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Michael-W
Reviews
'B' Girl Rhapsody (1952)
An old-time burlesque show, in a new complete edition
This replaces the review I wrote in 2007. That was based on a VHS that I bought from Something Weird Video (SWV) a few years earlier. I praised the cast but lamented the condition of the film print, calling it a "chopped-up mess." Entire acts were missing, comic's punchlines were cut, strippers had been censored.
Things have changed: SWV now has a complete movie. The old version contained only 48 minutes that was actually "B-Girl Rhapsody," expanded by spliced-in clips from other movies. The DVD-R I just bought runs 77 minutes, and all of it is the real thing. So, here's an updated review of what you'll get circa mid-2009.
"B-Girl Rhapsody" is an actual burlesque show filmed in 1952 from "your seat, center row front, at Los Angeles' famous New Follies Theatre," to quote a title screen (aka the Burbank Theater, at Fifth and Main). There is some topless nudity and sexually suggestive dancing, but no full nudity or pornography.
The comedy is disappointing. The cast is first-rate -- top banana Benny Moore and comic Artie Lloyd were both nationally known, George Rose has an early role in top hat, straight man Leon DeVoe is a great all-around talent -- but the material is flat. Part of the problem is that "B-Girl Rhapsody," like other burlesque movies, was filmed in an empty theater. There's no audience encouraging the strippers, no shouts or whistles, and the comics are operating in a vacuum. Laughter is contagious, and so is silence.
There's a full chorus line of 12 women, the last seen in these movies (by 1955 the New Follies was down to four showgirls). They do two routines, an energetic seashore number and a classic parade in headdress. The five preliminary strippers double in the chorus, but all are "names." Frenchy LeVonne is fierce, Nona Carver is campy. Ginger DuVal, blond here, is smooth and friendly. Chili Pepper gives a long, elaborate performance (she's also the acrobatic dancer in the second chorus routine). Young Crystal Starr went on to become a headliner, and while she has a wind-up doll quality that puts me off, certainly her act shows skill and polish.
Then finally the star of the show, brilliant Lily Ayers. Her performance is unusual both for the high quality of dancing and for being an actual burlesque, an alternately light-hearted and moving pantomime of a B-girl (a woman hired by a bar to pretend interest in male customers so they'd buy drinks for her, actually tea). There may have been a personal note as well, since strippers playing nightclubs were usually required to "mix" with customers between shows. Lily employs a combination of bump-and-grind and ballet that's an absolute treat to watch.
The good news is, we now see Lily's entire act. The bad news is, we don't hear it. As usual for burlesque movies, the band (pre-recorded) is playing proprietary music, which saved the film company having to pay usage fees for copyrighted songs. It works for the other strippers but not for Lily. She must have insisted on sticking to her own arrangements, probably standards and pop hits, and the filmmaker went along. When he got back to the studio he fixed things by dubbing his selections over the actual music.
The result is discordance. The music doesn't match Lily's movements, and sometimes it clashes, like when an upbeat tune blares out as she collapses in grief. Twice the audio cuts with a "pop!" and actually jibes with the dance for awhile, at 1:11:40 (ethereal, Lily reclining on piano), and at 1:15:55 (mournful, Lily standing). There's a long drum piece that seems authentic, though recorded separately (we see her accompanist playing the piano but don't hear a note). In short, Lily's audio remains a chopped-up mess. What a shame.
This is the fault of the filmmaker, not Something Weird Video, who deserve a big hat-tip for improving their product. My only complaint is that they keep it a secret. Nothing in the online catalog mentions the change, and the liner notes are the same Dave Carey review that was on the 2003 VHS, still referring to the now-deleted clips of Amber Dawn and Ruby Lee. It would also be nice if they'd identify the source (probably the Sonney Collection at UCLA). Two other burlesque films that got upgraded by SWV are "Midnight Frolics" (1949) and "Everybody's Girl" (1950), both definitely worth getting.
French Follies (1951)
Jennie Lee at her best, plus a great comedy routine
The following review is based on Something Weird Video VHS tape # 5196.
This is an actual burlesque show, filmed in 1951. It is not a drama or a documentary, it is what you would have seen if you'd been sitting in the theater. Only two things are different from a regular show; there's no audience, and the length is abbreviated (only 67 minutes, whereas the full show may have run 90 minutes). There is some topless nudity and sexually suggestive dancing, but no full nudity or pornography.
This film is a cousin of the 1951 "Ding Dong." Although made by different companies, both appear to be have been filmed at the same theater, recognizable by a small stage and wide apron with light-colored lip. It's identified in "Ding Dong" as the Moulin Rouge in Oakland, California. The films were also probably made around the same time in 1951, since strippers Jennie Lee, Pat Flannery and Doreen Gray are in both movies.
The big difference is the strip music. "Ding Dong" uses recorded music lifted from other burlesque movies, chiefly the 1950 "Everybody's Girl," forcing the strippers to improvise their dances to unfamiliar tunes. "French Follies" uses the theater pit band, but I can't tell if it's synchronous or pre-recorded; the dancers' bumps and kicks get drum and cymbal emphasis, but Ruby Lee talks all during her act and we don't hear a word. Maybe that's just the microphone setup. Whatever the method, it's a lot more effective. Jennie Lee dances in both movies (also in "Peek-A-Boo"), and only here do you see the sureness and self-confidence of someone doing her own act to her own music.
The video side is fine too. William C. Thompson does his usual journeyman job with one camera and has everything dialed in, no surprises. The film is in good shape and appears to have no extraneous material added, but does get chopped a few times; there's a gap in Jennie Lee's act, and Crystal Starr and Ruby Lee appear to be cut off. The acts:
Jennie Lee does the first strip. In burlesque that's the bottom of the ladder, with the strips building in importance until the show concludes with the star. Jennie would have been higher than that (she was co-feature in "Ding Dong"), so probably the film editor got the acts out of order. Jennie's only wrong move is the costume, too much yardage and a bit gaudy. Once she gets free of the clothes she rocks. Great performance and living proof that big zaftig women can be lithe and athletic. Also a champion tassel-twirler, done deftly and with aplomb. Wherever she was in the lineup, she's the best act in the show.
Subsequent strips didn't grab me. Crystal Starr, very young, is billed here as Joanne Bridges. She became a headliner in the early 1950's. Wonderful mastery of technique but little zest, almost mechanical. Next is Ruby Lee (uncredited), then Dorothy Burke (I think, she's not announced). Pat Flannery is credited as a dancer but her strip isn't in the film, though she's in a comedy routine. Then finally the star, Val De Val. She is introduced as "dynamic" and she is, too much so for me. If you were in a theater audience and seeing her on stage live, it might have been a great act. On film she comes across as pointlessly frenetic.
This film has some comedy routines that are so-so, and two that stand out. For education, watch Bob Carney doing the classic "Crazy House" routine, in which the poor guy gets stuck in an asylum and the whole cast gets to parade by his bed and do outlandish things. This rendition has its moments, but the big draw is its history. Everybody in burlesque did this scene at one time or another. There's a photo of Gypsy Rose Lee in the nurse's role and Joey Faye as the patient. Probably Fannie Brice did it, and we can imagine what W. C. Fields could have made of the wacky-doctor role. Good stuff. The other routine is something unheard of in these films: a fairly funny bit that actually has a socko finish. Call it "The Whiskey Bottle scene." Straight man Don Mathers exits early, leaving Jean Carroll as a not-so-innocent young thing with Walter Owen as a crusty old lecher. Killer ending.
And the rest of the show. No chorus. The strippers and several other women dress as showgirls to form a sort-of ensemble. Charlie Crafts does his usual smooth singing and straight work, Mary Andes contributes a specialty dance and comedy roles. Comic Hermie Rose doesn't get much to work with as far as material, nor do Pat Flannery and Doreen Gray (she doesn't strip in this movie). But in this case the sum is greater than its parts, and you wind up with a likable film that has some great moments. Not a must-buy, but definitely a cut above average.
Peek-a-Boo (1953)
Comedy is salty, but strips hurt by recorded music
The following review is based on Something Weird Video VHS tape # 4117. "Peek-A-Boo" is also available on DVD from SWV as the second feature to "Hollywood Burlesque." The DVD version does not include Patti Waggin's strip act (0:53:40 on VHS).
This is an actual burlesque show, filmed in 1953 at the New Follies Theater at 5th and Main in Los Angeles, California. It is not a drama or a documentary, it is what you would have seen if you'd been sitting in the theater. The big difference from a regular show is that there's no audience. There is some topless nudity and sexually suggestive dancing, but no full nudity or pornography.
If I had to pick one word to describe this movie I would say: "Disappointing." It has all the ingredients for a good show but they don't pan out. The main fault is the music. Many burlesque movies used recorded music; sometimes the pit band (pre-recorded), sometimes just phonograph records. That let the filmmaker call directions to the stripper (don't know why that was necessary) and gave them perfectly-synched audio cheap. Trouble is, a large part of the stripper's impact was the live drummer catching her bumps and kicks with ad-libbed rimshots and cymbal crashes. When they just play the sheet music it loses that emphasis. Can't tell exactly what they did with this movie, but the piano is way too heavy, just crashing loud, and there are almost no drums. You hear a drummer in the chorus routines, but with a few exceptions none of the strip music has rimshots, there isn't one cymbal crash, in fact there may not even be the thump of a bass. Burlesque without drums is like flamenco without castanets.
The Duponts got better music, though it's a bit second-hand (maybe redone here). Their opening piece was played for the chorus in the 1953 "Bedroom Fantasy," where they also appeared, and their main piece was used for Chili Pepper's strip in the 1952 "B-Girl Rhapsody" (0:25:00). The Duponts do a fine job, as if the music had been written for them, interesting story routine and very athletic. Can't see clearly, but this looks like a different woman than in "Bedroom Fantasy," though could just be the result of makeup and acting.
Jennie Lee was a let-down. Although she starts out very effectively as Diamond Lil, the dance doesn't work. There's no punch. She doesn't even look like Jennie Lee some of the time, more square-faced than in photos and other films. Maybe the lighting is to blame. The music didn't help either. If you want to see Jennie at her struttin' star-quality best, dancing to a real pit band, catch her in the 1951 "French Follies." Like night and day.
Patti Waggin's strip is probably omitted on DVD because there's no audio for this segment. Nothing but silence all the way through. Maybe the record got broken on the way back to the studio. Too bad, because it's a great performance, a lot more physical and a lot stronger than her act in the 1955 "Too Hot To Handle." No cute stuff here; at the conclusion she's glistening with sweat.
The best feature of this movie is the comedy, more for historical value than as entertainment. The comics -- Jack Mann, Billy Foster, Johnny Maloney and straight man Leon DeVoe -- are pro's but the empty theater kills laughter. With a couple of hundred people in the audience they might have been very funny. The material is interesting because it has the double-entendres and urge to raunch that sound like the real thing, not the "Boston version" used in many movies. Thankfully, the only line the filmmaker seems to have censored was one by Billy Foster at 0:21:20, when he points toward the front row and says something. The sound track drops out abruptly. Lip-reading, anyone?
The rest of the cast: Sherry Winters and headliner Venus the Body Beautiful are not my cup of tea. Both work hard, but I couldn't give them high marks. Virginia Valentine just didn't have a good day at all. Suzette is hampered by the music but very light and sure on her feet, good enough that you'd like to see her with her normal accompaniment. The chorus is down to 9 women, and includes all the strippers except Jennie Lee and Venus (even Patti Waggin is there, surprising for a co-feature, and also appears in three skits). Vocalist Pat O'Shea only does one song, off-camera and so is probably recorded. Baseball pitcher Bob Lemmon (uncredited) makes a guest appearance at 0:08:20. FYI, Patti Waggin is credited as "Patti" and introduced in the finale as "Patti Brownell" (first husband?).
Film condition is pristine; crisp picture with no scratches or wear, clear audio, no extraneous material spliced in. Cinematographer is veteran William C. Thompson, apparently using the single camera that was normal for these films, though a couple of times there's a cut to a closer shot. Possibly they just had the cast run through some moves twice. Most of the comedy routines are filmed from too great a distance, but it does give you a more accurate sense of how it felt to be in the audience. Very good coverage of Venus's act.
Funny moment in the show's finale; each stripper walks onstage, then quickly steps back for the next one, all leading up to the star to close the show. When Jennie Lee's turn comes, she strollllllls on, swinging something from one hand, then steps to the footlights and takes a bow, and is still leisurely backing to the lineup while the next stripper is walking on. Jennie most likely always figured she was the star, regardless of what the marquee said, and she may well have been right.
Hollywood Burlesque (1949)
Old-fashioned burlesque, filmed well
The following review is based on the Something Weird Video DVD "Hollywood Burlesque" (also available on VHS # 4983).
This is an actual burlesque show, filmed in 1948 at the Hollywood Theater in San Diego, California. It is not a drama or a documentary, it is what you would have seen if you'd been sitting in the theater. Only two things are different from a regular show; there's no audience, and the length is abbreviated (only 67 minutes, whereas the full show may have run 90 minutes). There is some topless nudity and sexually suggestive dancing, but no full nudity or pornography.
The movie is in near-mint condition and production values are among the best for the genre; two cameras and synchronous sound, and directed by Duke Goldstone (he went on to success as an editor with George Pal and then in television). The cameras put you where you want to be, the shots are interesting, and the editing is almost seamless.
Now for the show itself, starting with the bad news: the comedy is terrible. There are three scenes and all are squeaky clean, which in burlesque generally equates to dull. It gets worse. Straight men Wenn Hitt and Bob Ross (doubles as singer) are okay, but the main comic is Eddie Ware. Eddie can be good when he just uses his face, but has a loud, harsh, demanding voice that grates on my funny bone. There's also what may be the only film appearance of comic Say No More Joe (Claude Mathis). He's only in the first skit, and gets as much as possible out of the material.
The strippers are good but not great. The only "name" is star Hillary Dawn. Honey Hayes is credited with the first strip but it's been omitted from the movie. Showgirl Bobby Roberts is stately, Marie Durand is a calm cutie, and then comes my personal favorite, Joy Damon. A dark-haired young woman with a gorgeous body, Joy strides back and forth matter-of-factly, snaps out bumps with a grin, and does an electrifying turn on the runway. Next is co-feature Jenne, who employs a lot of drama and does it effectively (she's also good in the skit that follows). Finally the headliner, Hillary Dawn. Her act is mostly just walking in time to the music, throwing in a bump here or a knee-bend there and shedding a garment now and then. The overall result is surprisingly impressive; the lady has style.
In this movie, though, the big attraction is not the strippers but the stage show. More vaudeville than burlesque, it is great entertainment by itself. Worth the price of admission as they say. The Hollywood had two choreographers; according to oral histories at the San Diego Historical Society, Fanny Johnston (wife of theater owner Bob Johnston) did the opening chorus routines and Lee Torry did the production numbers. Both are good. The chorus routines are lively and interesting; there's no line-abreast kicking and the dancers are usually in a staggered array around the stage. The longest production is a 13-minute picture number at 0:32:30 that uses two singers and just about every dancer and showgirl. Truly impressive. Another highlight is the pairing of Lee Torry with dancer Mary King, not as big-time as Fred and Ginger but fun to watch. Catch the tongue-in-cheek quasi-strip of Mary King at 0:22:50.
Finally, something that's not often covered in reviews: the band. According to former dancer Barbara Jean Dishong (SDHS oral history) the Hollywood used a 4-piece pit band in the 1950's; drums, trumpet, saxophone/clarinet, and an organ. I can't hear the sax or clarinet (maybe just my ears), but the trumpet's definitely here, as is the organ. Whatever kind it was -- big old Wurlitzer or a little Hammond -- the organ gives a wide range to the music. On top of which the drummer is an absolute ace, rimshots that can stop your heart and perfect catches of every move the stripper makes. These guys are good.
The whole show is good. It's more 1930's than almost-1950, old-fashioned and sometimes a bit hokey, but it's great entertainment and a wonderful chance to time-travel. Highly recommended.
Everybody's Girl (1950)
One of the best of the old-time burlesque films
The following review is based on Something Weird Video VHS tape # 5009.
This movie is an actual burlesque show, filmed in 1950 at the Follies Theater at Third and Main in Los Angeles. It is not a drama or a documentary, it is what you would have seen if you'd been sitting in the theater. Only two things are different from a regular show; there's no audience, and the length is abbreviated (only 76 minutes, whereas the full show may have run from 90 minutes to 2 hours). There is some topless nudity and sexually suggestive dancing, but no full nudity or pornography.
The chorus line consists of only 7 women, and several of them do strip acts as well. That's cut in half from the 14 that were in the Follies chorus for the 1946 "Hollywood Revels," and their routines are very simple, just walking in time to the music. But still, this is a real chorus, a touch of class that pretty much vanished by the end of the 1950's.
All the comedy scenes are relatively clean, probably at the filmmaker's behest. Don't expect belly laughs; the delivery is good but the material and empty theater keep things kind of flat. The first routine features Bobby Faye and Leon DeVoe, an eerie mind-warp that showcases DeVoe's dramatic acting as a man who inhabits a world only he can see, and in which Faye gradually comes to believe. Subsequent skits include the anti-nudist society, a school daze routine, and "Does he have the guitar?" with Harry Arne at his baggy-pants best. "Guitar" has a second meaning (don't ask). There are a lot of double entendres.
Gay Dawn is the star of the show. She is good if not great, interesting and very likable. Imagine a cross between Anne Francis and Amelia Earhart. Although her act is titled "Desire" and includes some world-class grinding while kneeling on a platform, she does not come across as sexual, more like a tomboy-ish older sister who's stripping on a dare. Other notables: Mary Andes contributes two specialty dances and comedy work, and acrobatic dancer Loretta Miller ("Leonora") is very impressive. FYI, for some reason, all the principal ladies except Gay Dawn and Mary Andes were given single-name pseudonyms in this movie. "Leonora" is easily recognized as Loretta Miller, and "Rochelle" as Lily Ayers when she was brunette (she's in the chorus and opens the first comedy scene). Co-feature "Sylvia" looks like Sugar Kane (aka Sylvia "Sugar" Kane, who I believe later used the stage name of Thunder).
The film print is in excellent condition. No splices or scratches, no physical deterioration, and the movie appears to be intact with nothing added except 2 minutes of Pat O'Conner's act spliced in (0:43:35) from the 1947 "Night At the Follies." The strip acts of Rochelle and Levalon are omitted, but this may have been the way the movie was originally released. Cinematography is excellent for the genre, with two cameras being employed (the norm was one). Only failing is that the lighting is a bit dim, or maybe the VHS transfer is dark. Audio is glorious synchronous sound throughout, a rarity for these low-budget films. The microphones even pick up an emergency vehicle's siren going by the theater as Charlie Crafts sings (0:02:50), and when the chorus parades we can hear the clumping of their shoes on the boards.
Something Weird Video offers around 30 of these burlesque actualities (not including the "Grindhouse" compilation series), and "Everybody's Girl" is one of the best in overall combination of cast, show, filming, and condition. Highly recommended.
2009 UPDATE: SWV has a new version of this movie. The review above was based on a VHS I got in 2003, the print they now offer on DVD-R runs 7 minutes longer and all of it is the original film, nothing spliced in. The missing strip acts are all here; Levalon, Charmaine and Rochelle (Lily Ayers). In this early performance Lily hides behind a fixed smile and does a brief, standard strip. Nothing tells you she's going to be a star. Nine months later she was featuring at Minsky's Rialto.
The only bad news is, while the VHS was dim, the DVD is too bright, with facial features and other details being washed out. Hopefully SWV will select "Everybody's Girl" for digital remastering and then we'll finally get to see this great show at its best.