Behind the Scenes at WONDER BAR
Reel...@aol.com
Behind the Scenes at WONDER BAR--Special Edition of NEWS NOTES FROM
MOVIELAND
In light of TCM's screening tonight (or early next morning) of the
classic musical, "Wonder Bar," viewers might be interested in reading
the frank description of the intrigues and rivalries during its
production as reported in "The Kansas City Star" of April 8, 1934.
Accompanying the "Star"'s review of the film, which it hailed as "a
rich and tuneful extravaganza," was a lengthy article by John C.
Moffitt entitled "Al Jolson Finds He's Staged A 'Come-Back' for
Fazenda." Moffitt discussed how Jolson, despite having ushered in the
talkie era with "The Jazz Singer," had ironically later seen his
popularity in sound films fade because, according to the critic, his
dynamic style developed for projection in the theater was less suited
to the new realism demanded by the talkies of the early 1930s. Also,
at a time when Jolson's star in sound films was on the wane, that of
his young wife, Ruby Keeler, was at its zenith. Moffitt wrote that
"Jolson had come to the bitter realization that his own name no longer
spelled screen box office. He needed other names to get people into
the theater." Therefore, as a supervisor at Warner Brothers of his
next film project, Jolson selected for his comeback vehicle a screen
version of his stage hit, "Wonder Bar," with dances staged by the
great genius of the movie musical, Busby Berkeley, and an all-star
cast to bolster the film's success at the box office.
"The Kansas City Star" ran a group photo of the film's stars holding
glasses, along with the caption: "THERE MIGHT BE ACID IN THOSE CUPS.
The brilliant cast of a brilliant picture, Ricardo Cortez, Dolores Del
Rio, Al Jolson, Kay Francis and Dick Powell, on the set of 'Wonder
Bar.' It was not one big happy family." Following is the detailed
and lively description of what transpired during the production of
"Wonder Bar" as related in John C. Moffitt's article--and how a great
and beloved star of the silent era became the unexpected winner amidst
all the behind-the-scenes infighting sparked by Jolie's ego.--William
M. Drew
It soon developed that the filming of "Wonder Bar" was not to be a
thing of smiles and roses. The all-star cast began to function as
badly as an all-star drill team. Everyone wanted to be captain and
Al, who controlled the proceedings through his ownership of the play,
had decided to be the captain and a couple of lieutenants. Everyone
was willing to be interviewed and everyone spoke his mind.
The wonder bar became the wailing wall.
"I was dope enough to think I was getting a break," Dick Powell
commented. "I'd been working with Al's wife and we'd always got along
together nicely. I need a good break before this musical vogue is
over. You have to wait too long till the next one. At first things
seemed pretty rosy. They gave me a good song to sing. Then Al took
it away from me and gave me eight bars that he didn't like. I
squawked to the office, but they couldn't do anything about it.
"Now I'm worse off than before I squawked. Al's going over all the
scripts submitted for Ruby and me. He's Ruby's manager and I expect
all my parts will be whittled down."
From the looks of the completed picture, Dick got more of a break
than he expected. He hasn't so much footage, but what shots there are
of him singing show him modest, good natured and youthful. When you
leave you remember him. It is true that he did not get to appear in
any of the Busby Berkeley numbers. The one man permitted in these was
the villain, Ricardo Cortez. The only man whose footage compares with
that given Jolson is an unsympathetic character. This was a situation
which Ric handled in his own way. We'll dwell upon that in a moment.
The girl who appears with Ricardo is Dolores Del Rio. Al picked
Dolores for the part. She was borrowed for R-K-O for it and she does
it well. It's a juicy role and Dolores, alone of all the cast, did
not go through her stuff in a strait-jacket.
Kay Francis was particularly burned up. If you watch Kay during
the unfolding of the picture you will observe that she seems in a mood
to bite a camera in two all the way through it. That's not acting.
Miss Francis would have liked to bite a camera though she would have
preferred to bite Mr. Jolson. According to her, Al kept in such close
companionship with the picture box that it would have been hard to
bite one without the other.
Undoubtedly the tall dark goddess of the Warner lot had some
grounds for her irritation. Miss Francis happens to be a star with a
real movie following. She was put in the cast to decoy that following
into the theater. After it is there it will be disappointed. Kay has
been given an unsympathetic role, that of a foolish married woman in
love with a gigolo. The part is little more than a bit and is made
less impressive through the fact that a bit player has the role of her
husband. Never is there any opportunity for Kay to do anything but
wear clothes and act the fool. Warren William had been cast as Kay's
husband, but upon seeing the part, regretfully informed his employers
that pressing business took him to New York. It wasn't long before
Kay wished she had thought of that one.
When she looked over the part, she did attempt at first a graceful,
and then a frantic, exit. An executive with a soothing voice told her
an Aesop's fable (or perhaps a silly symphony) about how Al was so
enthusiastic over her that he was going to have the part built up.
Before the play was open the blues began to sing. Miss Francis did
an almost unprecedented thing by airing her grievances in a statement
to Photoplay magazine.
"In the first place," she said, "the part was a minor one that
could be done as well by any one of twenty girls around the lot. No
star likes a part that could be cut out of the story and not missed.
In the second place, I was cast in support of a man who had no
position as a screen star, which made me pull customers and get none
of the benefits. In the third place, the only good feminine part was
given to a girl from another studio, Dolores Del Rio. She is a friend
of mine, but placing me on a lower rating in the cast did me a
professional injustice. I would much rather be cast in support of one
of our own stars. However, I do not blame Warner Brothers. They
always have made me feel that they value my services. This is just
one of those things."
As the picture progressed all eyes were turned on Ricardo Cortez
and the troupe began to lay its bets for the battle of the century.
In normal times Ric is not a popular boy with his fellow actors. They
regard him with more jealousy than animosity because he is one of
those dynamic actors who can steal scenes without trying--and he
usually tries.
During the making of "Wonder Bar" Ric suddenly found himself a
hero. He could have shaken hands with himself and taken a bow after
the manner of a popular pugilist every time he walked out on the set.
The company was banking on him for vengeance. He was no mean
champion. A product of the Bronx and the East Side, he had the same
background as Jolson, knew all his tricks and how to top them.
Jolson had counted heavily on the fact that the only other man to
get much footage was a despicable character. Ric jumped in and made
the gigolo a thoroughly unmoral, devil-may-care scoundrel. In every
scene they have together you are conscious of their battle. If Jolson
attempts to upstage Ric, Ric turns even more squarely toward the
camera throwing his lines over his shoulder as though he were
addressing a valet. That stopped the upstaging. When Al strove to
take the situation by dint of heavy sarcasm Ric became tantalizingly
good humored.
"A few minutes ago I called you a rat!" says Al. "Now I want to
apologize--to the rats!"
And Mr. Ricardo Cortez, who is supposed to be crushed, grins the
cocksure tolerant grin with which one forgives an old joke by a
friend.
In their big scene together Al let loose with all the scorn,
contempt and nobility he could muster and Ric blew a cloud of smoke in
his face! That was the shot heard round the movie world. Gleefully
it was related at the Clover Club and at the Colony. They said Al was
furious and demanded that the scene be kept out of the picture, but
somehow it got in. Maybe Kay Francis, Dick Powell and Ric all got
together and gave the editor their salaries for a week.
Fun at the Second Table.
"We're all wearing the uniform," said Guy Kibbee, "but none of us is
playing in the band."
Mr. Kibbee, with Ruth Donnelly and Hugh Herbert, was shunted to a
side table where they were supposed to add an occasional touch of
slapstick, although they were given very little material to work
with. That was a big mistake. To be safe Mr. Jolson should have
separated those three. Miss Donnelly should have been sent to
Siberia, Mr. Kibbee to Madagascar and Mr. Herbert to St. Helena. Do
what you would, with these three disgruntled comedians sitting at the
second table day after day, waiting to be background, something was
bound to happen.
The something was Louise Fazenda.
Louise had been hired to round out the quartet at the table because
she was a bit player with a name. She was so humble she was
unsuspected. Out of her humility Donnelly, Kibbee and Herbert buillt
up a diabolic plan. They would play up to Louise until every little
snicker apportioned to her would be turned into a wow. So it turned
out that Louise was playing her own little drama at the second table
with an all-star supporting cast. A great comedian of the silent era
was working with three of the funniest talkie comedians as stooges.
She began to get confidence and her gags became funnier and funnier.
Everybody in Hollywood loves Louise, who has proved she can take
it, whether it be adversity or prosperity. It wasn't long before
Lloyd Bacon, the director, saw what was happening. He didn't prevent
it. Why should he? Louise was making a funnier picture for Warner
Brothers and she wasn't interfering with Mr. Jolson. That is why
every time Kibbee or Herbert took him aside and said, "I think I've
thought of a good gag for Louise," the gag got in the picture.
More subtly than with a mouthful of smoke, Louise steals her one
scene from Al.
"You're a mother, aren't you?" he asks in using her to get off a
slightly off-color joke.
With blushing modesty Louise looks down at her matronly figure and
takes the laugh away from him.
Thus with intrigue and bad temper and back-biting, there was made
a jolly movie. It is pleasant to know that Louise had no part in
these disagreeable procedures. She simply took an obscure part and
built it up. It is likewise pleasant to know that she has not gone
unrewarded.
The invited audience that saw a preview of "Wonder Bar" in Kansas
City some weeks ago all went out talking about Louise Fazenda. This
seems to have happened at most of the showings. The posters prepared
by the company on "Wonder Bar" did not carry Miss Fazenda's name. The
publicity department did not include one still picture of her in all
its work on the production. The advertising layouts in the press-book
ignored her name. But a few days ago the order went out to bill
Louise Fazenda and to play her up big. The public had renewed its
interest in her.
So Al is sure of having put over at least one comeback. (From "The
Kansas City Star," April 8, 1934)
.
Ray Faiola
of players got along with AJTWGE. The picture is one of my favorites
and this juicy article adds to its enjoyment - for subversive reasons,
of course!
dr.giraud
Yes, very entertaining article. It's hard to overstate how angry Kay
Francis is in the picture. Nice to know why. . . .
Dr. Giraud
bigsil...@aol.com
I was a little frustrated that the sound keep going in and out of
sync several times in the beginning (a pet peeve of mine), but it was
only noticed briefly. Most of the picture was fine.
The two Busby Berkeley stage shows were over the top, as usual.
I'd sure like to know how he was able to get those huge columns to
glide across the stage smoothly and always line up so perfectly.
Al Jolson's 'Blackface' routine turned into another extravaganza,
and for me, the most amazing performer in that part was the donkey
that gleefully climbed the two separate sets of steps. How in the
world did they ever pull that off? I've never seen a dancing donkey
before.
The Tango, complete with a whip was interesting too.
Rich Wagner
Bill Vermillion
<bigsil...@aol.com> wrote:
>
>
> I was a little frustrated that the sound keep going in and out of
>sync several times in the beginning (a pet peeve of mine), but it was
>only noticed briefly. Most of the picture was fine.
> The two Busby Berkeley stage shows were over the top, as usual.
>I'd sure like to know how he was able to get those huge columns to
>glide across the stage smoothly and always line up so perfectly.
I've had that on laserdisc for years, and I've watched those
segments many time. Truly amazing work.
You have to look carefully in some of these and watch the identical
motion in separate parts of the screen to realize that this was
done with mirrors - and virtually imperceptible. Those are some
of my favorite moments.
> Al Jolson's 'Blackface' routine turned into another extravaganza,
>and for me, the most amazing performer in that part was the donkey
>that gleefully climbed the two separate sets of steps. How in the
>world did they ever pull that off? I've never seen a dancing donkey
>before.
>The Tango, complete with a whip was interesting too.
>Rich Wagner
And speaking of tangos, I remember seeing "Bolero" with George Raft
a dozen or so years ago. That's one that should be shown somewhere
again someday.
Bill
--
Bill Vermillion - bv @ wjv . com
miller robert m
> And speaking of tangos, I remember seeing "Bolero" with George Raft
> a dozen or so years ago. That's one that should be shown somewhere
> again someday.
It was, Bill, at a recent Gish Sisters Film Festival (Fall Cinesation) in
Massillon, Ohio.
And fondly recalling the picture now (and maybe starting a new AMS
thread) it featured one of classic cinema's strangest castings of "brothers: --
George Raft and William Frawley!!!
(Well, at least at one point the dialogue explains that they are only
half-brothers...)
mack
"Ray Faiola" <rpfa...@aol.com> wrote in message
news:1181237636.4...@q75g2000hsh.googlegroups.com...
Jolson, The World's Greatest Entertainer".
Every time I think of Ruby Keeler's line about her knowing that he was
indeed TWGE, because he told her that each day of their marriage, it gives
me another chuckle.
Al may not in reality have been the Greatest, but he was surely one of the
most enthusiastic entertainers. He could sell a song better than almost
anyone.
Phil P.
It was said that you had to see him live to really experience the electricity of
his performance. It wasn't the same on films or records.
Eric Stott
"mack" <mack...@dslextreme.com> wrote in message
news:136lnnj...@corp.supernews.com...
> Al may not in reality have been the Greatest, but he was surely one of the
> most enthusiastic entertainers. He could sell a song better than almost
> anyone.
>
recordings, but on screen...EEEECCCCCHHHHHH!
Stott
mack
"Phil P." <ph...@nospam.com> wrote in message
news:r2ul635kqqqu8amkt...@4ax.com...
Interesting! If that's the case, and his vibrant enthusiasm didn't
communicate 100% in films and records, he must have been truly electric in
person.
Some actors seem rather ordinary in film, yet their live performances are
outstanding. I still recall that when I saw "Death of a Salesman" on Bway
in 1950, Lee J. Cobb had left the cast about a month before, and in Loman's
role was Gene Lockhart, and I went anyway.
He was so splendid in the role that when it ended, I felt glad that I'd seen
him, and not Cobb.
Robert Birchard
of camenbert about it. The references to the feud between "Ric" and Jolie
all relate to the characters they're playing and there is no personal
detail. The complaints of Kay Francis and Dick Powell seem real enought,
buat seem to be of the "planted" variety. I doub't such comments would or
could have gotten into print at the time without studio knowledge or
approval. The Fazenda stuff also seems like there is a studio motive (i.e.
"The Prisoner of Fazenda," Hal Wallis, pushing his wife's appearance).
This sems to be one of those studio sponsored stories designed to put a
star (in this case Jolson) in his place, to placate fans of Dick Powell and
Kay Francis and explain why their roles wern't bigger, and to build up a
fading performer who just happens to be the wife of one of the studio's
major producers.
I'm not saying the article isn't "true," but just that is seems a trifle
tailored and promomting hidden agendas.
<Reel...@aol.com> wrote in message
news:1181178183....@g37g2000prf.googlegroups.com...
Ray Faiola
the Winter Garden vibrated. Jolson on film in scripted fashion is an
interesting and, sometimes (HALLELUJAH I'M A BUM) engaging
personality. When you hear extemporaneous recordings of him (Steve
Allen interview) you get a taste of what it must have been like to see
this guy in the flesh.
As for Broadway actors, seeing Joseph Buloff in Miller's THE PRICE was
an experience I will remember for the rest of my life.
Eric Stott
> They used to say that when Jolson sang, the bricks on the back wall of
> the Winter Garden vibrated. Jolson on film in scripted fashion is an
> interesting and, sometimes (HALLELUJAH I'M A BUM) engaging
> personality. When you hear extemporaneous recordings of him (Steve
> Allen interview) you get a taste of what it must have been like to see
> this guy in the flesh.
It's interesting to watch HALLELUJAH I'M A BUM and see Jolson being Almost
Human, but the thing that gets me is the best song ("You are too beautiful")
is tossed away so casually it's almost wasted.
Stott
Stacia
>They used to say that when Jolson sang, the bricks on the back wall of
>the Winter Garden vibrated. Jolson on film in scripted fashion is an
>interesting and, sometimes (HALLELUJAH I'M A BUM) engaging
>personality. When you hear extemporaneous recordings of him (Steve
>Allen interview) you get a taste of what it must have been like to see
>this guy in the flesh.
I think Jolsen is kind of flat on film, and to be honest, a wee bit
creepy. His act in "Wonder Bar" seemed out of date by 1934 standards.
That said, the extras did seem to be thoroughly entertained by Jolsen.
What I always find unconvincing are reports from people who never saw
Jolsen live, who say he was the best entertainer ever. Not talking about
anyone here, of course, but people I've seen on other forums.
Stacia