with Kay Francis); "My Marine" (sung by Ruth Chatterton, with Fredric March, Stanley Smith and Stuart Erwin as Marines); "All I Want is Just One Girl" (sung by Chevalier); MITZI GREEN HERSELF (with Mitzi Green reprising "All I Want Is Just One Girl" and doing imitations of Chevalier and Charles Mack of the comedy team of Moran and Mack, The Two Black Crows); "What Did Cleopatra Say?" (sung by Helen Kane); *THE GALLOWS SONG (sung by Dennis King); "Dancing to Save My Sole" (sung and danced by Nancy Carroll and Al Norman, the eccentric rubber-legs dancer); * DREAM GIRL, "Let Us Drink to the Girl of My Dreams" (with Richard Arlen, Jean Arthur, Gary Cooper, Mary Brian, Virginia Bruce, Fay Wray, and others); "I'm True to the Navy Now" (sung by Clara Bow and sailors); FOLLOWING YOUR IMPULSE: (Introduced by George Bancroft in a comedy sketch about social manners showing how people at a function normally act, then presenting them on how they really feel. Kay Francis partakes in this skit); and the finale, "Sweeping the Clouds Away" (sung by Maurice Chevalier).

As with the previous Hollywood revues, portions of the film succeed musically and comically, while others don't. Highlights include Zelma O'Neal's energetic singing and opposite Jack Oakie in the gymnasium; Nancy Carroll's dance number on top of a giant shoe; Maurice Chevalier's finale; and of course Clara Bow, who brings this revue to life as the sole female vocalist amongst a group of sailors. Her singing voice does record well, but her career in talkies came to an end by 1933. The lesser moments are the comedy skits, including Leon Errol in the hospital bed with his good-for-nothing sons ignoring his requests and telling their dad to "Shut up"; Mitzi Green's dated impersonations of Moran and Mack; and the singing of "My Marine" by Ruth Chatterton, who performs better as dramatic actress than as a singer, making this eight minute segment seems longer than it is. Helen Kane's "Boop, Boopa Doop" number in the classroom starts off well, but grows tiresome only after a few minutes.

American Movie Classics formerly presented the edited version of "Paramount on Parade" back in 1988-89, and since then, is hardly shown at all these days. However, if this revue should ever resurrect again, whether on video or on Turner Classic Movies, let's hope for a restored complete version. Maybe the 102 minute edition might not make much of a difference entertainment wise, but it certainly will be a rare treat indeed. As it now stands ... (***)

Several scenes are still missing from this 1930 film, but what's left is mostly good stuff, and all interesting from a historical point of view. Would you like to see Clive Brook as Sherlock Holmes? Here's a rare chance. Would you like to see Clara Bow sing? Here she is. Would you like to see rather too many songs by Maurice Chevalier? Take your pick of several here. Would you like to see names such as Lillian Roth, Helen Kane, Mitzi Green, and Zelma O'Neill, who are only half-remembered today? Now you can. Would you like to see early appearances by William Powell and Fredric March before they made it big in talkies? They're in this.

The musical numbers fall into the 'ok' camp; they are largely static and stagey, and rather old-fashioned, but no more so than any other early talkie revue film. A lot of the film drags (notably Helen Kane's Boop-de-doop school lesson, and the links by Jack Oakie et al) but as a piece of history, it is fine. It should be a candidate for restoration if the whole film survives in a vault somewhere; let's hope so.

A couple of years into the Talkie revolution, several studios put on feature-length revues to promote their brand, of which Paramount's effort seems to have been better than most, even though it has not worn particularly well since. (Also the print I watched was notably fuzzy and dim.)

Deservedly, it gives generous exposure to Maurice Chevalier, who had just rescued the studio's fortunes with his Ruritanian romance 'The Love Parade', just as the Wall Street crash was threatening to ruin Hollywood. In particular, his energetic closing act, 'Sweeping the Clouds Away', accompanied by an endless line of leggy beauties, was clearly meant as a cheer-up call for the Depression-hit masses.

As for the other performers, I can only say that they remind us of the transience of fame (at a range of nearly a century). Not one in ten of these names mean anything to us today. Jack Oakie seems to occupy second place, and although I have often enjoyed his work, I think he was personality rather than artistry. Interesting to catch a glimpse of the young Frederick March. Otherwise, Gary Cooper, Clara Bow and Fay Wray more-or-less complete the roll of memorable stars.