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Vitaphone Varieties 1927-1930;
The Barker (1928)

The Barker (1928)
July 27, 2006 - 7:30 pm

A Program of Vitaphone Sound-on-Disc Short Subjects

The Archive's programs of Vitaphone shorts have been among the highlights of the last two UCLA Festivals of Preservation, and this installment promises to continue the fun.

A bit of explanation for the uninitiated: the Vitaphone Corporation was a company created by Warner Brothers in 1926 to develop sound motion pictures. From 1926 until 1930, Vitaphone filmed nearly 2,000 shorts in its studios in New York and Los Angeles. The film portion of these shorts was delivered to theaters accompanied by large phonograph discs that held the soundtracks. Once this technology became obsolete (replaced by optical soundtracks printed directly onto the film strip), Vitaphone shorts began to fade into oblivion. Restoring one of these shorts means locating elements in good condition for both the filmstrip and the sound disc, no mean feat given the physical fragility of both media

With interest in the popular entertainment of the Jazz Age on the rise, the time is ripe for a rediscovery of the talent, raucous energy and often true eccentricity of the performers featured in these Vitaphone selections. The emphasis this time is on comedy. One of the highlights of the 2004 program, comic duo Shaw & Lee returns, while another comic duo, Jans & Whelan, also makes an appearance. Even bandleaders Dick Rich and Jack White deliver jokes between numbers. Broadway is represented by Adele Rowland, a singing stage star of the 1900s and '10s. The program begins with a performance by famed vocal group the Revelers. the inspiration for Germany's Comedian Harmonists.

–David Pendleton

Restored in collaboration with The Library of Congress and The Vitaphone Project from 35mm nitrate original picture negatives, 35mm acetate fine grain master positives and Vitaphone sound disks. Laboratory services provided by The Stanford Theatre Film Laboratory, The Library of Congress Recorded Sound and Video Laboratory, Audio Mechanics. DJ Audio. Special thanks to: Larry Appelbaum, Jim Bedoian. Simon Daniel. Gene DeAnna. Robert Heiber. Ron Hutchinson. Mike Mashon, Janet W. McKee, Peter Oreckinto, John Polito, Andrew Starbin, George R. Willeman, Ken Weissman.

Preservation funded by Dudley Heer

The Revelers (1927)

The Vitaphone Corporation, Production #483

35mm, 9 min.

Disc provided by The Library of Congress. Disc transfer by Larry Appelbaum.

Preservation funded by Maryellen Clemons

Jimmy Clemons in "Dream Cafe" (1927)

The Vitaphone Corporation, Production #2242

35mm, 10 min.

Disc provided by UCLA. Disc transfer by Jim Bedoian.

Preservation funded by Dudley Heer

Earl Burtnett and His Biltmore Hotel Orchestra (1927)

The Vitaphone Corporation, Production #2285

35mm, 1 a min.

Disc and transfer provided by The Library of Congress Recorded Sound and Video Laboratory.

Preservation funded by Dudley Heer

Jans & Whelan, "Two Good Boys Gone Wrong" (1929)

The Vitaphone Corporation, Production #901

35mm, 9 min.

Disc provided by UCLA. Disc transfer by Jim Bedoian.

Preservation funded by Dudley Heer

The Morrissey and Miller Night Club Revue (1927)

The Vitaphone Corporation, Production #2293

35mm, 10 min.

Disc provided by UCLA. Disc transfer by Jim Bedoian.

Preservation funded by Dudley Heer

Adele Rowland, "Stories in Song" (1928)

The Vitaphone Corporation, Production #2348

35mm, 9 min.

Disc provided by UCLA. Disc transfer by Jim Bedoian.

Preservation funded by Scott Margolin

Dick Rich and His "Syncho-Symphonists" (1928)

The Vitaphone Corporation, Production #2594

35mm, 9 min.

Disc and transfer provided by The Vita phone Project.

Preservation funded by Dudley Heer

Jay C. Flippen in "The Ham What Am" (1928)

The Vitaphone Corporation, Production #2581

35mm, 7 min.

Disc provided by UCLA. Disc transfer by Jim Bedoian.

Preservation funded by Dudley Heer

Jack White and His Montrealers (1929)

The Vitaphone Corporation, Production #791

35mm, 8 min.

Disc provided by UCLA. Disc transfer by Jim Bedoian.

Preservation funded by Dudley Heer

Earl Burtnett and His Biltmore Orchestra (1928)

The Vitaphone Corporation, Production #2295

35mm, 9 min.

Disc and transfer provided by Jim Bedoian.

Preservation funded by Frank Buxton

Shaw & Lee in "Going Places" (1930)

The Vitaphone Corporation, Production #1 027

35mm, 10 min.

Disc transfer to optical track by Warner Bros.

Preservation funded by The Museum of Modern Art Department of Film

The Barker (1928)

Directed by George Fitzmaurice

Popular silent star Milton Sills made his talking picture debut as Nihy Miller, a carnival barker who tries to break up a burgeoning romance between his adored son, Chris (Douglas Fairbanks. Jr.), a law student, and Lou (Dorothy MacKaill), a sideshow performer.

Kenyon Nicholson's play opened on Broadway in 1927, with Walter Huston as Nihy and Claudette Colbert in her first important role as Lou. (Huston and Colbert repeated their roles in a Lux Radio Theater adaptation of the play in 1936.) As the fast-talking barker, Sills suggests Huston in his ability to convey tenderness without sacrificing virility, while MacKaill, who looks remarkably like Colbert in some scenes, gives a moving performance as a woman redeemed by love. It was Betty Compson, however, who received the film's only Academy Award nomination for her performance as Nifty's jealous mistress, Carrie, who pays Lou to make Chris fall in love with her.

Completed as a silent in the summer of 1928, The Barker was put back into production in November so that Vitaphone talking sequences could be added one month before the film's New York premiere. Given the short deadline, the interplay of visuals and soundtrack in the part-talking version was unusually sophisticated for 1928: multiple camera angles were used, and close-ups and medium shots of the actors talking were intercut with silent long shots filmed the previous summer, while the dialogue continued without a break.

Louis Silvers' music score was recorded on November 20. When the actors were talking, the musicians either played more softly or the engineers turned down the volume on the music so that it wouldn't overwhelm the dialogue on the final track. The Barker was remade twice: as Hoop-la, with Clara Bow in 1933, and as Billy Rose's Diamond Horseshoe, a sanitized Betty Grable musical in 1945.

–Charles Hopkins and Robert Gitt

First National Pictures Producer: AI Rockett Screenwriter: Benjamin Glazer Based on the play "The Barker; a Play of Carnival Life in Three Acts" by Kenyon Nicholson Cinematographer: Lee Garmes Editor: Stuart Heisler Cast: Milton Sills, Douglas Fairbanks, Jr., George Cooper, Dorothy Mackaill, Betty Compson

35mm, silent with music and sound sequences, 87 min.

Preserved by The Museum of Modern Art Department of Film and UCLA Film & Television Archive from a 35mm nitrate print and Vitaphone sound discs. Laboratory services by Cinetech, Audio Mechanics. OJ Audio. Special thanks to: Jim Bedoian. Jim Cooprider, Haden Guest. Steven Higgins. Harry Snodgrass. Peter Williamson.