What Price Hollywood?

What Price Hollywood grabs you from the first frame in one of the most creative openings I've seen in a movie. Constance Bennett is not only stunningly beautiful, but also an actress with great range and control of her instrument. Paired with the brilliant Lowell Sherman who was a stage and silent screen star, these two actors play out the story of its title, explored later by Fredric March and Janet Gaynor in A Star is Born and again by Judy Garland (singing the unforgettable song The Man That Got Away) and James Mason. I purchased a used VCR of the film since a DVD was not available. I recommend it especially historically to see how 'modern' the world of the 20's and 30's was compared to what we think of as 'modern' today.

This film was made at RKO-Pathe when David O. Selznick was production chief briefly before going to his father-in-law's MGM company(Louis B. Mayer) and then on to his own independent company & Gone With The Wind.I had seen this film some years ago and was waiting patiently for WAC to issue this in their DVD series. At last it happened. The film is an early version of what became the Selznick International 1937 Technicolor A Star Is Born with Janet Gaynor. The 1932 film is a fine print and stars Constance Bennett in the lead. Plenty of good outdoor Hollywood scenes to be seen here. A by from the Warner Archive Collection.

I enjoy it

ok

A good old movie

Hollywood's endless absorption with itself has been endemic since the very beginning. The silent era looked at itself in films like Chaplin's satirical "Behind the Screen" (1916), Hal Roach's "The Cinema Director" (1916), "The Extra Girl" (1923) with comedy legend Mabel Normand and Buster Keaton's "The Cameraman" (1928). There was even an animated short "Felix in Hollywood" (1923) which shouldn't be confused with the later "Daffy Duck in Hollywood" (1938) or Porky Pig's "The Film Fan" (1939). Talkies only increased Hollywood's self-consciousness, and the early 30s had films like Buster Keaton's "Free and Easy" (1930), Harlow's "Bombshell" (1933), "The Lady Killer" with Jimmy Cagney, and Richard Dix in "It Happened in Hollywood" (1937).One of the major early themes was the creation of a new star, illustrated in films like "Souls for Sale" (1923), "Life and Death of 9413: A Hollywood Extra" (1928), King Vidor's "Show People" (1928), "Movie Crazy" (1932) with Harold Lloyd, and "Letter of Introduction" (1938) with Adolph Menjou.1932's "What Price Hollywood" falls into that genre, with the twist of showing the rise of a new star and the simultaneous decline of an established director.Constance Bennett (1904-65) stars as the aspiring actress. She started in the silent era and made 50+ films between 1916 and 1966. She's best known for her work in comedies ("Topper"). She is the sister of Joan Bennett and Barbara Bennett.Lowell Sherman (1888-1934) plays the established director, and it's been said he was playing a self-parody even while it was assumed he was playing his brother in law, John Barrymore. Sherman was an actor in the silent era and transitioned to being a director when talkies came in. He directed 15 films between 1928 and 1935, specializing in "women's films", including Mae West in "She Done Him Wrong" (1933), Loretta Young in "Born to be Bad" (1934), "The Royal Bed" (1931) with Mary Astor and Bachelor Apartment" (1931) with Irene Dunne and Mae Murray.Sherman's performance in this film is truly exceptional. His final scene is shot in slow motion, reminding one of the Peckinpah stylized photography that came decades later.This was the film debut of Eddie Anderson (1905-1977), known for his many years playing "Rochester" with Jack Benny. Their association began in 1937 on radio.The camerawork for this film is exceptional given the times. This is due to the skills of Charles Rosher (1885-1974). He was nominated 6 times for an Oscar and won twice - "Sunrise" (1929) and "The Yearling" (1947). During the 20s he was the highest paid cinematographer in the world.George Cukor (1899-1983) directs. Cukor was nominated 5 times for an Oscar and won once ("My Fair Lady") in 1964. He's best known for his comedies ( "The Philadelphia Story", "Adams Rib", "Born Yesterday", "Pat and Mike") but was equally capable with drama ("Romeo and Juliet", "A Star is Born", "Gaslight"). He's famous for saying - "Don't just do something, stand there!"Pandro Berman produced for RKO. Berman was to RKO what Irving Thalberg was to MGM. Under his careful eye RKO produced such classics as "The Gay Divorcee" (1934), "Of Human Bondage" (1934), "Alice Adams" (1935), "Top Hat" (1935), "Stage Door" (1937), "Hunchback of Notre Dame" (1939), and "Gunga Din" (1939). Six of his films earned Oscars for Best Picture. `The film was remade in 1937 as "A Star is Born" with Janet Gaynor, Fredric March, and Adolphe Menjou, and again in 1954 with Judy Garland, James Mason, and Jack Carson. The 1937 version was nominated for 8 Oscars and won for Writing and Color Photography. The 1954 version was nominated for 6 Oscars and won Golden Globes for Garland and Mason.1932 was a good year for films - Grand Hotel" was the Oscar and box office king, Jean Harlow had 2 films in the top 10 ("Red Headed Woman" and "Red Dust") as did Miriam Hopkins ("Trouble in Paradise" and "Dr Jekyll and Mr. Hyde") and Wallace Beery ("Champ" and "Grand Hotel"). Other notable films from that year were "I am a Fugitive from a Chain Gang", "Freaks","A Farewell to Arms", "Scarface", "Horse Feathers" and "Tarzan The Ape Man".The NY Times said parts of the film "are very amusing, intentionally, and others are despite themselves. Sections of it are very sorrowful, in the bewildered manner of a lost scenario writer, and yet others are quite agreeable." They concluded that the film "is not all bad" Variety called it "a fan magazine-ish interpretation of Hollywood plus a couple of twists".Bottom line - another "Hollywood looks at itself" film, but with exceptional camerawork for the times and an excellent performance from Lowell Sherman.

Possible spoilers. Even casual movie watchers are aware that “A Star is Born” has had several iterations. Four feature films bear the name. The 1937 version was a drama, the last three (1954, 1976 and 2018 were dramas with heavy doses of music). What is often overlooked is this earlier version which no matter what anyone says, is certainly the basis for the films that followed. Adela Rogers St. Johns is credited as the writer of the story. In the first “A Star is Born” IMDb lists her as an “uncredited writer.” In fact this film’s director, George Cukor, was asked to direct that ’37 film but declined, allegedly because it was too much like his ’32 film. Ironically he ended up directing Judy Garland in the 1954 version. So the plot is simple and familiar in this and the 4 “A Star is Born” films.A young woman wants a career either in Hollywood or as a singer/actress/performer. She meets an influential man in the business who promises to get her started. The man however is a drunk or drug addict or both. His fame spirals downward as his young protégé/lover’s escalates, which eventually ends in tragedy. There are some significant differences in this initial take on the story. The most eventful in my mind is the demeanor of the woman. In this film Mary Evans (excellent Constance Bennett) is already in Hollywood, working as a waitress at the Brown Derby, a watering hole for the rich and famous. She’s convinced she has what it takes to make it as an actress. She uses her wiles to cozy up to one of Hollywood’s top directors, Max Carey (Lowell Sherman) when he shows up one day. Already drunk Max tells Mary to come to the studio where he is shooting a picture, for a screen test. A striking difference in this film is that while Mary likes Max, there is no romantic entanglement. That will come later with Lonny Borden (Neil Hamilton) who can only be characterized as a wealthy polo player.Mary, unlike the versions of her character that will follow, is quite confident in her acting abilities, even after a poor screen test. She’s can also be quite assertive, full of moxie as she deals with others. As her career begins to flourish, Max sinks deeper into depression fueled by booze and an end similar to those who follow in the later films. So what about Lonny the polo player. They were married at the height of Mary’s career assent, but he has little to do other than hang around her while she works. Mary’s time with him becomes shortened, especially after Max’s alcoholism affects her and everyone around her. She feels, she owes him for her career. Even after Mary and Lonny have a child things don’t get better. Eventually Lonny confronts her as to her priorities. He leaves. As the publicity and reporters swarm Mary constantly revolving around Max and Lonny’s relationship with Mary, she becomes reclusive, eventually taking residence in France. The film ends on an upbeat note, again different from the melancholy of the later 4. I was never a big fan of the ’76 film with Streisand and Kristofferson (aside from the music) but this and the other version are very good. Certainly the recent 2018 version is by far the best, the others are worth checking out, including “What Price Hollywood?”

Excellent product, speedy service

An interesting film, but it didn't hold me the first time around. so I need to see it again to re-appraise it. It's certainly better the remakes of which there have been 3 I understand.

Estamos ante un filme protagonizado por la estrella de la RKO Constance Bennet y dirigida por el legendario George Cukor. El filme se podría enmarcar dentro de los llamado PRE-CODE o antes de la censura como se prefiera llamar, lo que hará que por momentos nos sorprenda describiendo a ese hollywood desnudo al que el titulo hace referencia, alcoholismo, drogas, desesperación juguetes rotos todos mezclado, es una extraña pero maravillosa película que cabalga de manera magistral entre la comedia y el drama. Una joya mas de ese gran estudio que fue la RKO.La edición en si trae los extras justos y pelados, pero destacar que a diferencia de otras RKO esta viene doblada eso si en mono, la calidad de imagen cumple con el formato e incluso esta por encima de la media en cuanto a remasterizacion de RKO se refiere, y todo eso unido a su precio me costo menos de 4€, le dan para mi una nota de 10/10 un filme que no puede faltar en ninguna filmoteca. Una verdadera obra maestra.

Película interesante para ver, de una manera dulcificada, la vida interna de Hollywood de los años 30: mucho glamour que lleva a directores y actrices a una vida no tan fácil como todos creemos. Puede verse en versión original y tiene subtítulos

Une serveuse rêvant de faire du cinéma; un réalisateur alcoolique lui donnant sa chance; l'envol pour les cimes du succès pour elle, le déclin pour lui... Cette trame vous rappelle quelque chose? Vous avez raison: What price Hollywood peut être considéré comme la pierre angulaire sur laquelle s'ébaucheront les deux versions d'Une étoile est née. Fascinant film à clés sur le prix qu'il faut payer lorsque l'on exige de la capitale des anges Amour, gloire et beauté le film bénéficie de la splendide mise en scène de Cukor (la scène du suicide incroyablement filmée) qui déploie tout son art au service d'un scénario à la fois cruel et drôle (le réalisateur enivré pénétrant dans la chambre des jeunes mariés et interrogeant: "am i interrupting something?"; la journaliste clone de Louelle Parsons qui s'immisce dans l'intimité de la nouvelle étoile; le producteur au fort accent qui ne peut pas se passer de sa mère). Constance Bennett prête sa blondeur éthérée à la star encensée puis vilipendée qui ne peut trouver le salut que loin du septième art.

I love old movies expecially this one because of scenes like the Brown Derby . and old Hollywood. Iwill enjoy this movie alot.