Saturday, February 17, 2018
Friday, February 16, 2018
WIR SCHLATEN UM AUF HOLLYWOOD was a German movie that used scenes from THE MARCH OF TIME as well as THE HOLLYWOOD REVIEW OF 1929.
|original title||Wir schalten um auf Hollywood We switch to Hollywood|
|camera||Ray Binger, John Arnold , Irving Reis Ray Binger, John Arnold , Irving Rice|
|cut||Adrienne Fazan Adrienne Fazan|
Switching to Hollywood is a 1931 revue film. It was produced by MGM specifically for the German-speaking market and uses passages from The Hollywood Revue of 1929 and the fragmentary film The March of Time . Due to the completely own background story is expressly not a typical for the time version movies .
Paul Morgan comes to Hollywood as the inventor of the first acoustic-optical, wireless bodypack transmitter to send a reportage to Europe from here. Since he does not speak a word of English, he is glad to make the acquaintance of Grand Duke Karl Peter Friedrich to Weidlingau-Hadersbach, who is at Metro-Goldwyn-Mayer Extra. He becomes his constant companion. So both interview different celebrities and eavesdrop on some greats in their work in Culver City. With Nora Gregor and Adolphe Menjou Morgan plays a sketch, cavorting on the open air of the production company, has as Wild Westler a meeting with strange Indians and meets Oscar Straus know. He's in for a movie premiere, and in a clutter on the gala night, Buster Keaton makes the wireless transmitter unusable. The transmission is finished
The film uses passages from The Hollywood Revue of 1929 and the unfinished 1930's musical The March of Time , including a performance by the Albertina Rasch Ballet. Some of the sequences used were rotated in the two-color Technicolor method. Joan Crawford speaks at the end of the story a few sentences in German. The German premiere was on 10 June 1931 in the Capitol Cinema in Berlin , the Austrian on 27 July 1931 in the Apollo Cinema in Vienna. 
Some scene were cut out by order of the film Oberprüfstelle Berlin from May 19, 1931 from the rental version, as they were in the assessment of the experts called in by the testing center were likely to violate the religious feelings of the audience. 
"An American production for the German market, shot in the MGM-Studios in Culver City and on their outdoor area. A star parade with some color parts in Technicolor and a few additional scenes from THE HOLLYWOOD REVUE OF 1929. Through the film leads the (1738 murdered by the Nazis) Viennese cabaret artist Paul Morgan in the form of working for an imaginary radio station reporter. A casual walk through Hollywood with the eyes of a European. The fascination for the new medium sound film becomes noticeable when suddenly even Joan Crawford and Buster Keaton try the German language ... "  "
"Heinrich George appears as a walking monument of anti- prohibition . Oscar Straus ostentatiously documents that his most charming creation is the Waltz Dream. And Joan Crawford finally gets Morgan to hear that he is 'a beautiful German man'. This is all very charming. With a loveable uninhibitedness that blends corporate advertising, sketch-laxity, and the eternal magic of gazing behind the scenes. Bright colors and running girl band - a magnificent parody, the audience instantly merriment triggers. " 
- Mizzie Scheithauer, Wiener Küche in Hollywood , in: Licht-Bild-Bühne, 10. Juni 1931 Mizzie Scheithauer, Viennese Cuisine in Hollywood , in: Licht-Bild-Bühne, 10 June 1931
- Programm für den 6. November 1998 zu: Als die Bilder singen lernten. Program for November 6, 1998 to: When the pictures learned to sing. Krise und Goldenes Zeitalter des Musikfilms , 1925-38 - 11. Internationaler Filmhistorischer Kongress, Hamburg, 5.-8. Crisis and Golden Age of the Music Film , 1925-38 - 11th International Film Historic Congress, Hamburg, 5.-8. November 1998. November 1998.
- Jan Gimpel: Als die Bilder singen lernten , in: Der Tagesspiegel, 6. Mai 1998. Jan Gimpel: When the pictures learned to sing , in: Der Tagesspiegel, May 6, 1998.
- We switch to Hollywood in the Internet Movie Database (English)
- llustrated movie Messenger No.251
- additional information
- Extensive research on the use of sequences from "The March of Time" as well as a video clip from "We Switch to Hollywood".
- Decision of the Film-Oberprüfstelle of May 19, 1931
- from: Karlheinz Wendtland: Beloved Kintopp 1929-1945.
- Arnborn p. 119.
- Decision of the Film-Oberprüfstelle in the original (PDF, 198 kB)
- Program International Stummfilmtage - 21st Bonn Summer Cinema 2005
- Hans Feld, June 11, 1931, in: Program for November 6, 1998 to: When the pictures learned to sing. Krise und Goldenes Zeitalter des Musikfilms, 1925-38 - 11. Internationaler Filmhistorischer Kongress, Hamburg, 5.-8. Crisis and Golden Age of the Music Film, 1925-38 - 11th International Film Historic Congress, Hamburg, 5.-8. November 1998.  November 1998. 
- from: Filmkurier, June 11, 1931
THE MARCH OF TIME:
Thursday, February 15, 2018
"Alison Loyd" was the stage name Thelma Todd used in Roland West's CORSAIR ( 1931 ), supposedly because the name Thelma Todd was associated with comedy. Although the movie was not considered a success and the Alison Loyd business was regarded as a joke by Hollywood, it seems that the use of the name Alison Loyd didn't completely end with the failure of the movie. It was still possible to get an "Alison Loyd" calendar for several years after that.
An Alison Loyd stamp was also issued by Spain later in the 1930's, as part of a series of collectibles from a society of the blind. It was issued on the date printed on the stamp itself. Both sides of the stamp are shown below.
From Jorge Finkielman:
The waitress costumes worn by Thelma Todd and Patsy Kelly in ALL-AMERICAN TOOTHACHE were used again in other movies. They were used in several Bowery Boys movies, including the one this photo is from, IN FAST COMPANY.
This girl is close enough in appearance to Thelma Todd that, if I didn't know better, I might think it was her.