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A Masterpiece!

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Exactly the movie you think it is, but not the movie you want it to be.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

When M-G-M bought the rights from Paramount in order to film a Red Skelton re-make in 1947, they also acquired the negative. This they suppressed. The movie was never shown on American TV and thus all the people who wrote the books on Claudette Colbert, Fredric March, Gary Cooper, Maurice Chevalier and the rest were forced to rely largely on guesswork, leavened with what could be gleaned from contemporary reviews in Variety, Photoplay, Time and The New York and Los Angeles Times. The only critic who got nearly everything right was Homer Dickens who had the good sense to hunt through the files of the British Film Institute where he came upon a spread in "Picture Show" featuring Stuart Erwin with his hero, Gary Cooper. All the others relied simply upon their own powers of deduction and the way "guest stars" were treated in movies they were familiar with. They reasoned that Paramount would treat their guest stars with a certain amount of indulgence and fanfare. This is far from the case. The treatment is, to say the least, decidedly casual. This is one of the film's charms. True, Chevalier is given an "entrance", but that's all it amounts to. Cooper is handed a line of dialogue about dropping into wardrobe. Bankhead waves him a two-word farewell. Jack Oakie and Charlie Ruggles enter the preview theater together, conversing briefly. A glum and silent Fredric March can be glimpsed in a corner of the same lobby, signing autographs. From memory, I don't think that Merton is "introduced" to any of the guest stars at all. Nor does he have any conversations with them. In fact, by and large, the "guests" are dropped into the action so casually, most modern viewers will not be made aware of Brook, Colbert, Holmes, March or Sidney at all. Thus do errors repeat themselves and the uninspired guesswork of self-styled "cinema historians" becomes elevated to "facts". The real "guest star" of "Make Me a Star" is none other than the movie's actual director, William Beaudine, who contrives some wonderfully riotous run-ins between his assistant director character, stumble-bum Erwin and Oscar Apfel. Apfel is an absolute howl as a tactful but not-so- patient director (obviously modeled on — you guessed it — Beaudine himself). Confused? Make a point of seeing this movie TWICE and it will all work out!The Hollywood scenes are undoubtedly the most entertaining in the movie. They are helped out not only by Bill Beaudine's unusually stylish direction with its masterly use of the Paramount lot itself (masquerading in the film as Majestic Pictures) but by the presence of that vital, alluring, vivacious little blonde bundle of warmth and cynicism, Joan Blondell. Perfectly cast here, Miss Blondell can snap out put-down lines with all the rapid-fire command of a Glenda Farrell, whilst still displaying the warmth and sympathy, the caressing kindliness of an Irene Dunne.Erwin does okay as Merton, though one often has the feeling that his performance is more mechanical than heartfelt. Aside from Blondell, it's the support players that make the movie. Charles Sellon, repeating his role from the silent version, as the mean and mangy storekeeper, Ruth Donnelly as the wise-cracking "countess", Sam Hardy as the guiding hand of Loadstone, Oscar Apfel as the no- frills director. And of course, Ben Turpin, — though his part is brief and amounts almost to slightly uncomfortable self-parody. But maybe that's what the clever script is getting at. Maybe that's the whole point of "Make Me a Star". Where's the glamour the script seems to be asking? Hollywood is a factory town. This is the aspect the script makes time and time again. The gloom of the cheerless casting office is not exactly cast aside by the time we finally enter through that door which has closed over numerous exits and at last reach our goal — the lot itself. Where's the glamour? And what of "Flips"? What role actually is she playing? She seems at first to be Donnelly's boss and then her assistant. Then an actress (extra? star?), then a girl with an "in" to various executives — to the assistant director whom she pressures into giving Merton his first break; to the Loadstone chief whom she talks into experimenting with parody. She obviously has the freedom of the lot, yet there's an implication this freedom was purchased for the usual price. Yes, "Make Me a Star" is definitely a movie that will repay more than one visit.

Once again TCM comes to the rescue of a forgotten gem. I agree with the posters here who comment on the interesting mix of pathos and comedy in this film. The film is truly touching in a way that could not come across today. Why is that? I think that nowadays it is an either-or : either you are a comedy or you are going for pathos. The trick of balancing both seems to be lost.There is additional pleasure in seeing Paramount stars of the times in walk-ons in the scenes on the lot or at the disastrous/successful preview. Look quickly and you can see Gary Cooper, Claudette Colbert, Tallulah Bankhead among others. Joan Blondell is excellent in her specialty, playing the tough cookie with a huge sentimental streak. I found the sweetness of the comedy in the scenes back home in Simsbury absolutely refreshing. Not a touch of cynicism even though these characters are so clearly the objects of humor.Catch this when you can. I just checked the Turner schedule for the next three months and it doesn't seem to be on.

This movie is indescribably touching. Stuart Erwin is poignant as the naif who comes to Hollwywood to be a star; but he never overdoes it. Joan Blondell, always a reat, is at her absolute best here, as a girl who's been around but is touched by his innocent.This movie is indescribably touching. Stuart Erwin is poignant as the naif who comes to Hollywood to be a star; but he never overdoes it. Joan Blondell, always a treat, is at her absolute best here, as a girl who's been around but is touched by his innocent.The character roles are well cast. The writing carries impeccable names as its creators.When it becomes comic, even though we are sad for Erwin's character because he is being goofed on, the scenes are absolutely hilarious. The shot of him riding a horse on a tightrope alone is worth watching over and over.Preston Sturges mixed comedy and seriousness in the later, far better known (and wonderful) "Sullivan's Travels." That is a great movie. Perhaps, as this was made early in the days of talking pictures, it isn't great -- though so was "Scarface," and that I would call great.Regardless, it is a beautiful movie, to be cherished and shared and watched over and over.

Billed as a comedy about a gormless man who becomes a Hollywood star, this is actually a moving drama about the savageness of the film industry. Stuart Erwin is very fine as the young man, an innocent lost in the wilds of Hollywood. His performance is reminiscent of the performances of Charles Ray in silent films, a winning combination of warmth and naivety. The character wants to be a a serious actor, but his attempts at drama cause only laughter. After describing one such incident Blondell responds to "That must have been funny" with "Only if you find coal-mine explosions funny". Blondell, as a fellow actor, understands Erwin's pain - her performance is also excellent.Finally Erwin is tricked into making a comedy film - which he believes is a drama. His devastation at the preview, as the crowd roar with laughter around him, will move you to tears.Sadly the film ends too abruptly without resolving these complex issues. And the stars making "guest appearances" actually just walk through - a shame that something more imaginative wasn't done with them - and Zasu Pitts only has a tiny role (still funny though).Great to see how early talkies were made - look at the size of the camera with all that casing to mask the noise. Make sure you see this moving "comedy" - most worthwhile. And afterwards see "Show People" (1928) to see how the talkies transformed Hollywood so quickly.