Sally (1929) is a weirdly charming, orange-tinted relic

You should probably watch Sally if you have a soft spot for the very beginning of Hollywood musicals. It is perfect for people who like seeing how movies used to look when color was first starting out. But if you hate stagey acting or plots that feel like they were written on a napkin, you will likely find this one a bit of a chore.

The whole premise starts with Sally being named after the telephone exchange where she was left as a baby. That is a wild way to get a name. I kept thinking about how lucky she was she wasn't left at a gas station or something less catchy.

Marilyn Miller is the lead here and she was a massive star on Broadway. You can tell she knows how to hold a stage, but the camera seems to make her a little nervous. Her voice has that high, thin quality that a lot of early talkie stars had.

The movie uses this early two-strip Technicolor process. Everything looks mostly pink, orange, and teal. It gives the whole film this dreamlike, slightly fuzzy feeling that I actually kind of liked.

Joe E. Brown is in this too and he is basically the only person who feels like a real human. He has this massive mouth and does these physical gags that actually made me chuckle. Without him, the middle of the movie would be pretty dry.

There is this one scene where Sally has to pretend to be a famous Russian dancer. She puts on this terrible accent that wouldn't fool anyone. But in 1929 movie logic, it works perfectly until it suddenly doesn't.

The love interest, Blair, is a bit of a dud if I'm being honest. He’s engaged to another woman but spends his time hanging around Sally at her waitress job. He doesn't really seem worth all the trouble she goes through.

It’s a lot more colorful than something like Topsy and Eva. The sets are huge and look like they cost a fortune back then. You can tell the studio was really betting big on the spectacle of it all.

The dancing is the main event though. When Miller finally gets to do her big numbers, the movie stops being a clunky drama and becomes something special. She moves with this effortless grace that the rest of the film lacks.

I forgot that P.G. Wodehouse had a hand in writing the original show this is based on. Some of the dialogue has that snappy, dry wit he is known for. It's a bit buried under the 1920s melodrama, but it's there if you listen for it.

The ending is exactly what you expect it to be. Broadway lights, big smiles, and everything tied up in a neat little bow. It’s not deep, but it’s sincere in a way that’s hard to find now.

The sound quality is a bit rough in spots. You can hear the hum of the old recording equipment in the background of the quiet scenes. It adds to the time capsule vibe, I guess.

If you've seen The Smart Sex, you know how these early talkies can sometimes feel like they're stuck in mud. Sally moves a bit faster than those, mostly because of the musical numbers.

Is it a masterpiece? Probably not. But it’s a fun look at a star who doesn't get talked about much anymore. Plus, the outfits are absolutely incredible to look at in that weird orange color.