Vashirdfel Simply A Masterpiece

SpuffyWeb Sadly Over-hyped

Dotsthavesp I wanted to but couldn't!

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

mukava991 "Bright Lights" (re-named "Adventures in Africa" for TV broadcasting many years after its release) is a cinematic Mulligan stew consisting of a murder mystery, multiple love stories, several musical numbers, and tedious stretches of low comedy barely held together by a witless and improbable script about a show girl (Dorothy Mackaill) who, with her partner- manager (Frank Fay) shimmies her way from small-time tropical dives and traveling carnivals to the Broadway big-time only to announce that she's giving up the stage to marry into wealth (in the person of Philip Strange as Mr. Emerson Fairchild of Long Island whose accent is British but whose mother's is Midlantic). The Fay character loves and protects Mackaill in a fatherly or businesslike manner but refrains from marrying her; every time he is about to give in to that urge he pulls back because some part of him senses that he is not worthy to be her husband. Mackaill finds his hot/cold behavior frustrating and infuriating. The development of this complex relationship takes a back seat to sometimes heavy-handed subplots enacted by the likes of Eddie Nugent in an ill-defined role (star's press agent?) eagerly trying to manage a gaggle of reporters which includes a barely visible young John Carradine and an all-too-visible Frank McHugh as an obnoxious drunk, who have assembled to cover Mackaill's final performance; James Murray and Inez Courtney as young lovers; Tom Dugan and Daphne Pollard as a violently discordant married dance team; Noah Beery as a lecherous figure from Mackaill's and Fay's sordid African past. Other, later, pre-Code films with similar elements include "I'm No Angel," "Forty-Second Street," "Murder at the Vanities" and Mackaill's outstanding 1932 feature "Safe in Hell."As far as the songs go, "Wall Street" near the beginning, despite a stage-filling chorus and carloads of set pieces and costumes, falls flat, even with expert song-and-dance man Fay at the center. He comes off better in the Harry Akst-Grant Clarke standard "Nobody Cares If I'm Blue." In dramatic scenes, however, his haggard appearance distracts from his emotionally nuanced performance. The makeup applied to his rugged features suggests Count Dracula and clashes with his gently rapid speaking voice and smooth singing style and stage manner. Among the other musical numbers, "Song of the Congo," "I'm Crazy for Cannibal Love" and "I'm Just a Man About Town" are the catchiest, both visually and melodically, though one can't help wondering what Busby Berkeley might have done with the staging. Mackaill is the centerpiece of all three; she performs a hula-type dance in the first two and wears a man's tux and top hat in the first half of the latter before emerging via camera trickery from the huddle of a male chorus wearing a dress. She also has some effective dramatic moments but, due perhaps to sloppy editing, misfires during a poorly staged dressing room temper tantrum. Her vocal range is limited, but she carries her songs confidently, dances gamely and looks magnificent in skimpy, spangled costumes as well as in screen-filling closeups.

humbugmsw I watched "Bright Lights" (1930) for the first time on TCM last night and felt that it would've been better if we could see it like it originally was presented. First of all, I wish the film could be reconstructed. It seems disjointed in places because the movie was truncated between the time it was filmed and the time it was released. It's obvious that a few songs are missing. The part played by James Murray seems to have suffered the most. He was wonderful in King Vidor's "The Crowd" (1928). I knew of his tragic early death, but wondered if he truly showed promise, or was a one-time flash-in-the pan. His acting ability in this talkie was pretty good. His potential in sound movies can only be conjectured.The screenplay was strong for the time, with witty lines and novel dramatic situations. There were unexplained holes in the plot, seemingly because of the cuts, not the screenplay. The dialog and gags delivered by Daphne Pollard and Tom Dugan were unexpected. Frank Fay's performance is likely the best he ever did on the screen. His delivery of the song, "Nobody Cares" is excellent. However, Dorothy Mackaill's singing and dancing are weak, to say the least. The film stands out from other films of the time because of director Michael Curtiz and cinematographer Lee Garmes. Some shots are set up creatively. The visual pacing is above average for the time. There obviously was care and preparation used in making this film.Now to the point of Technicolor. I think to film would make a much stronger impression on us if we could see it in the original color. The seemingly harsh make-up would have been more palatable in color. The costumes and musical numbers were obviously designed with color in mind. As we see it now, in mere black-and-white, the numbers pass in a blur of overblown activity. They are unquestionably over-done, probably to take the focus off Dorothy Mackaill's limited singing and dancing, but would be more impressive if we could see them in color.It is unfair to judge "Bright Lights" as it exists today. We can only dream of what it originally was like. Only then it would seem better than we had originally thought!

MartinHafer As I sat and watched "Bright Lights", I did what I often do--checked out the IMDb reviews for the film. Imagine my surprise when I noticed several reviews which gave this film extremely high scores...too high. It made me wonder if we were watching the same film, as "Bright Lights" was just awful--dated, dull and among the worst early musicals I've ever seen. It lacks polish and is flat but more importantly, it abounds with overacting. How anyone could give this silly film a 10 is beyond me. It obviously is a transitional film--one where the folks who made the film still haven't figured out exactly how to do a musical. The choreography is pretty lousy, the sound quite flat and the story lacks so much.By the way, if you are wondering, I love old movies--especially early talking pictured. It's just that I don't like this particular one!

calvinnme ... in one of the wacky early talkies that I bet Michael Curtiz wishes he could have erased from his resume.I give this 7 stars mainly for the early talkie fan. It really is pretty good for a 1930 back-stager and pretty original. The alternate title "Adventures in Africa" is rather puzzling since the movie spends all of ten minutes there, in a South African cabaret. However these are important moments as the conclusion to the entire story is dependent on events there.The movie opens with Louanne's (Dorothy Mackaill) last night on the Broadway stage as she is marrying the wealthy Fairchild after the show. Fairchild is accompanied by his sour-faced mother and sister who look more like they are going to a funeral than a wedding since they are none too happy about the family heir marrying an entertainer. Frank Fay has a very good role here as Wally, the man who has been Louanne's protector and somewhat on-stage partner for years. Wally is definitely in love with Louanne, and Louanne seems to have a bit of a thing for Wally in spite of her engagement, although the love has remained unrequited. If you think it the thing of curiosity seekers to see Frank Fay playing romantic lead to Dorothy Mackail, then think again. The two have real chemistry.The fly in the ointment? Noah Beery as the diamond smuggler Miguel who resents Louanne because she once forcefully resisted his attempted rape. Honestly, Mr. Beery! Didn't Warner Brothers ever think you plausible as simply asking a girl out for dinner and a show? In every early Warner Brothers talkie in which I've seen Mr. Beery he's either threatening human sacrifice (Golden Dawn) or execution by firing squad (Noah's Ark) in order to have his way with a woman.Besides all of the drama, there are some really great musical numbers, some bizarre to the point of being charming. The opening number has Frank Fay in a big musical production entitled "Wall Street". From the lyrics people didn't like bankers any more in 1930 than they do today. After seeing Dorothy Mackail scantily clad for the tropical hula number "Cannibal Love" in which her fellow cannibals yield shields with crosses on them - maybe they ate some Crusaders??? - she returns for "Man About Town" dressed like Fred Astaire in tuxedo and tails with her blonde hair hidden under her top hat. The grand prize for most bizarre number has to go to a very short jazz number performed in the South African club by an unnamed stout short female singer with a booming voice accompanied by a rather clumsy chorus dancing right behind her. It looks as if any of the chorines took a wrong step and kicked just a little harder the jazz singing dynamo would have taken it right in the pants and landed in the front row of the audience.Also look out for Frank McHugh as a drunken fresh reporter who even in 1930 is sporting his trademark mischievous laugh and James Murray of "The Crowd" in a rare talkie appearance.I watched the Warner Archive copy of Bright Lights, and if you want to see it the way it should be seen I would advise getting a copy of this restored version. It doesn't have that fuzzy look that black and white copies of two strip Technicolor films generally have, and the picture and sound are crisp and clear throughout.