The Orchestra Augmented

Just as we began to believe we knew all there was to know about "The March of Time," MGM's unreleased follow-up to the studio's 1929 "Hollywood Revue," there comes more to learn --- more to consider.

Seeing as there doesn't seem to be a single comprehensive study of the film in one place (bits of information are as scattered as the celluloid husk of the production that remains today) these pages seem as good as any to serve as a depository for information. An imperfect research venue to be sure, but far better than none at all.


A good deal of what we know today about "The March of Time" was painstakingly pieced together by Jonas Nordin, a Stockholm sound-engineer who, not unlike myself, considers himself something of an Entertainment Archaeologist. Jonas was instrumental in fine-tuning much of what I've written about "The March of Time," and, via a recent communication, provides us with additional insight:

"Apparently, 'The March of Time' was indeed complete when shooting finished in February of 1930. After that, (director) Harry Rapf or someone else wasn't happy with the result and decided to make what seems to be random alterations. I think this decision had very much to do with the musical genre suddenly falling out of fashion. MGM simply didn't know what to do with a big budget musical that no one was interested in. So, they tried to make something else out of the $750,000 spent, but failed. I am quite convinced that the finished product that Rapf presented to MGM early in 1930 was much of an artistic disappointment, apart from some good production numbers."

We also learn a bit more of what Marie Dressler's contribution to "The March of Time" likely consisted of: A Comic Ballet, and two beautiful parodies of 1890's sentimental ballads --- the titles of which are enough to conjure up the most fantastic mental images: "That's How It's Done On the Stage" and "But Father Mustn't Know I'm Going On the Stage -- He Thinks I'm A Shoplifter."

Jonas also relates the heart-breaking account of an employee who worked in the Technicolor vault on several occasions in the 1970's and actually saw much of what was then left of the doomed musical revue:

"'March of Time' was in fragments or sections in the vault. There were two-color matrices for certain scenes, and black and white fine grains for others. They also had various variable-density track negatives. (It was) surmised that there was approximately eighty to ninety minutes of basically unedited footage. Yet, we also discovered edited (finished) sections in another area of the vault. (However,) I don't believe that (the film) was finished or 'locked' before the studio pulled the plug on the project before they generated additional expenses. There was a script for the production with the studio legal department too."


"Technicolor was, at the time, going through a major purge of their vaults to make room for new materials. So, many two and three-color matrices, optical track negatives, trims, outs and dailies, black & white negatives and fine-grains were being sent to a company in Burbank, California for stripping. They would remove the emulsion and 'repaint' the stock in 1000' lengths for editorial purposes. By the time the footage reached this facility, it was too late to save any product. The owner of the facility showed me hundreds of boxes of film slated for destruction. Many of the boxes were under working titles and I had no idea what they contained, but the time period for other recognizable titles was the late-twenties to mid-thirties."


Bleak though the outlook is for additional footage for "The March of Time" turning up any time soon --- or ever, more about the film can be gleaned via the paper trail it left behind --- and that's a story that remains to be told. The University of Southern California is said to hold a box of documents that, it is believed, contains a shooting script and a wealth of other ephemera related to the film, including performer contracts. Brittle paper stacked within a pasteboard box --- all too often the final destination for the Entertainment Archaeologist, student of film and the amateur film historian. Surely "The March of Time" will again surface within these pages!

Abilene, Texas audiences attending the far more fortunate predecessor to "The March of Time" in November of 1929 were successfully lured to the theater with the promise of a "Ziegfeld, Earl Carroll and George White show rolled into one with many deft motion picture touches," and doubtless impressed by Metro's selfless charity in making such a grand show available to all: "Because it is a motion picture, many cities and towns of the country are witnessing a great revue of revues for the first time."

Even today, "Hollywood Revue" is oftentimes an exciting film to watch, and that in spite of the few sequences where it all seemingly all but grinds to a halt. But, magically, when seen with a receptive audience, the creaks and groans tend to vanish --- the long stretches of silence and leaden pauses filled with applause or laughter, and the myriad layers of age dissolve away as some of the biggest names in Hollywood step forward to enter new and largely unknown motion picture territory.

Here's one of the brightest melodies from "Hollywood Revue," one that wouldn't have anywhere near the longevity of "Singing in the Rain," but which seems somehow far more firmly attached to the film instead.

"Low Down Rhythm" (1929) Lloyd Keating & His Music

At the same time that Fox's "7th Heaven" (1928) was shimmering from screens across the country, accompanied by a synchronized Movietone score and sending exiting patrons scrambling for sheet-music and phonograph recordings of its theme song, "Diane," the film was being given no less a grand reception and presentation by theaters that hadn't as yet invested in the Movietone - or Vitaphone - or both systems for their venue.

Masterful though the music and effects score for "7th Heaven" is, it's lovely to contemplate seeing the film for the first time --- in sparkling, pristine condition --- with music provided by not just a full orchestra, but a specially "augmented" one, as detailed in the full page ad to the left: "The management has added to the orchestra and this attraction will be made stronger than ever."

"Those who heard the orchestra in the great British-made picture, 'Second to None,' were delighted in the stirring numbers rendered, and those who attend the magnificent presentation of '7th Heaven' will be charmed by the lovely music accompanying the picture, special arrangements for which are being made."

As we're left to wonder precisely which musical selections so stirred those attending 'Second to None,' we have no less a stirring rendition of "Diane," the theme song from "7th Heaven," performed here by vocalist Franklyn Baur.

"Diane" (1927) Franklyn Baur

Indeed, as a reviewer for the New York Graphic noted in mid-1928, "What a picture! It is all that the most extravagant praises from the West Coast have it, and more. There's life and love in every reel." And, at twelve reels, that was --- and is, a lot of living and loving. It's fun to realize that 1928 audiences were apparently quite a bit more technical savvy than we might suppose today, being readily able to understand the length of time that twelve reels translated into!

The great one, Paul Whiteman... standing at the feet of George Washington's statue at Federal Hall, in New York City's Wall Street --- participating in what amounts to a live street performance in the early 1920's, decades before such events would be regular fodder for "Good Morning America" and "Today Show" cameras. Details of the event are largely lost to time, but clearly the Weber Piano Company didn't lose the chance to secure a bit of free publicity, and in the image to the left we see Whiteman apparently awaiting his cue on a warm summer morning while an unseen speaker --- or speakers --- addresses the crowd. (Prompting the wonderful posture of the seated fellow, doubtless!)

While Paul Whiteman's arrangements and recordings would, by the end of the decade, often become somewhat indulgent and over-inflated affairs --- each one aspiring to become a 78rpm miniature extravaganza --- his work on Victor at this point was straightforward, comparatively simple and just magnificent.

"I'm Just Wild About Harry" (1922)


"I'll Build A Stairway to Paradise" (1922)

Listen to the above recording, then see if you can't imagine that music reverberating through the Wall Street canyons, across that sea of straw hats!

Interesting to note, too, that among the faces peeking out of the open windows of the building overlooking Federal Hall, all seem to be exclusively workmen (in caps and overalls) as opposed to office workers. Subtle but evident division between the working classes, of the sort that doesn't exist today. Indeed, at similar events today, the overall clad fellows would doubtless be front and center at the performance podium, and the straw boaters pondering the advisability of elbowing forward!

"Fate" (1923)

"Way Down Yonder in New Orleans" (1923)


We again visit with bandleader Clyde Doerr, who seems less than pleased at having been pulled away from his newspaper. Despite Doerr's clipped Teutonic appearance, he hailed from Coldwater, Michigan and while a master of the violin, his work as an alto-saxophonist would bring him fame.

Hired by bandleader Art Hickman in 1916, Doerr arrived in New York in 1919 with the Hickman band, hired by Ziegfeld --- and struck out on his own shortly thereafter, forming orchestras that would serve as "house bands" for both New York City's Club Royale and Chicago's Congress Hotel.

In addition to appearing on the radio as early as 1925, Doerr and his Orchestra would also tour the country via the vaudeville circuit. One such play-date, in the Davenport, Iowa of 1924, was described thus:

"When one desires to bestow the high modicum of praise upon a vaudeville offering and on basis of two or three curtain bows, it is more or less honest to say the act stopped the show, but Columbia (theater) patrons last night participated in and witnessed a real Stopping of the Show when Clyde Doerr and his Orchestra, direct from the Congress (Hotel,) Chicago, used every device of the footlights to indicate that the act was finished -- done -- no more -- and the folks out front were equally insistent that they didn't care what happened next just so long it was the Doerr Orchestra."

"As it was, one Frank DeVoe is what happened immediately thereafter, and everyone promptly got over his disappointment, especially when DeVoe -- with a disarming frankness -- walked out and said with all sincerity, 'Say, now ain't that orchestra hot?' DeVoe faced a hard job following the Doerr Orchestra but his honest-to-goodness appreciation of that fact put him over as solidly as his very unique jazz singing."

"There have not been more than three of the whole deluge of jazz band acts that interrupted the melodies of the hour as the Doerr Orchestra. Possibly because they have spent the season in a hotel ballroom where blatant weird harmonies were not demanded, but more likely because Mr. Doerr does not incline to that style of play, the musicians never give the impression that the walls were bulging outward with the crashing syncopation. Nevertheless, every effect of the jazziest band was there with a richness of melody and harmony."

Interestingly, Clyde Doerr would participate in sound films too, and at opposite ends of the medium's technical evolution. There would be a DeForest Phonofilm in the early 1920s, "Clyde Doerr & His Sax-O-Phone Sextet" and there are newspaper references to at least one Clyde Doerr Orchestra short film making the rounds in June and July of 1930.

"I Wish I Knew" (1922) - Clyde Doerr & His Orchestra


In a previous post, the intriguing and somewhat mysterious Syncrophone device was seen in a January 1929 advertisement providing sound accompaniment (of some sort) for the film "Streets of Algiers," although whether the device was also used for "The Heart of Broadway" is a matter of doubt, as pointed out by a number of blog readers who (to my surprise and pleasure) were moved to do a bit of research of their own following my post.

Frequent contributor George Moore forwards some information on the Syncrophone device:

"The Syncrophone Company evidently produced films with the sound track on a disc. They called the discs 'Octacros.' The 'Maltese Cross' comes into it having given its name to the rotating cam that governs the transit of film through the gate of a projector."

Although the device pictured left appears to be a scaled down version of the Syncrophone (intended for home or institutional use) a general idea of the mechanism can still be gained.

As to what sort of sound accompanied "Streets of Algiers," and other titles, well... that's still a matter of conjecture. Were scores especially prepared and recorded for these Syncrophone presentations? Was there ever any attempt at providing the illusion of dialogue or sound effects?

Or, was the Syncrophone used simply as an elaborate highly amplified phonograph, to play suitable mood music for the film being flashed upon the screen?

We do know that the system lasted into the early to mid-1930's, and that it had (by then) developed to the point where it provided synchronized dialogue for one of the earliest Welsh language sound films, "The Chwarelwr," which (amazingly) was preserved and restored by the National Screen and Sound Archive of Wales! All in all, there's more to the Syncrophone saga to be told, and I invite readers with additional information to share what they may know about this shadowy technical curiosity.

Hastening back to more familiar territory, a selection of melodies from films of 1929. From "Fox Movietone Follies," (a lost film which was examined closely in a very early post which can be read here) a spirited rendition of one of its hits by Arnold Johnson & His Orchestra which really soars just a moment before it concludes: "The Breakaway" (1929)

The theme song for "Weary River" has appeared within these pages at least as many times as it can be heard in the film itself, so what's one more? Here, vocalist Jack Miller gives it his all --- and then some. Say what you will, there's just something about this tune...

"Weary River" (1929)

From "Syncopation," Del Delbridge and His Capitol Theater Orchestra plead "Do Something" (1929)...

... and Ray Miller and His Orchestra lament the fact that "Nobody's Using it Now," a temporary condition enacted on the screen in 1929's "The Love Parade."

All ends well however, as proclaimed by the Ipana Troubadours in "My Sweeter Than Sweet," from the 1929 Nancy Carroll romp, "Sweetie."

Mr. Jolson (right) may look a bit anxious (and a good deal mottled) while thumbing through "Variety," but he'd doubtless be supremely satisfied to learn that early reports indicate the forthcoming DVD release of his "The Jazz Singer" will offer the landmark film looking as though it was "filmed yesterday," and hopefully sounding as though it was recorded the day before that.

Interestingly, some early review discs contained a glitch which swapped the Technicolor swan ballet from "The Rogue Song" for the designated selection from "Gold Diggers of Broadway," giving the impression that someone's hand merely plucked the wrong tin off an archive shelf labeled "old color musical stuff." No, but really --- I wonder if any of these production-error copies will filter onto the retail market? Be sure to examine yours closely!

"Toot Toot Tootsie, Goodbye" (1922)
The Benson Orchestra of Chicago

Rounding out this post, a diverse selection of vintage music --- accompanied by appropriate visuals, and then our usual departing glimpse of various items that line the hallway leading to the exit.

The next few days will be spent transferring this blog's audio material to new file server digs --- a mind-numbing complicated task --- so once again, please be advised that some glitches may be encountered until the swap is complete. I shall be starting with the very first posts and working my way forward, so readers (old and new) might wish to re-visit some of the earliest posts in order to avoid any disappointment.

Update: All posts to date have been transferred to the new server.

"An Old Guitar and an Old Refrain" (1927)
Roger Wolfe Kahn & His Orchestra
Vocal by Franklyn Baur

"Deep Night" (1929)
The Victor Salon Orchestra (Pictured Below)


"What'll We Do On a Dew, Dew, Dewey Day?" (1927)
Jim Miller & Charles Farrell (Pictured Below)


"Carolina in the Morning" (1922)
The Bar Harbor Society Orchestra

"Muddy Water" (1927)
Harry Richman


Until Next Time!
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"Sweetie" (Paramount-1929) Lobby Card


Movietone a la Moderne 1930 Exhibitor Book Illustration


Two Years Earlier... Movietone Arrives in San Antonio, Texas January 1928

8 December 1929

"Noah's Ark" (1928)

Souvenir Programme

"Song O' My Heart" (Fox-1930) Poster

Syracuse, New York 27 October 1929

The Film that Started it All Uniontown, Pennsylvania - 21 May 1927

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"For the Last Time Anywhere!"

By the time it was barely eight years old, "Fox Movietone Follies of 1929," an extraordinarily popular film that was seen by hundreds of thousands of people, seemingly vanished from this earth --- completely and thoroughly.

Although countless other Fox titles were lost in a catastrophic film storage facility fire in 1937, many of these films have since been discovered elsewhere and have, in some cases almost miraculously, struggled back to life again --- aided by passionate individuals, archives and organizations around the globe. However, it appears that "Fox Movietone Follies of 1929" died a violent and rather final death in that celluloid inferno of 1937.

Indeed, it's because that the film has left so precious little of itself behind that it tends to receive perfunctory mention at best in most explorations of the early musical or sound film and, even worse, is often so poorly described and misrepresented that each new book or article further obscures and mangles the film's fleeting but brilliant life.

Despite the title, "Fox Movietone Follies of 1929" wasn't the plot-less, all-star revue film it's often thought to be. Although MGM's "Broadway Melody" (a musical with backstage sequences) would reach screens in February of 1929, the arrival of "FMF29" two months later, signalled the arrival of the first sound film to be set entirely within a theater, the first "backstage musical" in the truest sense, which played on the screen in what amounts to a "real time" format --- long before that term existed --- and similar to the way "On With the Show" (WB-1929) is also constructed.

Simply, "Fox Movietone Follies of 1929" details one hectic day and opening night of a lavish musical revue, beset with problems stemming from romantic intrigue, creditors and investors demanding satisfaction, and a spiteful leading lady and her hopeful understudy. Approximately eight reels in length, the first two reels of the film are given over to plot and character exposition, which then gives way to a series of incredibly elaborate musical revue sequences. Between these sequences, the thread of the plot is picked up and advanced, until all is well by the film's finale with personal problems solved and the success of the apparent. Yes, of course we've seen this all before --- but it should be remembered that it was done here for the first time in a sound film.

The first of the film's musical sequences, which also serves as the opening of the show-within-the-movie, presents chorus girls as the various notes of a musical scale:

"DOn't expect an opening chorus

RAise your eyes and don't ignore us!

MEdiocre shows start with them,

FOllies have a newer rhythm!

SO we have no opening chorus,

LOts of shows did that before us!

SEE dear public how we know you,

DOn't get nervous, now we'll show you!"

Attention is then turned, somehow, to the lower limbs of the musically attired chorines, who proclaim:

"Legs - Legs! We're hot for plenty of speed,

We've got the thing you need,

Legs - Legs! No face could ever replace,

A pair of beautiful legs!

Legs - Legs! Hips - Lips! Eyes - Hair!

No face could ever replace,

a beautiful pair of legs!"

Another musical sequence immediately follows, a fantasy with dress mannequins springing to life, titled "Why Can't I Be Like You?," which served to introduce Dixie Lee, who had been recently featured in the Broadway production of "Good News." (The All Movie Guide cites "The Varsity Drag" as being performed in FMF29 --- it isn't.) As described in 1929 reports of the film:

"Strolling down Fifth Avenue, she (Dixie Lee) is struck by a marvelous display of gowns on models in a modiste's window. She stops to inspect them, wondering why she never can get clothes like those she sees in the window. She sings, 'Why Can't I Be Like You?' based on this theme, and is astounded when the models come to life and parade for her inspection."

Although the song was published as sheet music, it was never commercially recorded. For that reason, the words are offered here:

"I love to window shop, I always have to stop ---

and look at beautiful ladies.

Each time that I compare

their clothes with what I wear,

It makes me sigh -- I want to cry.

Why can't I be like you, and look the way you do?

To me you always seem too lovely for words,

Lovely feathers make lovely birds,

A yard of silk and lace, add to your charm and grace.

You're in my dreams, but my dreams never come true,

Why can't I be like you?"

Four tunes from FMF29 would gain widespread popularity via radio, commercial recordings, piano rolls and printed sheet music. The first, "That's You, Baby" had a unique presentation, with the setting being a beach and seaside amusement pier --- where the tune is performed by two couples, Sharon Lynn & David Percey, and Sue Carol & David Rollins. The "double duet" effect is heightened by the camera alternately cutting between each player and each pair as the lyrics are sung. Observing all this musical romancing are two small youngsters (one of which was Jackie Cooper,) who then perform a chorus of their own before they're joined in by the two couples and then a large singing and dancing chorus. (The concept of having children singing an adult love song proved popular with audiences, and would result in it being utilized, in a nearly identical manner, for "If I Had A Talking Picture of You" in a later 1929 Fox musical, "Sunny Side Up.")

"That's You, Baby" (1929)

For the second musical hit from the film, "The Breakaway," the approach used here was to have the tune performed in a two contrasting but loosely connected settings. Opening with a close shot of "little colored girl" rhythmically chanting "Breakaway! Breakaway! Breakaway! Bing-bing! Dottin' yo' eye! Bing-Bing! Dottin' yo' eye! Breakaway! Breakaway!," the camera pulls back to reveal a city street setting and a large chorus. Performer Sue Carol enters, and with an exuberant cry of "Hey Kids!," that cues the orchestra, she continues:

"Hey, flappers - this way, flappers, I'll floor ya --

with a new dance, oh what a new dance,

hotter than hot, and it's got new tricks in it!

I'm fixin' it for ya, So you can learn every new turn,

Oh here is the high spot!"

The scene then switches to that of a schoolroom filled with students. A bookish professor surprises his class by suddenly piping up:

"Dear students, I'm here students ---

To make you follow this rule,

When you leave school, go out to work, and never shirk!

Take others before others can take you!

Do as you're told, 'till you grow old,

Don't break away!

Sue Carol appears on the scene again (she was apparently en route to school in the first segment,) who leads the students in a chorus. Then, as the camera moves in close on Carol, she looks directly into the camera (thereby addressing audiences in both the imaginary theater and the audience watching the film) and says:

"Hey, how would you all like to learn how to do the Breakaway? You wouldn't?

How would YOU like to learn?

Come on, come on, three times upon your heels - that's it! Come on, try it!

Aw, Daddy, come on - that's it! See? Just as easy - come on YOU try it!

You ready? You ready, Arthur?"

The "Arthur" here is Arthur Kay, as the theater's orchestra leader. He replies, "For you? Always!" and the tune is given another and final closing rendition by all, including the little girl from the opening moments of the segment who wanders in to sing a verse by herself.

"Breakaway" (1929) Milt Shaw & His Detroiters

At this point, we have an opportunity to get as close to "Fox Movietone Follies of 1929" as we'll ever likely be able to. A fragment of audio from the actual film's soundtrack which somehow managed to beat the odds and survive on disc --- long separated from the footage it once accompanied to theaters only equipped to handle the Vitaphone sound-on-disc system.

Here, we can listen in on a bit of plot advancement. The setting is the girls' dressing room, immediately following the conclusion of the last number, "Breakaway," (although "That's You Baby" can be faintly heard in the background scoring.) Despite everything having gone smoothly so far, the chorus girls have issues with the new owner, George Shelby --- which they lay on thick, purely for the benefit Lila Beaumont (Lola Lane) who's divided in her allegiance to George and to the show. She suddenly explodes in anger, allowing catty star of the show, Ann (Sharon Lynn) to really twist the knife. Unfortunately, George walks in during Lila's outburst and deems her as the resident troublemaker --- a fact which delights Ann, who then plays it up for all she's worth.

This is followed by one of the film's color sequences (there appears to have been at least two), a moody, elaborate tableaux /piece called "Pearl of Old Japan" that evolves into a surreal "underwater" ballet involving sunken pirate galleons and skeletons --- surely a visual feast in pastel hues! --- with the onscreen action being directed and described via vocalization (by David Percey) of the mournful lyrics:

"Pearl of Old Japan" (1929) - Soundtrack Excerpt

"There's a legend in Japan, of a maiden and her man,

He fished for pearls they say, and disappeared one day,

She's left alone to pray and plan!

Pearl of old Japan, do all you can - to find your man.

If you have a notion he's under the sea,

show him your devotion --- go under the sea!

Throw all else aside, search far and wide,

where treasures hide.

And in the wreckage of a sunken galleon,

you are sure to find your man,

poor Pearl of old Japan!"

For the third pop-music hit the film would turn out, the jaunty "Walking With Susie" is first sung by iron lunged Frank Richardson, then given a song and dance treatment by what's described as a "colored troupe," and then finally by Richardson again for the finale. How the number was staged, or in what setting, is unclear --- but given the spirited "bumpin' and thumpin'" mentioned in the lyrics, it was doubtless anything but sedate. The tune's seldom heard opening verse, as performed in the film:

"Every day I take a walk, it's Sunday.

From Monday to Sunday not one day I miss,

every little walk that I can squeeze in...

this season, it pleasin' --- the reason is this...."

"Walking With Susie" (1929) Milt Shaw & His Detroiters

At last, the plot elements --- such as they are, converge and reach a head just prior to the film's last big number. Prickly show star Ann (Sharon Lynn), is still finding things to gripe over --- in this case the simple costume for "Big City Blues," designed to depict the plain workaday outfit of any number of nameless people who find themselves alone and friendless at holiday time, in an intolerably cheerful city filled with loving families and friends. Of course, she completely misses the point and after refusing to "make a fool of myself by repeating a costume," she very nearly stops the show cold --- until a furious Lila Beaumont snatches the costume away and dons it herself before stepping out on the stage.

In a vast departure from preceding musical sequences, "Big City Blues" presents us with the lone pathetic figure of a woman, huddled beneath a city street lamp --- snow falling about her. The commercial 78rpm recording offered by Annette Hanshaw, is perhaps the only one out of many renditions of the tune that appears to perfectly capture the mood and tone of the piece, as well as including all of the lyrics as they appeared in the screen version. According to contemporary reports, while the song was performed, to underscore the isolation of the singer and her lament, the screen displayed "occasional flashes of joyous holiday crowds, adding tremendously to the dramatic effect." Indeed, yes!

"Big City Blues" (1929) Annette Hanshaw

The star's understudy, Lila Beaumont scores a hit --- just in time to allow her to join in on the show and film's big musical finale, which masterfully blended all of the film's melodies (save for "Pearl of Old Japan"!) into one sequence --- brief snatches of each song performed by those who originated them, with Lila replacing the sulking Ann, as the show concludes with full orchestra and chorus basking in thunderous applause.

As George Shelby embraces his sweetheart, he's immediately offered $55,000 for his interest in the show and he agrees, just as quickly --- and no gallant quibbles about the extra 5K profit either! Still breathless from her instant rise to stardrom, Lila has no interest in pursuing it any further and readily agrees to return with George to Virginia, provided they marry first.

The film's final view is that of Stepin Fetchit (Lincoln Perry) and a heavily accented French costume designer, concluding what was a repetitive dialogue routine that extended throughout nearly the entire length of the film --- cutting to it and away again.

I hadn't mentioned Fetchit up to this point because, quite simply, his presence in the film is comparatively small --- just one of many plain truths about the film which have been misunderstood or mangled over the years.

True, Perry's "Fetchit" character scored big with audiences and enhanced his popularity greatly, but he was by no means the film's star, as eluded to or flatly stated as truth in some published works.

Portraying the theater custodian, Fetchit's dialogue is limited to an exchange with the Shelby character in the film's opening moment, and then --- a full reel later, he exchanges a very few words with cast members of the show while delivering flowers and telegrams to their dressing rooms.

After Dixie Lee's "Why Can't I Be Like You?" number, Fetchit encounters the aforementioned French costume designer, kicking off the ballet-slipper dialogue exchange. The scene lasts for about a minute, and then resumes for roughly half that time following the "That's You Baby" sequence. Later on, when it's learned that Ann has sent a cast member for a "colored skit" or blackout, out of the theater on an errand, Fetchit is called in to fill in for him, and the skit (consisting of ten lines of spoken dialogue) ensues and ends, to be immediately followed by "Breakaway."

We return to the Frenchman and Fetchit yet again just prior to "Walking With Susie," and his character is seen again for the last time prior to the film's closing moment, in what could be termed his only featured sequence in the film --- a fleeting, peculiar and unstructured solo musical bit that's utilized (in the film) to fill stage time while difficulties with the star of the show are being ironed out. Without any title, it's described thusly in a surviving transcription of the actual film:

Cut to Stepin dancing and singing on stage:

Stepin:

"Start steppin', Stepin Fetchit,

Turn around, stop and catch it ---

Now and then if you miss it,

start again, Stepin Fetchit,

Turn again go and get it,

If they holler, Stepin Fetchit."

Cut backstage - George and creditors

Without having the ability to see the film, written transcriptions of the film's action and dialogue, newspaper reviews and accounts, still photographs, and about eight minutes of audio all add up to a miserably poor close second --- but, they do allow us, if we take the time to do so, to "see" and briefly hear the contents of a lost film that, over seventy years ago was so popular with audiences that it was booked into theaters for sometimes as many as three return engagements -- a very uncommon event to be sure.

For now, and probably forevermore, it seems that late 1930 printed advertisements for the film which declared "Final Engagement! Last Time Anywhere!" were more profoundly and sadly prophetic than anyone could have possibly imagined.

Medley - "Fox Movietone Follies of 1929"

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