King of Burlesque (1936)

85 mins | Musical comedy | 3 January 1936

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HISTORY

Vina Delmar's unpublished, uncopyrighted story was entitled "The Day Never Came," which was one of the film's working titles; the other working title was Blue Chips. According to various news items, the film was under preparation by Fox Film Corp. in 1934 as a Erich Pommer production. According to information in the Twentieth Century-Fox Produced Scripts Collection at the UCLA Theater Arts Library, an early draft of the screenplay was entitled "Mr. Manhattan." According to an HR news item, Irving Cummings was originally scheduled to direct, but by the time shooting was to begin, he had not sufficiently recovered from a recent operation. In Nov 1935, Darryl Zanuck wrote a memo to the SAB complaining that they had included too many contributing writers in their listings, in view of the regulation that a writer had to contribute at least 10% of the film to be listed as a contributor. In subsequent SAB listing, only William Hurlbut was listed as a contributor, in addition to the writers who received screen billing. According to a HR news item, Victor Baravalle, the head of M-G-M's music department, was loaned to Fox to be the musical director of this film. Earle Hodgins and Earl Clyde are listed as cast members in a HR production chart, but their participation in the final film has not been confirmed. In 1943, Twentieth Century-Fox produced a remake entitled Hello, Frisco, Hello that did not credit Delmar with the story. That film was directed by Bruce Humberstone and starred Faye, Oakie and John Payne. ...

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Vina Delmar's unpublished, uncopyrighted story was entitled "The Day Never Came," which was one of the film's working titles; the other working title was Blue Chips. According to various news items, the film was under preparation by Fox Film Corp. in 1934 as a Erich Pommer production. According to information in the Twentieth Century-Fox Produced Scripts Collection at the UCLA Theater Arts Library, an early draft of the screenplay was entitled "Mr. Manhattan." According to an HR news item, Irving Cummings was originally scheduled to direct, but by the time shooting was to begin, he had not sufficiently recovered from a recent operation. In Nov 1935, Darryl Zanuck wrote a memo to the SAB complaining that they had included too many contributing writers in their listings, in view of the regulation that a writer had to contribute at least 10% of the film to be listed as a contributor. In subsequent SAB listing, only William Hurlbut was listed as a contributor, in addition to the writers who received screen billing. According to a HR news item, Victor Baravalle, the head of M-G-M's music department, was loaned to Fox to be the musical director of this film. Earle Hodgins and Earl Clyde are listed as cast members in a HR production chart, but their participation in the final film has not been confirmed. In 1943, Twentieth Century-Fox produced a remake entitled Hello, Frisco, Hello that did not credit Delmar with the story. That film was directed by Bruce Humberstone and starred Faye, Oakie and John Payne.

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PERSONAL & COMPANY INDEX CREDITS
HISTORY CREDITS
CREDIT TYPE
CREDIT
General (mod):
Personal note credit:
Corporate note credit:
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
4 Jan 1936
---
Daily Variety
21 Dec 1935
p. 3
Film Daily
26 Dec 1935
p. 7
HF
23 Nov 1935
p. 8
Hollywood Reporter
1 Aug 1935
p. 2
Hollywood Reporter
25 Sep 1935
p. 1
Hollywood Reporter
8 Oct 1935
p. 4
Hollywood Reporter
28 Oct 1935
p. 7
Hollywood Reporter
11 Nov 1935
p. 2
Hollywood Reporter
21 Dec 1935
p. 3
Hollywood Reporter
2 Jan 1936
pp. 5-16
Hollywood Reporter
17 Oct 1936
sect. II, p. 69
Motion Picture Daily
24 Dec 1935
p. 3
Motion Picture Herald
4 Jan 1936
p. 49
New York Times
16 Jan 1936
p. 25
Variety
3 Nov 1934
---
Variety
22 Jan 1936
p. 14
CAST
NAME
CREDITED AS
CREDIT
Ellen E. Lowe
Florine Bale
Peggy Carroll
Eddie Foy
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
Darryl F. Zanuck in charge of production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Assoc prod
WRITERS
Story
Contr wrt
Contr wrt
Contr wrt
Contr wrt
Contr wrt
Contr wrt
PHOTOGRAPHY
ART DIRECTORS
Art dir
Settings
FILM EDITORS
Film ed
Asst ed
Asst ed
COSTUMES
MUSIC
DANCE
Dance ensembles by
PRODUCTION MISC
Prod mgr
SOURCES
SONGS
"(I'm) Shooting High," "Lovely Lady," "Spreading Rhythm Around," "Too Good to Be True (I've Got My Fingers Crossed)" and "Whose Big Baby Are You?" music and lyrics by Jimmy McHugh and Ted Koehler; "I Love to Ride the Horses on a Merry-Go-Round," music by Lew Pollack, lyrics by Jack Yellen; "Alabamy Bound," music and lyrics by Ray Henderson.
SONGWRITERS/COMPOSERS
+
DETAILS
Alternate Titles:
Blue Chips
The Day Never Came
Release Date:
3 January 1936
Production Date:
30 Sep--7 Nov 1935
Copyright Info
Claimant
Date
Copyright Number
Twentieth Century-Fox Film Corp.
3 January 1936
LP6373
Physical Properties:
Sound
Western Electric Noiseless Recording
Black and White
Duration(in mins):
85
Length(in feet):
7,963
Length(in reels):
10
Country:
United States
PCA No:
1777
SYNOPSIS

After a successful year of producing burlesque shows on Fourteenth Street in New York, Kerry Bolton wants to move uptown and do big musical revues, as does his singer and choreographer Pat Doran, who loves him. Kerry's partner, Joe Cooney, however, is cynical about the idea and refuses to join them. Four years later, Kerry's nickname has changed from "King of Burlesque" to "Broadway Czar," as he has produced hit after hit. Kerry, Pat, Joe, now Kerry's general manager, and Joe's girl friend Connie, who wants to marry him, go to an auction at the Park Avenue home of the Cleves, who have recently lost all their money. When Rosalind Cleve sees Kerry poking fun at the plight of her family, she refuses to sell a model ship in which he is interested. In response, Kerry, to insult her, buys much of the remaining merchandise at prices far below their worth. However, when he finally meets her and realizes that she is the type of woman he has dreamed of, he tries to make up by offering to pay a good price for the model, but she refuses. Kerry has Joe investigate Rosalind, and he learns that she is a widow of twenty-six and is engaged to an opera student named Stanley Drake. In need of money, Rosalind visits Kerry during a rehearsal and offers to sell the model ship for $1,500. He agrees, but when he reveals that he has learned that its value is only $400, she pridefully tears up his check. When Kerry suggests that he could help Drake get a start at the Metropolitan, she accepts his dinner ...

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After a successful year of producing burlesque shows on Fourteenth Street in New York, Kerry Bolton wants to move uptown and do big musical revues, as does his singer and choreographer Pat Doran, who loves him. Kerry's partner, Joe Cooney, however, is cynical about the idea and refuses to join them. Four years later, Kerry's nickname has changed from "King of Burlesque" to "Broadway Czar," as he has produced hit after hit. Kerry, Pat, Joe, now Kerry's general manager, and Joe's girl friend Connie, who wants to marry him, go to an auction at the Park Avenue home of the Cleves, who have recently lost all their money. When Rosalind Cleve sees Kerry poking fun at the plight of her family, she refuses to sell a model ship in which he is interested. In response, Kerry, to insult her, buys much of the remaining merchandise at prices far below their worth. However, when he finally meets her and realizes that she is the type of woman he has dreamed of, he tries to make up by offering to pay a good price for the model, but she refuses. Kerry has Joe investigate Rosalind, and he learns that she is a widow of twenty-six and is engaged to an opera student named Stanley Drake. In need of money, Rosalind visits Kerry during a rehearsal and offers to sell the model ship for $1,500. He agrees, but when he reveals that he has learned that its value is only $400, she pridefully tears up his check. When Kerry suggests that he could help Drake get a start at the Metropolitan, she accepts his dinner invitation. At dinner, Kerry tells her that she has everything he wants in a woman--beauty, brains and class--and predicts that she will be his wife one day. After Kerry and Joe surreptitiously arrange for an institute of music to sponsor Drake to study in Italy, Rosalind, because of her desperate financial situation, agrees to marry Kerry on a business basis with a written contract stipulating that Kerry send her sister to a good school and provide Rosalind with $100,000 in securities in case the marriage fails. Hurt by the news, Pat accepts an offer to work in London. After the honeymoon, Kerry cancels the show under preparation and announces that his next show will have class and style. Rosalind convinces him to put Drake, who has returned, in the lead, and the new "modernistic revue," entitled "Rhythm in Color," becomes Kerry's first flop. When Joe calls Kerry a "chump," for putting Rosalind's "boyfriend" in the show, Kerry slaps him. Although Kerry tries to apologize, Joe leaves him. In London, Pat becomes a big hit as a performer. When she learns that Kerry has had three flops in succession and that Rosalind has left him, she returns and formulates a plan with Joe to get Kerry, who is now down-and-out, to start up a new show. Joe pays an out-of-work Russian immigrant named Kolpolpeck to pose as a millionaire backer, but Kerry is unable to come up with an idea until he sees Rosalind and Drake, who is wearing his coat, come out of a car together. Kerry socks Drake, recovers his coat and tells Joe that he now has his idea. With Kolpolpeck secretly fronting for Pat, Kerry purchases an old theater on Fourteenth Street and has most of the seats in the center removed. He then hires Pat to choreograph all the people who wanted a chance to show their talents when he was too busy for them, including his old telephone operator, elevator operator, doorman, office boy and a seemingly washed-up actor. Cynical about the show's prospects, Joe agrees to marry Connie if the show is a hit. The show, which combines burlesque and Broadway, includes a revolving stage and girls swinging on trapezes above an upper-class audience seated in tables below. After Joe deems it a hit, he and Connie embrace, as do Kerry and Pat.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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