'The more Keystone comedies I make, the more convinced I become that comedy is an art, and a high one at that. If those who are inclined to scoff at me will try their hand at directing just one of those comedies they designate as anything but art, I am pretty certain they will concede me my point.' Mack SennettAn overlooked homage to silent cinema, this film charts the rise and fall of a self-made director whose ambition blinds him to the emotional attachment he has to the actress whose star he plots from theatrical obscurity to leading lady of the silver screen. Often regarded as a fictionalised account of the life of the 'King of Comedy', this long-term pet project of Darryl Zanuck serves as more of a composite portrait of several silent screen moguls, including the aforementioned founder of Twentieth Century Fox himself. There can be no doubt that Don Ameche's protagonist, Michael Connors, shares much of Mack Sennett's creative drive in creating his own movie company, and introducing audiences to both slapstick comedy and bathing beauties. Moreover, aside from appearing briefly on screen as himself, Sennett casts his influence over the production through connections to both cast and crew. Firstly, there are the swansong appearances by several members of his stable of silent comedy stars, such as Ben Turpin and Chester Conklin, together with the band of Keystone Cops. In addition, the director of the black and white chase sequences, Malcolm St Clair, had learned his trade under the auspices of Sennett, as had former screenwriter, Zanuck. Yet, although the screenplay is often regarded as a fictionalised account of the stormy relationship between Sennett and Mabel Normand, the reality is that Normand was already an established movie actress when they met, and her career would be mired in far greater scandal and end more tragically. The other notable influence is that of Buster Keaton, for whom this production served as a brief return to the limelight, having had his career blighted by alcoholism and having been reduced to employment as a gag writer for the Marx Brothers. Keaton's rehabilitation is at the hands of principal director, Irving Cummings, a former actor whose own big break had come in Keaton's debut feature, 'The Saphead'. In the intervening years Cummings had established himself as a director of flashy musicals starring the likes of Alice Faye, and here provided he latter, one of the ten biggest box-office draws in Hollywood at the time, with her first foray in a non-musical role. Faye not only convinces as a melodramatic actress, but also as a worthy successor to the likes of Normand in silent comedy. Despite the fact that another of his performances from that same year captured public attention, her erstwhile co-star, Don Ameche, captivates every scene in which he appears as the driven and innovative young director. Serving as Twentieth Century Fox's answer to Selznick's Oscar- garlanded 'A Star is Born' from the previous year, this production is rare in crediting another studio with its contribution to cinema. However, this apparent generosity of spirit somewhat masks the underlying self- aggrandisement of the film's producer. Firstly, as illustration of Connors' loss of instinct as to what equates box office gold, he rejects Rin Tin Tin. The rise of this canine was one of Warner Brothers' major successes, and Zanuck himself had risen to prominence as head of production within this rival studio for overseeing this four-legged star's trajectory. Moreover, in this same role Zanuck played an influential part in fashioning Warner Brothers' output including 'The Jazz Singer' which is heralded by Ameche's character as signalling the end of the silent era. One final ironic footnote revolving around this production's story-line concerns Zanuck's relationship with his movie's female lead. As Ameche noted Zanuck like many others in the studio pursued her, and Faye would ultimately turn the tables on his disloyalty like no other female star has done before or since.

ALICE FAYE is very lovingly photographed in her first Technicolor film, even though it does require her to get a few pies thrown in her face. DON AMECHE puts so much energy into his role as a wanna be director that he often sounds like Jackie Gleason on "The Honeymooners" when he goes into one of his tirades. Both perform well within the limits of a tiresome boy meets girl, boy loses girl, boy wins girl kind of story set against the early days of motion pictures.The premise is a good one--using B&W whenever depicting scenes from the films that Molly Adair (Alice Faye) is doing with the Keystone Cops, Buster Keaton, Eddie Collins, Ben Turpin and Chester Conklin, real stars from the silent era. But what starts out as a promising romantic comedy soon delves into trite romantic situations with Faye pining for Ameche, whose mind is never on romance but only on hard work as he dreams up new ideas for her future films. ALAN CURTIS is the leading man Ameche chooses for her and she falls in love with him. But never fear, the script makes sure that she winds up with a reformed Ameche at the end.Most of it is good fun but the middle part sags a bit and the script loses all originality once it starts to feel sorry for its heroine. It's a shame nobody gets a chance to sing or dance--which may have livened things up a little after the midway point.Interesting mainly as a glimpse at how silent films were made from the period 1913 through 1928. There's even a peek at Al Jolson's breakthrough talkie "The Jazz Singer," although it's a recreation and not a clip from the original.

The plot: Michael Linnett Connors has done everything in films but direct, and is looking for his 1st big chance. He discovers Molly in a play and at once knows she will be a big film star. He signs her to a contract with the stipulation that he must direct. The producer agrees and their big time careers are under way. What follows is a recreation of the silent film era and early sound movies with great emphasis on comedy. And, oh yes, there's romance, and a little sadness too. The performances by Don Ameche and Alice Fay are top notch. The music is a real plus too with some old familiar tunes heard. Lots of DVD extras as well in this restored version released in 2008. It must be emphasized that this movie is a story 1st, not just a tribute to silent films. Later years would bring similar films such as, Singin' in the Rain(1952) & Dick Van Dyke-Carl Reiner's, The Comic(1969). What is special about this film, though, is recreating silent movies in 1939. We see portions of them as the cinema audience would in that bygone era(although some sound effects are included)in glorious b&w, while the rest of the movie is in pristine color. One of the greatest in the silent era, Buster Keaton, who at this point was on an uphill climb, is used superbly in 2 silent film recreated scenes and he is on the top of his game! It is said that he had some input on his scenes as well. But the real reason to watch the movie, if your a motion picture history fan, is that beyond everything else, Hollywood Cavalcade is Mack Sennett's film legacy. It doesn't take a genius to realize this movie is a "positive" reworking of Mack Sennett's and Mabel Normand's life. The character Michael "Linnett" Connors is Mack Sennett, whose real name was Michael Sinnott. And Molly, of course is Mabel. Sennett had the pie throwings, the bathing beauties and Keystone Cops. He worked with Buster Keaton, Ben Turpin(cameo), Roscoe "Fatty" Arbuckle(body double) and fell in love with his leading lady. Not only all that, but Sennett was technical adviser for this film and appears in it as well. As most film viewers today prefer sound features, those who were associated with short subjects and silents are left out to pasture. As Mack Sennett fell into that category, it is fortunate that there is Hollywood Cavalcade! Sennett was of course very instrumental in the evolution of comedy in movies. His career started in 1908 as an actor, then writer, director & producer. He semi retired in 1935 with about 500 films to his credit. He had worked with the best, such as Charlie Chaplin, Gloria Swanson, Bing Crosby, W.C. Fields, Keaton, Harry Langdon, Arbuckle, and even Roy Rogers(in Way Up Thar).As film comedy is an extremely difficult path to continue for an entire career, Mack played it wise & did only selective work for the next 25 years. In 1931 he had received an academy award in the short subject category, and another in 1937 for a lifetime of work. In the 1940's his presence was still felt, e.g. Here Come the Co-Eds(1945)where a recreation of the oyster soup scene used in Mack's Wandering Willies(1926)is done. In 1947, The Road to Hollywood, used some of Sennett's Crosby films. 2 years later brought some nostalgia with the film Down Memory Lane in which he participated. With his knack of always associating with the right people, a guest role with the eternally popular Lawrence Welk & his radio show came about later in the year. 1950 brought a re-release of his greatest triumph, Tillie's Punctured Romance(1914) with sound. In 1952 he was honored on TV's, This Is Your Life, then his autobiography, The King of Comedy(1954), which is a great companion piece to Hollywood Cavalcade, was published. 1955 brought a more concrete association with Abbott & Costello, as he had a cameo in A&C Meet the Keystone Kops. Finally in 1957, another tribute with the compilation film, The Golden Age of Comedy. So when you watch Hollywood Cavalcade it is the legacy of a motion picture pioneer. In the film at the banquet scene the camera pans over the guests at a long table. As we get to the silver haired Mack, he alone turns his head to the camera as if to say, "here I am!". When he rises to give a speech a short while later, he is at his most subdued, underplaying the words given him as if to mentally convey, "I know my influence on comedy will never end, but will people forget Mack Sennett the individual. Maybe this movie will help."

It's 1913. A studio prop boy spies the actress who is going to become Hollywood's next great movie star and he's the director that's going to make it happen. After inventing pie throwing and the keystone cops, his dream comes true. Being completely absorbed in his film-making, however, he fails to notice that he is losing his leading lady to another man. Several over-budget flops later, he is known as nothing more than the director who turned down Rin-tin-tin. Fortunately for him, the loyal and compassionate residents of Hollywood are untainted by ambition and ego. He'll be okay as long as he still has his friends.This movie starts out as a mad-cap comedy typical of the time period, and in the opening scenes it holds its own with the best of them. It has a playful lack of self-consciousness which is sorely missing in most of today's comedies. Shortly into the film, however, it moves away from this mode of comedy and instead attempts to entertain us using the films within the film. These are silent slapstick comedies, well done but nothing out of the ordinary, and they go on for much longer than is necessary for any audience which has seen the originals. Upon returning, the film takes a dramatic turn. It's well written and the cast does an excellent job of making the transition, but the movie really should have decided from the beginning what it was going to be.By the end of the film, it has transformed once again - this time into a paean to the glitter of Hollywood. The small town of Los Angeles has grown up into the city which makes the movies that entertain the whole world.In spite of its promising beginnings, this film has not aged particularly well. Nevertheless, it does have some strong scenes, a certain nostalgic appeal, and an entertaining sub-text about the people who made it and the audiences it was made for.