Hildy Johnson, newspaper reporter, is engaged to Peggy Grant and planning to move to New York for a higher paying advertising job. The court press room is full of lame reporters who invent ... See full summary »
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Edward G. Robinson,
Douglas Fairbanks Jr.,
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Four passengers escape their bubonic plague-infested ship and land on the coast of a wild jungle. In order to reach safety they have to trek through the jungle, facing wild animals and attacks by primitive tribesmen.
Cecil B. DeMille
This early Hollywood idea of romance in the Old South, insensible of slavery but with plenty of singing and dancing, is best seen for its context in movie history.
A real artifact of the earliest talkies and musicals, which includes the first two-strip Technicolor (the last half of the movie). The romance between a New Orleans cabaret singer (Bebe Daniels) and the scion of a plantation (Everett Marshall) is your basic boy-meets-girl, boy-loses-girl-due-to-misunderstanding-her-selfless-action, boy-gets-girl-back story......all this interspersed with singing, dancing, vaudeville routines (Wheeler & Woolsey), circus acts, chorus girls, contortionists, evil machinations of an oily villain, a near duel, and superb tap-dancing (Bill Robinson)!
The dialog and acting are painfully weak and the storyline lurches roughly from scene to scene - often with little sense or continuity. The 75-year-old film is sharply dated by several instances of slaves in the background singin' and workin' happily for their beloved master and being called "boy" instead of by name. The impending Civil War is totally ignored.
Still, I recommend "Dixiana" as valuable viewing for its historical Technicolor sequence as well as its illustration of the then-prevailing movie fiction of happy slaves working for benign masters in the sweet and gentle South.
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