As the first musical talker turned out by an important eastern legit revue producer, this is an unintentional but flattering compliment to Hollywood's own stagers of musicals. George White contributes surprisingly little in the way of technique or ideas. Scandals follows the regulation Hollywood pattern. He not only borrows the backstage device, but weighs his production down with a dressing-room yarn that almost nullifies the picture's few meritorious moments.

As the first musical talker turned out by an important eastern legit revue producer, this is an unintentional but flattering compliment to Hollywood’s own stagers of musicals. George White contributes surprisingly little in the way of technique or ideas. Scandals follows the regulation Hollywood pattern. He not only borrows the backstage device, but weighs his production down with a dressing-room yarn that almost nullifies the picture’s few meritorious moments.

Alice Faye is pretty much on the spot, and in an important part in her first picture. In looks and performance she is a pleasant surprise. She sings adequately, for that’s her business. Rudy Vallee, a decidedly more versatile performer than the Vallee of a couple of years earlier, also enjoys more complimentary photography. The two make a pleasant team of singing leads.

Jimmy Durante, carrying the secondary love match with Dixie Dunbar, suffers from bad material most of the time. When he has something to work with, such as in his black-face number, he shines.

George White's Scandals

Production

Fox. Director George White, Thornton Freeland, Harry Lachman; Producer Robert Kane; Screenplay Jack Yellen, George White; Camera Lee Garmes, George Schneiderman; Editor Paul Weatherwax; Music Louis De Francesco (dir.)

Crew

(B&W) Extract of a review from 1934. Running time: 79 MIN.

With

George White Rudy Vallee Alice Faye Jimmy Durante Dixie Dunbar Adrienne Ames
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