Tag: Going Hollywood

  • Going Hollywood

    Some Thoughts

    Going Hollywood has the potential to be a good musical, but does not quite get there. It has its moments, but fights a losing battle against the unusually lacklustre direction of Raoul Walsh, whose strengths the musical form does not play to.

    Bill Williams (Bing Crosby) is understandbly shocked to find Sterling Holloway in his living room
    Bill Williams (Bing Crosby) is understandbly shocked to find Sterling Holloway in his living room

    Star Marion Davies would go on to make half a dozen more pictures, but she was in her mid-thirties by now, and her heart never seems to be in te portraying yet another ingenue. Her appearance in blackface as the world’s most unconvincing ‘mammy’ is a low point. Davies’s singing is kept to an absolute minimum, with all the heavy lifting done by co-star Bing Crosby, on loan from Paramount at Davies’s specific request. Which is a pity, because the film has the best score of any of her musicals, with Freed and Brown in good form.

    "Why are we here?" could be the question on the lips of Jill (Patsy Kelly) and Sylvia (Marion Davies)
    “Why are we here?” could be the question on the lips of Jill (Patsy Kelly) and Sylvia (Marion Davies)

    MGM found itself in September 1933 shooting two pictures set in Hollywood. The other was Bombshell (1933), which has all the verve and insider knowledge that is lacking in Going Hollywood. The dead hand of William Randolph Hearst is probably a factor here: satire was not really his forte. And Marion Davies was no longer able to compete with twenty-two year old Jean Harlow.

    The film’s musical highlights are ‘Going Hollywood’ and ‘Temptation’. The former is the big production number set at Grand Central Station, in which dance director Albertina Rasch seems to throw everything apart from the kitchen sink into the mix. Crosby sings ‘Temptation’, one of Freed and Brown’s best songs, into the sultry eyes of Fifi D’Orsay, achieving a depth of emotion that was generally lacking from his easy-listening style of crooning.

    The comedy in Going Hollywood is left in the capable hands of Ned Sparks and Patsy Kelly, though both find slim pickings in Donald Ogden Stewart’s sub-par screenplay; it is difficult to believe he would go on to write Holiday (1938) and The Philadelphia Story (1940). On the subjects of comedy, Sterling Holloway also provides a few minutes of his always entertaining zaniness.

    Conroy (Ned Sparks) doesn't mind encouraging Sylvia, but there is no way he is returning her smile
    Conroy (Ned Sparks) doesn’t mind encouraging Sylvia, but there is no way he is returning her smile

    Going Hollywood  is not exactly a bad film; it is just not a particularly good one.

  • Going Hollywood

    The Numbers

    Our Big Love SceneArthur Freed, Nacio Herb BrownBing Crosby
    Beautiful GirlArthur Freed, Nacio Herb BrownBing Crosby
    Just an Echo in the ValleyHarry M Woods, Reginald ConnellyBing Crosby
    Going HollywoodArthur Freed, Nacio Herb BrownBing Crosby
    We’ll Make Hay While the Sun ShinesArthur Freed, Nacio Herb BrownBing Crosby, Marion Davies, chorus
    Cinderella’s FellaArthur Freed, Nacio Herb BrownFifi D’Orsay; Marion Davies
    MedleyVariousThree Radio Rogues
    When the Moon Comes Over the MountainKate Smith, Howard Johnson, Harry M WoodsJimmy Hollywood
    You Call It Madness (But I Call It Love)Con Conrad, Gladys DuBois, Russ Columbo, Paul GregoryHenry Taylor
    Remember MeGus KahnJimmy Hollywood
    My Time is Your TimeLeo Dance, Eric LittleJimmy Hollywood
    After SundownArthur Freed, Nacio Herb BrownBing Crosby
    TemptationArthur Freed, Nacio Herb BrownBing Crosby

  • Going Hollywood

    The Synopsis

    Sylvia Bruce teaches French at Briarcroft School, but dreams of another life. Listening to crooner Bill Williams on the radio [Our Big Love Scene], she decides to pack a bag and set off to find life, love and music. 

    In New York, Bill Williams has to record a song [Beautiful Girl] before leaving for Hollywood. He will be travelling with his French co-star, Lili Yvonne. Sylvia sneaks into Bill’s room to thank him for the way his music has changed her life. 

    Bill wants to board his train without anyone knocking, so he can avoid the big send-off arranged by his publicist, Jack Thompson. But at Grand Central Station, he is besieged by reporters and fans. Bill makes a run for it [Just an Echo in the Valley], with the crowd in pursuit [Going Hollywood].

    On the train, Bill finds Bert Conroy, the director of the film, Ernest Pratt Baker, who is financing it, and Sylvia, who shocks Bill by telling him she loves him. 

    Later, Bill is surprised again when he finds that Lili has hired Sylvia to be her maid. This is short-lived, because Bill tells the jealous Lili that Sylvia loves him, leading Lili to slap Sylvia. 

    Later, in Hollywood, on the first day of filming, Bert already thinks both the picture and Lili are “a bust”.  Sylvia meets Jill Barker, who is trying to break into movies. Sylvia becomes Jill’s roommate at Ailoha Bungalow Court., where she dreams about Bill [We’ll Make Hay While the Sun Shines]. 

    Later, on the set, Sylvia turns up as an extra in blackface. Bill apologizes for the way Lili treated her on the train. Lili finds them together and slaps Sylvia again. 

    Ernest gets Sylvia and Jill jobs in the chorus. On location, Lili performs her number [Cinderella’s Fella], which Bert thinks is terrible. Lili quits, but Bill persuades her to change her mind. 

    During a break [medley], Sylvia impersonates Lili Cinderella’s Fella]. Lili slaps Sylvia for the third time, but this time Sylia hits back. Ernest asserts himself and gives the lead in the picture to Sylvia. Bill invites Sylvia to dinner [After Sundown]. Bill tells Sylvia he is through with Lili. but is irritated when Sylvia will not go back to his apartment with him. He drops her off, but forgets his hat. Sylvia takes the hat to him, but finds he is with Lili. 

    Next day, Ernest warns Bert that Lili is trying to get Bill to walk off the picture. Bill does not understand why Sylvia is avoiding him. She tells him he is a fake, like everything else in Hollywood. Bill goes on a bender with Lili, ending up in Mexico, and the studio decides to replace him. Sylvia and Jill track him down, and Sylvia reminds him that he said he loved her. She asks Bill to come back with her, but Lili restrains him [Temptation]. 

    Back at the studio, they are about to start filming with a replacement when Bill arrives [Our Big Love Scene]. Sylvia and Bill kiss.            

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