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5.6/10
Senior Film Conservator
A definitive 5.6/10 rating for a film that redefined the boundaries of cult cinema. The Hollywood Revue of 1929 remains a cornerstone of transgressive art.
Right off the bat, if you’re into the early days of talkies, or just want to see a wild parade of Hollywood royalty trying to figure out this whole sound thing, then yeah, The Hollywood Revue of 1929 is absolutely worth a watch. It’s not a narrative film in any sense, more like a grand old vaudeville show with a hefty MGM budget. But if you’re looking for a plot or anything resembling a modern movie experience, you’ll probably find yourself scrolling through your phone pretty quick. This one's for the curious, the history buffs, and anyone who appreciates a good old-fashioned spectacle, even if it’s a bit rough around the edges. 🎞️
Watching this is like peeking into a time capsule. It's MGM trying to shout, “Hey! We got sound too!” loud and clear. It’s an all-star revue, basically a bunch of their contract players doing numbers, sketches, and just generally existing on screen with audible voices. And sometimes, those voices are... something else. Like, you can practically hear the whole crew figuring it out as they go.
Conrad Nagel and Jack Benny are your hosts, and they do a pretty decent job trying to keep the energy up. Benny, even this early, has that dry wit, but the gags are often so simple, so new for sound, that they feel almost instructional. It’s not comedy as we know it now, but rather, "Can you believe they're talking on screen?!" kind of wonder.
Some moments are genuinely captivating. Joan Crawford, for instance, does this really energetic dance number. She just *radiates* star power, even with the sometimes iffy sound quality. It makes you think, wow, she was something even then.
Then you get to the legends. Stan Laurel and Oliver Hardy pop up for a brief, classic bit where they’re trying to catch a fish. It’s simple, physical, and their chemistry is just *there*, undeniable. You can tell they’re comfortable in front of the camera, sound or no sound. It’s a real treat to see them in this context, even if it’s short.
Buster Keaton, though... his appearance is a little different. He’s introduced with a lion cub, and then does a magic trick. It's almost poignant, seeing the Great Stone Face having to adapt to a world where his silent brilliance, his timing, suddenly had to share the stage with dialogue. You sense a slight unease, a man of another era trying to fit in. He does, of course, because he's Keaton, but it feels like a glimpse of a shift that wasn't entirely kind to some.
And the music! There's a number, “Singin’ in the Rain,” which is *not* the one you probably know from the Gene Kelly movie. It’s a much slower, more melancholic version, almost haunting in its own way. It’s sung on a stage covered in actual water. The whole thing is a bit bizarre, but also _really sticks with you_.
Marie Dressler shows up, being her usual boisterous self, which is always a joy. She just owns the screen. You just want to hang out with her. Then there’s Natacha Nattova and her ballet, which feels a little out of place amidst all the razzle-dazzle, but it’s a lovely contrast. The pacing is… well, it’s a revue. It jumps around a lot. Some bits feel a bit too long, like the military drill sequence with the women, and others vanish too fast.
The finale, with the whole cast singing “Orange Blossom Time” in this huge, colorful set, is pretty impressive for the era. It’s trying its best to be grand and sweep you away. You can almost feel the entire studio holding its breath, hoping this whole “talking picture” thing really takes off.
Is it a great movie? Probably not by modern standards. It’s a collection of performances, some stellar, some a bit *meh*. But it’s an incredible historical document, a window into a pivotal moment in film history. For that alone, it earns its place. Don't go in expecting a cohesive story, just appreciate the sheer effort and the parade of stars. You'll see things you won't forget. ⭐️
IMDb —
1917
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