THE SHOW OF SHOWS (1929) is Warner Brothers (WB) entry into Studio self promotion through a Vaudeville 'Revue' in the early sound era. M.G.M. the same year would contribute THE Hollywood REVUE OF 1929 and Paramount would respond with PARAMOUNT ON PARADE (1930). Both are better efforts and rate them IMDB******Six(6), why can be easily discerned with one viewing of this film.
THE SHOW OF SHOWS featured about 70+ 'Stars' of the W.B. of the time, most who would evaporate within the next five (5) years. It was filmed in the two-strip TechniColor process in which only one sequence survives, more about that later. The rest is gone as well as the quality of the surviving footage in B&W, nor is it enhanced by the soundtrack which is of poor quality, sometimes barely audible. Which may be a saving grace particularly when emcee FRANK FAY is on hand, BARBARA STANWYCK's first Husband.
Like its rivals, THE SHOW OF SHOWS features a series of skits mostly featuring Dancing and Singing. The Dancing is some of the most poorly choreographed ever recorded for the Silver Screen, with unfit and out of time chorus girls. As for the songs most are forgettable except for the dimly remembered 'Lady Luck'. Which is pummeled into the audience through 1/2 dozen permutations from the first reel too the last. When the entire cast pretends to sing it, except JOHN BARRYMORE who hams it up. BARRYMORE's main contribution is a extract from HENRY VI/RICHARD III. BARRYMORE at the time being considered the finest interpreter of Shakespeare and the best American stage actor since EDWIN BOOTH. The other hi-lites are WINNIE LIGHTNER who is featured in several skits and a underused BEATRICE LILLE. Who completely upstages her three (3) co-stars.
The surviving TechniColor sequence features jazz guitarist NICK LUCAS singing Li-Po-Li (?) and the alleged dancing talents of MYRNA LOY. Ms. Loy trying to do her 'best' interpretation of ISADORA DUNCAN and failing. Actually coming across like the Hippopotomus in FANTASIA (1940) and about as graceful, with the same thick ankles and the flat chested appearance of the two-dimensional cartoon. Fortunetly when She moved on to M.G.M. designer ADRIAN was able to disguise her physical shortcomings with a 'chic' wardrobe. Her acting ability made up for the rest.
Despite our low rating the film should be seen, once, along with its competitors efforts. Contrast these efforts with those just made three (3) years later. It is just not a leap in technological accomplishment, but a advancement in every phase of film making.
THE SHOW OF SHOWS featured about 70+ 'Stars' of the W.B. of the time, most who would evaporate within the next five (5) years. It was filmed in the two-strip TechniColor process in which only one sequence survives, more about that later. The rest is gone as well as the quality of the surviving footage in B&W, nor is it enhanced by the soundtrack which is of poor quality, sometimes barely audible. Which may be a saving grace particularly when emcee FRANK FAY is on hand, BARBARA STANWYCK's first Husband.
Like its rivals, THE SHOW OF SHOWS features a series of skits mostly featuring Dancing and Singing. The Dancing is some of the most poorly choreographed ever recorded for the Silver Screen, with unfit and out of time chorus girls. As for the songs most are forgettable except for the dimly remembered 'Lady Luck'. Which is pummeled into the audience through 1/2 dozen permutations from the first reel too the last. When the entire cast pretends to sing it, except JOHN BARRYMORE who hams it up. BARRYMORE's main contribution is a extract from HENRY VI/RICHARD III. BARRYMORE at the time being considered the finest interpreter of Shakespeare and the best American stage actor since EDWIN BOOTH. The other hi-lites are WINNIE LIGHTNER who is featured in several skits and a underused BEATRICE LILLE. Who completely upstages her three (3) co-stars.
The surviving TechniColor sequence features jazz guitarist NICK LUCAS singing Li-Po-Li (?) and the alleged dancing talents of MYRNA LOY. Ms. Loy trying to do her 'best' interpretation of ISADORA DUNCAN and failing. Actually coming across like the Hippopotomus in FANTASIA (1940) and about as graceful, with the same thick ankles and the flat chested appearance of the two-dimensional cartoon. Fortunetly when She moved on to M.G.M. designer ADRIAN was able to disguise her physical shortcomings with a 'chic' wardrobe. Her acting ability made up for the rest.
Despite our low rating the film should be seen, once, along with its competitors efforts. Contrast these efforts with those just made three (3) years later. It is just not a leap in technological accomplishment, but a advancement in every phase of film making.