Bright Lights

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.

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.

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."

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.