Gopher City Kansas hosts a beauty contest. The winner, Elvira Plunkett, and her mother go to Hollywood. The Chamber of Commerce also provides Elvira with an agent, Gopher City's own Elmer J. Butz. Elmer likes Elvira and the shy Elvira likes him, but Mrs. Plunkett, a formidable woman, has little use for hapless Elmer. On the train west, they meet movie star Larry Mitchell, who takes a shine to Elvira and helps her meet MGM directors once they get to Tinsel Town. Elmer, meanwhile, wants to help Elvira with her career and he also wants to be her man. Movie stardom does come to the Gopher City entourage, but to whom is a surprise. And who will win the lovely Elvira's hand? Written by
The three main characters of the film - Elmer Butts, and Elvira and Ma Plunkett - come to Hollywood from Gopher City, Kansas. Trixie Friganza, who plays Ma Plunkett, was in fact from Kansas. See more »
When Larry orders his car, a visible mike descends from the upper right hand corner of the frame while he says his line, then rises out of sight again. See more »
Buster Keaton and Anita Page in early sound film trifle...
BUSTER KEATON and ANITA PAGE are saddled with some lame dialog and tacky situations in this hokey comedy about an aspiring beauty contest winner (Page) who travels to Hollywood with her mother in hope of becoming America's next motion picture sweetheart. It's a look at early Hollywood and for that reason alone it's fairly entertaining.
ROBERT MONTGOMERY is featured as Larry Mitchell, a movie star who takes an interest in Page after a chance meeting on the train to Hollywood. Keaton is his usual bumbling self but the script is a mess with dialog that is painfully unfunny. Nobody can really save the comedy/musical from being way less than ordinary. Keaton with stilted lines is less funny than when he's pantomiming it up in silent films.
Robert Montgomery is dubbed for a couple of awkward musical numbers, all done in the early style of MGM talkies before a word like "finesse" could be assigned to them. The tinny sound recording is no help.
Best excuse for watching is to see how things improved rapidly in the late thirties and forties, but this one has to be regarded as strictly a curiosity piece for fans of Buster Keaton and early sound films.
Painfully unfunny in an amateurish kind of way for a film from MGM. Interesting only for a glimpse of early Hollywood pioneering.
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