A delightful example of a classic burlesque; complete set, music, good lighting, great costume and choreography; art really. A white , lacy drape would be a good addition instead of black solid, perhaps. Still , wonderful.
Though Married Twice, Rita La Roy was reputedly LGB herself...and had Brief affair with Marlene Dietrich during the making of Blonde Venus (32) her most well - remembered as "Taxi Belle Hooper" Hollywood recruited Rita from the "Blue Vaudeville" stage, where was an popular Exotic Dancer. Never a Major Star, La Rita occupied a niche as a Sophisticated 2nd Leading Lady / "Other Woman" known for her stylish fashion sense on and off screen.
From Paul Mcdowell's obituary - "He recalled that when his father died of emphysema at around this time, “my mother told me not to worry about going to Hell. It was right here on Earth. I was wearing my existentialist rope-soled sandals at the time and wondered what Jean Paul Sartre would have made of her statement.” 🙂
Instead of using sound-on-disc, synced to play in the theatre, MGM chose to use the Movietone sound-on-film system developed by Fox Film and others. It's one reason why this one has more clear tone. Marion Harris was a star in that era; she looks and sounds great here. Pre-1925, most music was recorded acoustically into a big horn.
What a complete waste of Harry Richman. They should of just had him sing a few songs.... this story line and the ridiculous lyrics are beyond stupid...
Looks as if it was shot with a single camera. (Close-ups don't synch with the wide shots). Pretty brave for 1942. She regarded her work as Art, adding surrealist touches as in the film above. She said that she would only dance completely nude if everyone in the audience was an artist and could see the beauty of such a performance. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ZxrbnkNmFGE.html
Again!? Did you not bother to read my other comments? This is directly recorded from stylus to preamp to CD recorder. The sound, including the buzz at the start, is exactly what was on the disc. This is an early experimental electric recording, they were using a HORN on the carbon microphone.. Look at my other video posts, are they mic to speaker? I have posted no other early experimental electric recordings precisely because of all the stupid negative comments that this post has received.
@@vitajazz Sorry for my apparent ignorant reply. I have in my possession a Compo test recording with matrix number close to this one which sounds more direct. But it does sound as if it too was recorded with a telephone carbon microphone. The echoey sound therefore must be the room ambiance.
@@tedrobinson372sorry for my abrupt reply. The echoing or resonance is probably most likely the cutting head, which was neither damped nor biased. The compo engineers didn't seem to realize that you don't need a horn on the mic, it's better used as a point of pickup without a resonant horn. If you have a compo test, I'd love to hear it. I do have a worksheet of the Compo ledgers, with almost every session listed. (that's where "peanut orch" came from for this disc.)
@@vitajazz the record I have was pressed by Compo on a Sherwin Williams Paints and Varnishes label. Engraved into the original wax is "E-148. The Compo Co. Ltd, Machine -Montreal, Canada. Catalog no. 668A. The title is "The Four Clever Brothers, Fairy Tale for the children". It is spoken for the first two thirds and the last third is a dance band playing "Tis Springtime Again". 668B is a full acoustic rendition of "Tis Springtime Again". The spoken portion of the electric 668A sounds quite snorty but the band somewhat smoother and less resonant. Is sounds similar to your record although less echoey. It was a giveaway record I guess and curious Compo would distribute this odd selection. Also the spoken part sounded amateurish and sounds if it was just a staff engineer or perhaps one of the Berliners? PS. The fellow singing in your record sounds to be the same person singing and reciting the Fairy Tale.
Before. This would be filmed in 1928 or early 29 during the run of Ziegfeld's "Whoopee!" A story of interracial love between an American native brave and a white lady! Taboo in its day. Eddie Cantor had just finished starring in Ziegfeld's Follies of 1927 at that same location. That show featured Ruth Etting and the all girl band, the "Ingenues" performing "Shaking the Blues Away", written for the show by Irving Berlin. Cantor also would take the elevator to the "Roof". and entertain after the show, as he does here during the Whoopee! run. Look how natural Eddie is in front of those first Talkie cameras! What a pro he was! Eddie made a 78 record of his comic song he sings here, "If I Give Up the Saxophone" on Victor records. I found me one! 😋
Oh Man, this is so heartbreaking, I started listening to Satchmo when I was twelve years old and now im sixteen there isn't a single day that I don't listen to his music my favourites are Moon River, C'est si bon, Hello Dolly, Blueberry Hill, Jeepers Creepers and obviously What A Wonderful World I would like to transmit his music from generation to generation in my family, I'm so proud of what he has done. I pray for him✝️ May he rest in peace 🕊️❤
Let me tell y'all something about Eddie Cantor. I know his daughter Janet, the last surviving child of Eddie's... And she told me some wonderful stories about him. She told me that he had such respect for African-Americans... That he would never hire them as servants in his home... He would only hire black people to work in his office. The blackface was not considered an insult it was considered a compliment at the time.... Although Eddie stopped the practice altogether in the late 1930s. Janet told me that she used to have her father come into her room and kill spiders for her because she was terrified of spiders. She said it was a wonderful father... And he is a wonderful human being. People look at the blackface and think... Oh how horrible... But most did it is a *homage to Black entertainers. I'm not defending black face in any way shape or form it was a horrible practice with misguided human beings that were products of their time. But I can personally vouch for Eddie Cantor... For not having a racist bone in his body. He told all of his children to respect every person equally depending on the content of their character and not their skin color. Eddie Cantor was a wonderful, brilliant intelligent performer and a wonderful man by all accounts. BTW .. I'm a black woman and I became acquainted with Eddie's daughter, Janet, when I wrote on Facebook that I could see a *humanity* in Eddie Cantor... That I couldn't see in any other blackface performer. Eddie Cantor was a wonderful performer... And a wonderful human being who stood up against racism his entire life. He was a man AHEAD of his time... But also... a man OF his time.... f his time.
"As far as I can ascertain, this was mastered as NTSC 24fps, then sped up to 25FPS PAL, then converted back to NTSC 29.97 via standard video conversion rather than slowing down. That's why there's jerkiness when I tried to IVTC for RU-vid's 24fps standard. I did the best I could." Nevertheless it provided quite nice source material for the 16mm print I had made. I thank you.
Thanks so much. This would have been filmed at the Paramount Studios then located in Astoria, Queens. I'll bet that the trio is the three musicians who wrote the song: J.P. Murray, Barry Trivers, and Ben Oakland. The next year they would be writing for The Ziegfeld Follies.
