The Vagabond Lover

After about a year on my Netflix wait list when this was previously listed as "long wait", I finally got this in the mail. Among the extras was a PSA about pollution with children (don't ask), Ch. 1 of a Zorro serial, and a talking piece with Rudy Vallee's widow. When clicking on the movie proper, it was introed by a Michael Young, a representative of a film school. The picture itself was a pretty good print for the most part. Knowing this was an early talkie, I found much of the dialogue to seem stilted as performed but when the Marie Dressler character was making faces near the end, I was highly amused by that part. Vallee himself wasn't much of an actor, at least not here, but his singing was quite smoothly compelling, even in today's terms though of course, his kind of music is not in vogue right now. Sally Blane, Loretta Young's sister, is quite a luminous presence, if nothing else. Overall, I liked The Vagabond Lover especially since it happened to be quite brief (65 minutes) compared to some of today's short features when the least running time would maybe just be 90 minutes.

On Long Island, crooner Rudy Vallee and His Connecticut Yankees are mistaken for a more famous band, by neighboring socialite Marie Dressler (as Mrs. Whitehall). The ruse, which started innocently, goes too far, and threatens Mr. Vallee's budding relationship with Ms. Dressler's niece, Sally Blane (as Jean Whitehall). It all works out while Vallee sings several songs, including "I'm Just a Vagabond Lover" and "A Little Kiss Each Morning (A Little Kiss Each Night)".

"The Vagabond Lover" does not capture the Vallee hysteria, unfortunately. It is his first feature length film. The songs are stylistically representative, but dull; "Honey" had already appeared in a "short", and the film was completed too early for "The Stein Song" to be included. Ms. Blane (Loretta Young's sister) is very pretty; but, the most beautiful woman in the film is most definitely Dressler. It is her first feature length sound film. Later, Vallee would become a surprisingly effective (considering this performance) character actor.

**** The Vagabond Lover (1929) Marshall Neilan ~ Rudy Vallee, Sally Blane, Marie Dressler

Let's face it, as a movie, this is not persuasive. The principles of enunciating for the stage simply overwhelm the intimate sonics that even this incredibly early talkie were capable of producing. Almost immediately, subsequent movie directors understood the difference between stage and screen and made the corrections. Still, it's hard to believe that some of these scenes could not have been re-shot with more natural acting, once they saw the rushes. (I'm thinking they simply didn't think the delivery of lines would be that important in talkies. "Hey, they're talking! Ain't that enough?")

The music is another matter. Yes, this is not jazz as the revisionist historians would have us understand it (i.e., a largely black phenomenon, with only the most perceptive whites getting it). But it's a mere 30 years from the Gay 90s (that's 1890's) song revolution, and the tug of the sentimental ditty still reached out to 1929 the way early rock still has its effect on rock in the new millennium. Don't judge it harshly. Music like this was an important bridge to the wider American public's tolerance, then acceptance, and finally love of what we now think of as a more pure form of jazz.

Marie Dressler, born 5 years after the end of the Civil War, turns in a stunning performance. All the faces she makes while pushing away the maid's efforts to use smelling salts on her -- pure virtuosity, all done in the blink of an eye. But she can't save the movie entirely. All those shots of wooden Rudy and his entourage -- I've seen more life in the Petrified Forest.

The Vagabond Lover was an early all-talkie film (1929) that starred the current singing rage, Rudy Vallee. He plays the leader of a small-town band determined to make the big time. The band travels to Long Island to crash the home of noted band leader, Ted Grant. Of course, snoopy society matron (Marie Dressler) mistakes them for the all-star band and invites them to play at her musicale. In her rivalry with fellow matron (Nella Walker), Dressler will not stop at anything to "one up" her. The band plays well, and Vallee instantly falls for Dressler's niece, Sally Blane. OK plot, but the main setback is Vallee: he's a lousy actor, his singing seems thin, and he has a strong lisp. But Dressler makes up for it, stealing the film from the novice actor. By today's standards, she overacts, but she's so funny and lively, it's hard to find fault. Blane is pretty but no great actress. Malcolm Waite plays the real Ted Grant, Charles Sellon is the local cop, Edward Nugent and Danny O'Shea are band members, and Gladden James, once a silent-screen star (The Social Secretary with Norma Talmadge in 1916) plays one of the reporters.

The title song is sung over the opening credits. "I'm Nobody's Sweetheart Now," "I Love You, Believe Me, I Love You," "Georgie Porgie," "If You Were the Only Girl in the World, and I Were the Only Boy," "A Little Kiss Each Morning, A Little Kiss Each Night," "Sweetheart, We Need Each Other," and "I'll Be Reminded of You" are the songs. A couple are well remembered. "Sweetheart, We Need Each Other" was also a featured song in 1929's smash hit, Rio Rita, sung by Bert Wheeler and Dorothy Lee (and in a better rendition).

This is Dressler's talkie debut in a feature. The same year, she starred with Polly Moran in a talkie short, Dangerous Females and appeared in the all-star Hollywood Revue of 1929. After having been a star on early films (Tillie's Punctured Romance, etc.) Dressler was on the comeback trail in 1928 (The Patsy with Marion Davies). Talkies cemented her return to stardom, and Dressler would be a top box office star within a year. Everything she appeared in was a hit (Anna Christie, Let Us Be Gay, etc.) and she resumed top billing in star roles, winning an Oscar for Min and Bill.

Blane would have a so-so career, eclipsed by her sister, Loretta Young. Vallee would re-surface in the 40s in comedies like The Palm Beach Story and The Bachelor and the Bobby-Soxer. Handsome Edward Nugent would linger for another decade but never made much of a splash. And Nella Walker would have a long career playing society ladies.

This film is certainly worth watching but is a disappointment. Vallee does NOT use his famed megaphone (it might have helped), nor does he sing his hit version on "The Stein Song" (from the University of Maine). Vallee attended both the University of Maine and Yale.

"The Vagabond Lover" could be considered the perfect example of the early-talkie. The acting by Mr. Vallee is rather non-exsistant, but his singing and the music is quite pleasant, and the performance by the great Marie Dressler as "Auntie" makes up for the rest. The photography is very representative of the early sound era, with the actors grouped around a hidden mike with hordes of people in the frame. The sound itself is remarkably good, maybe the best remaining example of early sound recording. There is one chorus number which has a brief overhead shot of the type that Busby Berkely would make famous a year later in "Whoopee!". The film is a brief 65 minutes in length, and it is a rather modest black-and-white production, but it remains a telling window into the 1920s, with it's fashions, music and such. This was also one of the most profitable films of the year for the fledgling Radio Pictures, a new company set up that year to take advantage of the RCA Photophone system. The DVD has a rather dry commentary prolouge by a UCLA film specialist which appears to be taped in his apartment. Rather poorly edited, this feature is easy to skip on the DVD, once you have seen it once. Other players featured in this include Loretta Young's sister, Sally Blane, Eddie Nugent and especially Nella Walker, as Marie Dressler's rival for social prominence. The story, by James Ashmore Creelman, was purportedly based on Mr. Vallee's own carrer.