Vogues of 1938 (1937) User Reviews

The House Of Curson

[bkoganbing · 6/10 · 9 March 2015]

Walter Wanger produced this United Artist's release and with Vogues Of 1938 he was hoping to cut into the musical market that Warner Brothers, MGM, and Sam Goldwyn dominated. He was hoping to use Carole Lombard in the lead, but it turned out to be a vehicle for his own wife Joan Bennett.

Interestingly enough he got Warner Baxter to appear opposite his wife as the male lead and neither of them are singers. In fact the film is carefully divided between the musical and dramatic portions. The musical bits are not part of the plot and the score is from a variety of sources.

Baxter is the owner of the House Of Curson a famed fashion design house that's come down to him in three generations. In a roundabout way he makes the acquaintance of Joan Bennett who is the owner of a great society name, but the family has seen better days financially. She's marrying dull and plodding Alan Mowbray to cure that. But she leaves him standing at the altar.

The notoriety Bennett has gotten leaving Mowbray makes Baxter ask her to be his new top model. That doesn't leave Baxter's wife Helen Vinson very happy. But she's jumping for joy as Mowbray is determined to ruin Baxter and he sets up Mischa Auer in a rival house to ruin him. Of course all the fashion espionage tricks are played by both sides.

In the end Baxter to show off his latest designs puts on a musical show and this is where the bulk of the numbers come in. Here and in a scene with Baxter and Bennett at the famous Harlem Cotton Club. The show that Baxter puts on is entitled Vogues Of 1938.

Vogues Of 1938 received two Oscar nominations for Best Art Design and for Best Song with Lew Brown and Sammy Fain's That Old Feeling. That Old Feeling is a song done by about every recording artist you can name. It is introduced in fine style by Virginia Verrill at the Cotton Club sequence. It certainly is one eternally enduring standard.

Walter Wanger put a lot into this film and he got good if not great results.

A runaway bride plot is an excuse for lots of fashions and music

[blanche-2 · 7/10 · 9 February 2006]

Joan Bennett runs out on her wedding day and takes up with fashion designer Warner Baxter in "Vogues of 1938" which is a combination of musical numbers and fashion shows with a little plot in between. And it's in Technicolor! Bennett has reddish-blonde hair here and resembles Lucille Ball a little but her voice is similar to her sister Constance. I'm so used to her as a beautiful brunette that the change took some getting used to - it has to be shortly after that she did a screen test for "Gone With the Wind," and by then, she had dark hair. In this story, after she abandons her wedding, she falls for the married Baxter (who designed and made her gown) and becomes a model in his fashion house. Baxter's wife is an ambitious performer who persuades him to back a show she's in - and it nearly breaks him.

There are some great scenes - I have to admit, I thought the roller skaters were spectacular. There was a wonderful scene at the Cotton Club, another at El Morocco, and the entire finale is a fashion show done as a musical. The gowns and suits are gorgeous.

Precious little plot here but plenty of shots of the New York of the '30s, some good music, dancing, gowns - and oh, those roller skaters!

Entertaining Mix of Music & Fashion

[wireshock · 15 November 2003]

The pacing and performances in this "varieties" package are just right: like a sumptuous buffet catered with style this packed entertainment serves up hot jazz, delightful dance, and considerable comedy along with the main course, splendiferous fashions. And all of it is seasoned with just a sprinkling of romance!

Those who have panned this picture as a "turkey" have decidedly missed the point: yes, the plot is as thin as some of the clothing on the models here on display--it's supposed to be! This rich mix demands a minimal story, since we're meant to enjoy the goings on with the same detached discernment which the tony patrons of the House of Curzon display in reviewing the season's outfits. The technicolor, as others have noted, is delightful (Joan Bennett's strawberry blonde hair being just one of the delicious shades on display) and the camerawork and direction are often quite innovative and at times inspired.

Like the opening sequence--a bevy of beautiful girls unroll the opening titles and credits on luxurious fabrics--Warner Baxter's first scene, where he improvises a fashionable hat for a demanding patron by sticking a feather into a rag he's plucked off the head of one of the cleaning ladies, sets the tone of the picture, as if to say: we've put together with panache and ingenuity a clever divertissement for you. Sit back and enjoy!

Vogues of 1938 is glorious

[style-2 · 7/10 · 31 January 2005]

Beyond explanation, this silly, contrived and utterly outdated tale defies description. But it is a scream to watch, as the kaleidoscope of scenes unveil themselves in glorious early-Technicolor. The lovely and stylish Joan Bennett plays madcap heiress Wendy Van Katterling, on the eve of her marriage to a man she does not love, well-played by Alan Mowbray. This "madcap heiress" business, prolific in the Twenties and Thirties, gets pretty hard to take as the decades roll by – it was phony then, and it's *especially* phony now, harking back to a time when America was entranced by "The Upper Class." (Then there's that "madcap" business – how come we only hear about madcap heiresses. Why not madcap nurses or madcap streetwalkers?) This theatrical device, hackneyed already by the late Thirties, begs the viewer to wisely suspend any thought of reality, and that suspension *must* occur – just as it does in *The Wizard of Oz,* or the next hour-and-a-half or so will be torture. From the delivery of her wedding gown (in a motorcade down Fifth Avenue, no less, in a ridiculously tiny box) to the closing fashion show extravaganza, this movie can be excruciating or delightful, depending on your point of view. The heiress runs away, since that's what *all* madcap heiresses *do*, and gets a job at the House of Curzon, a Fifth Avenue couture salon. She endears herself to Curzon, himself (Baxter), who has plenty on his mind already, with a Broadway show he's producing for his two-timing wife. The introduction of this branch of the plot allows for the insertion of a variety of musical interludes that are so unrelated, they appear to have been scrapped from *other* movies, but they are marvelous period pieces that dazzle the eye. Fashion piracy is another theme of the movie, and this piracy spells trouble for the House of Curzon. Then the wife departs, leaving Curzon with a mountain of debt and a faltering business. One thing becomes another and everything works out okay (this *is* 1937), culminating in a spectacular fashion show utilizing the gorgeous Miss Bennett, and *hundreds* of others, and all of the fantastic sets that were left over from the Broadway show Curzon was producing. While the movie drags at times, it is a time capsule revealing a particular slice of America that *wanted* to see movies like this – or is it that this was more of the kind of product that movie studios wanted Americans to see? In any case it is sheer fantasy, spewing out delicious costumes and surreal musical numbers lie it was a broken water main. The acting? Mischa Auer, as Curzon's rival-turned-friend, is brilliant.

pretty but dull

[yrral-2 · 6/10 · 4 February 2000]

This film is a fun diversion. It is a beautiful example of early Technicolor photography and it looks as if it has been restored. The sets and costumes will be of interest to any one who loves art decco. Unfortunately this is not a Busby Berkley film.It lacks big production numbers and is dull in parts.

An all-time turkey

[aberlour36 · 1/10 · 5 February 2000]

This is surely one of the worst films ever made. Each scene is painful. You will groan at the flimsy attempts at humor, the awkward camera work, the sexism and racism, the ridiculous story line, the wooden acting. Poor Joan Bennett; she is the only one in the movie who is not an embarrassment. In all, dreadful.

Thank goodness there was no sequel!

[planktonrules · 3/10 · 27 January 2016]

"Vogues of 1938" was obviously an expensive and prestigious film and it must have cost the studio a fortune. After all, very, very films were filmed in color back in 1937. Plus, the movie is filled with pretty models, designer gowns and opulence. And, incidentally, it's STILL a terrible film. Why? Because the story is very thin and one fashion show after another gets incredibly boring. So, no matter how good the acting is of Warner Baxter and Joan Bennett, they aren't given much with which to work. And the story just never in the least gets interesting...never.

So is there anything good about the film? Not a lot. I did enjoy the production number early in the film with the black band--in particular the pianist who was playing a nifty jazz piece. Other than that, a complete waste of time and a film that is all style and absolutely no substance.

PAINFULLY BLAND...

[IdaSlapter · 3/10 · 6 December 2020]

No wonder this turkey is forgotten. It's so incredibly bad on so many levels it's confounding how anyone could rate this with anything higher than three or four stars at best.

Some of the reviews here are HYSTERICAL. One states " A film like this is quite beyond criticism... we should just be grateful it exists..." Uh, NOT. The film, if one could even call it that, is ripe and overdue for criticism. The use of technicolor -- at least in the first 40 minutes of the film -- is ABYSMAL. It's movies like this that no doubt forced Natalie Kalmus to make sure she supervised the color design on 99% of the films made in Technicolor.

The walls are grey or slightly blueish gray. ALL THE WALLS are that color. And then the director puts a woman in a grey dress in front of these grey walls -- brilliant choice! NOT.

The production is so cheap they didn't even spend a time to put some trees or daylight or SKY outside the windows...just that dullish blue-grey color.

The acting is horrible, the lighting is the same throughout the picture -- like everything was lit ouside under a cloudy sky.

In the trivia section it states that "Carole Lombard was originally sought for the lead role, but backed out due to reservations about how she might look in a color film." Right. That must be why she chose to make the FAR superior classic "Nothing Sacred' in Technicolor the year BEFORE this turkey. No doubt she read the paint-by-numbers script, found out who her "leading" man was, and ran for the hills.

There are however two reasons to watch maybe 10-15 minutes of this. One is Joan Bennett, who struggles to rise above the material, but does her best which is far superior than her wooden costar. The other is to get a rare glimpse of one of the greatest male tap-dancers, George "Georgie" Tapps, who's rapid fire routine is as good as Astaire, and with his spinning, is almost like he's the male Ann Miller. A truly amazing, refreshing bit of actual TALENT in an otherwise completely forgettable movie.

And fortunately there's a clip of him on youtube, so you don't have to wade through the slop to see his routine.

Over the rainbow

[ptb-8 · 9/10 · 29 September 2007]

Possibly made as a direct result of the sublime RKO fashion musical of 1934 ROBERTA and certainly a direct reason why there was a sensational Technicolor fashion sequence in THE WOMEN, 1939, this absolutely breathtaking Technicolor fashion comedy made in 1937 is an art deco dream come true. A film like this is quite beyond criticism... we should just be grateful it exists to showcase the height of sophisticated design fashion women and comedy in the snazzy 1930s. Joan Bennett is Lucille Ball style gorgeous and Warner Baxter is 42nd st handsome and tough... but the highlight of this superb production is the eye-popping art deco direction and design and the fashions themselves.... how cold anyone complain about this gift from the 30s? Very few modern color 30s films exist... maybe really only NOTHING SACRED or GOLDWYN FOLLIES compare... but this one! wow! truly a sublime confection of modern Manhattan life for the nightclub and fashion set in glorious perfected Technicolor... well no written compliment can do the visuals justice when you see them. There was a huge number of new cinemas built in the mid 30s and many many old theaters were snazzed up into deco design in '37'38'39 so color films like this were used to open them, allowing the cinema and the film to have a gala opening season showing the peak of cinema technical and artistic quality... hence films like this not only served to be a delight of their own time, but they made millions by easily being chosen as the opening film in thousands of cinemas and command a huge rental fee for the privilege... hence making massive return for the producer.... VOGUES OF 1938 is a crystal rainbow of art deco life, made wisely in color in the height of the 30s art deco design boom. See it love it and show it to everyone you know... and like me, say thankyou for those wise clever producers of the mid 30s who have created a breathtaking modern masterpiece as treasured as the many gorgeous cinemas that were subsequently demolished in the 60s and 70s. They do not exist but this lovely smart funny modern film does. A very witty script and a hilarious rollerskating interlude only add to the continual delight. Yippee!

Absolutely stunning early technicolor movie!

[martex34 · 3 February 2000]

Have not seen the entire movie as yet, but the mid to end is stunning! The usual story line was palatable but Baxter looked too old. Joan Bennett was super-duper beautiful with lovely speaking voice. Loved Mischa Auer and Alan Mowbray! The costuming was stupendous....furs, hats, ensembles to rave about. As a collector of vintage fashions, I am mesmerized by this spectacle and plan to try to find a copy of this great film.

Fashion Models in the 1930's !

[whpratt1 · 9/10 · 21 November 2005]

Decided to watch this film and see what was going on in 1937 and what the charming ladies looked like in order to attract the opposite sex. Well, hats were the in THING, along with FURS, and some pretty nice styles with wild woman's hairdo's. Joan Bennett, (Wendy Van Klettering),"Scarlet Street",'45, was very slim and trim and very attractive with a rather sexy voice. Wendy was not very happy about getting married and became " A Runaway Bride" in the 1930's. The husband she was to marry was, Alan Mowbray,(Henry Morgan),"I Wake Up Screaming",'41, who played a rather dumb role and gave a great supporting role. Warner Baxter, (George Curson), "Shadows in the Night",'41, ran a model agency and had all the best looking gals show off their fancy clothing. There was a great scene at the "COTTON CLUB", and fantastic dancing and way out musicians. If you want to take a look way back into the past and see how that generation enjoyed themselves, this is worth viewing.

Something gives me that old feeling that this is the Pygmalion of the fashion industry.

[mark.waltz · 8/10 · 29 January 2016]

A delightfully witty script and a great story helps to make this musical screwball comedy musical an underrated gem. It's not just the Technicolor, although that doesn't hurt. This has a smooth flow to it that is lavish and classy, with attractive leads and a great supporting cast including some delightful surprises in small, unfilled parts.

Once again playing a producer, "42nd Street's" Warner Baxter runs one of New York City's most stylish fashion houses. In preparation for the wedding of the social season, the staff is working overtime to get it ready. The issue is that the bride (Joan Bennett) can't stand her fiancé (Alan Mowbray), a pretentious broker with the personality of an un-toasted English muffin. Batter's untalented wife (Helen Vinson) is desperate to get on the stage, and resents Bennett's constant presence. The interference of the resentful Mowbray threatens to ruin Baxter, something that the loyal Bennett refuses to allow.

Among the supporting players are Alma Kruger as Baxter's overworked partner, Mischa Auer as a Russian fashion show whom Baxter must crush and Marjorie Gateson as a customer who betrays Baxter (resulting in some fun revenge by Bennett). Penny Singleton's has a small part, just on the verge of her own success in the "Blondie" series. An un-billed Hedda Hopper plays Bennett's frazzled mother. Most memorable is Dick Elliott as a Boston ticket broker whose raucous laughter spells doom for Baxter in his out of town tryout.

This features a few lavish production numbers, most notably the Cotton Club set "Give Me that Red Hot Beat". Other movie musical numbers involving the fashion show aren't great songs, but are very Busby Berkley like in their staging. The best known song is the standard, "That Own Feeling", which is still sung today. The fashions are delightfully camp, a pre-cursor to what audiences are still going ga ga over in the following year's "The Women". Think of this as what was going on back stage at that fashion show while the cats of Anita Loos's play were preparing to rip each other's hair out.

Strike a pose

[jarrodmcdonald-1 · 29 August 2022]

Walter Wanger's VOGUES OF 1938 was made before TRADE WINDS, so the leading lady of this picture, Joan Bennett, still has blonde hair. And unlike most of the other films these two made together, this production is in Technicolor. So Miss Bennett is quite a sight here, and so are the other lovely ladies who model the many gowns and outfits that are on display.

Bennett plays a debutante who is being married to a snob (Alan Mowbray) to ensure that her family will stay financially well-off. But of course, she doesn't like the man they've chosen to be her husband, and when she goes to Warner Baxter's design house to try on her wedding gown, she gets an idea. If Baxter agrees not to send her dress to the house, then the nuptials will have to be postponed. Of course, he doesn't go along with her idea, and when the dress arrives on time, she lets out a scream.

In the next scene, we learn she called off the wedding. She returns to Baxter's place of business, followed by reporters, to toss the gown in his face. He realizes there is great publicity value in maintaining an association with her, so he offers her a job modeling clothes for him. She says yes, because without a wedding to prepare for, what else is a fashionista to do?

The story is off and running, and other characters are quickly added. There is a lead designer (Alma Kruger) who functions as a den mother to the girls. And we also have Baxter's shrewish wife (Helen Vinson) who leaves him in a huff then comes back. Rounding out the supporting cast are Jerome Cowan as the wife's confidante and Mischa Auer who plays a rival designer. In fact,. Auer has some good scenes with Mowbray; they provide comic relief during breaks from the main action.

In addition to the clothes and the comic relief, some spectacular musical numbers are included. It's obvious Wanger is pulling out all the stops to make a very lavish piece of entertainment. On that level, it certainly succeeds. Everyone who appears in the story is fabulously in style from head to toe. The opening credits acknowledge several real-life designers who provide the fashions (vogues) that are seen on screen.

What helps make this production vivid and slightly kitschy is the early Technicolor photography. (The art design was Oscar-nominated and deservedly so.) The picture has the distinction of having been filmed entirely in New York City. So there's a real sense of urban east coast ambience here- in the fashion house scenes, the club scenes and especially the outdoor scenes filmed on location.

All Mannequin

[marcslope · 22 May 2001]

Vivid Technicolor, startling camerawork, swellegant fashions, and that's about it. One great song ("That Old Feeling") and a couple of beguiling specialty acts, but they're nobodies and totally unrelated to the rest of the action, so how much can you care? The story is trite and feeble even by the meager standards of 1930s musicals, and star power is lacking.