Footlight Fever
(1941)
69-70 mins | Comedy | 21 March 1941
Director:
Irving ReisWriters:
Ian McLellan Hunter, Bert GranetProducer:
Howard BenedictCinematographer:
Robert de GrasseEditor:
Theron WarthProduction Designer:
Van Nest PolglaseProduction Company:
RKO Radio Pictures, Inc.The working titles of this film were Show Business and Show People. An early HR production chart credits William Ullman, Jr. with original story and adds Carol Hughes to the cast, but her participation in the final film has not been confirmed. A news item in HR notes that Irving Reis replaced Frank Woodruff as director. According to another news item in HR, Elyse Knox's performance in this film won her a term contract at RKO. For this production, stars Alan Mowbray and Donald McBride reprised their characters from the 1940 RKO film Curtain Call which was directed by Frank Woodruff (see AFI Catalog of Feature Films, 1931-40; F3.0904). ...
The working titles of this film were Show Business and Show People. An early HR production chart credits William Ullman, Jr. with original story and adds Carol Hughes to the cast, but her participation in the final film has not been confirmed. A news item in HR notes that Irving Reis replaced Frank Woodruff as director. According to another news item in HR, Elyse Knox's performance in this film won her a term contract at RKO. For this production, stars Alan Mowbray and Donald McBride reprised their characters from the 1940 RKO film Curtain Call which was directed by Frank Woodruff (see AFI Catalog of Feature Films, 1931-40; F3.0904).
Show People
Unable to secure financial backers for their new Broadway play, producers Don Avery and Geoffrey Crandall are about to abandon their endeavors when they are visited by wealthy Eileen Drake, the fiancée of their leading man, John Carter. Eileen pleads with Avery and Crandall to continue their search for a backer because John refuses to marry her until he has a job. The producers try to convince Eileen to invest in their play, but she tells them that her fortune is held in trust by her reclusive aunt Hattie, who is dominated by her imperious business manager, Harvey Parker. Learning that Hattie has sequestered herself in the house for thirty years while waiting for the return of her long-lost love, Charlie Farley, the first mate on a whaling ship, Avery and Crandall decide to pose as Charlie's mates and visit Hattie. After informing Hattie of her beloved Charlie's demise, Avery and Crandall present her with Charlie's most cherished possession: a play that he wrote for her. In memorium, Hattie asks the two to take her to a riverfront bar that she and Charlie used to frequent. There Hattie learns that Charlie's shipmates are impostors when the bartender shows her a photograph of a very alive Charlie with his arms around two women. To teach Avery and Crandall a lesson, Hattie incites a night of barroom brawling, after which the beaten producers confess their true identity and ask her for money. Hattie sends Harvey to meet with the producers, and he agrees to recommend that she finance their play if Avery and Crandall will pay him twenty percent of the proceeds. After ...
Unable to secure financial backers for their new Broadway play, producers Don Avery and Geoffrey Crandall are about to abandon their endeavors when they are visited by wealthy Eileen Drake, the fiancée of their leading man, John Carter. Eileen pleads with Avery and Crandall to continue their search for a backer because John refuses to marry her until he has a job. The producers try to convince Eileen to invest in their play, but she tells them that her fortune is held in trust by her reclusive aunt Hattie, who is dominated by her imperious business manager, Harvey Parker. Learning that Hattie has sequestered herself in the house for thirty years while waiting for the return of her long-lost love, Charlie Farley, the first mate on a whaling ship, Avery and Crandall decide to pose as Charlie's mates and visit Hattie. After informing Hattie of her beloved Charlie's demise, Avery and Crandall present her with Charlie's most cherished possession: a play that he wrote for her. In memorium, Hattie asks the two to take her to a riverfront bar that she and Charlie used to frequent. There Hattie learns that Charlie's shipmates are impostors when the bartender shows her a photograph of a very alive Charlie with his arms around two women. To teach Avery and Crandall a lesson, Hattie incites a night of barroom brawling, after which the beaten producers confess their true identity and ask her for money. Hattie sends Harvey to meet with the producers, and he agrees to recommend that she finance their play if Avery and Crandall will pay him twenty percent of the proceeds. After Hattie advances the producers the first half of her payment, rehearsals begin. The production proceeds smoothly until Harvey, who is in love with Eileen, learns that she and John are engaged and demands a new leading man before delivering the final check. To placate Harvey, Crandall proposes that Avery play the lead in dress rehearsal until they receive Hattie's check, and then John will step into the role on opening night. When Avery becomes enamored by his own performance, however, he decides to continue the role. On opening night, Crandall arranges for a sandbag to drop on Avery's head, but the bag misses Avery and hits Harvey instead. Retiring to his dressing room to adjust his makeup, Avery is confronted by two robbers, who knock him unconscious. When Harvey's meek assistant Holly tells Hattie that the business manager has been swindling her, Hattie gives Eileen and John her blessing. John steps into the leading role, and as the play is about to begin, Crandall is hit by a sandbag. When the two producers finally awaken in the hospital, they rush to the theater ,where they are greeted by a sign announcing that their play is in its second successful month.
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