Moonlight and Pretzels | |
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Directed by | Karl Freund |
Written by | Monte Brice Jay Gorney Sig Herzig Arthur L. Jarrett |
Produced by | Stanley Bergerman Monte Brice William Rowland |
Starring | Leo Carrillo Mary Brian Roger Pryor Herbert Rawlinson |
Cinematography | William Miller |
Edited by | Robert Snody |
Music by | Songs: Jay Gorney (music) Sammy Fain (music) Yip Harburg (lyrics) Herman Hupfeld |
Production company | |
Distributed by | Universal Pictures |
Release date |
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Running time | 83 minutes |
Country | United States |
Language | English |
Moonlight and Pretzels is a 1933 American Pre-Code musical film directed by Karl Freund, about a man who puts on a Broadway show. The film was released by Universal Studios and featured Mary Brian and William Frawley, now best-known as "Fred Mertz" on the 1950s TV show I Love Lucy ; Freund was the groundbreaking cinematographer for I Love Lucy.
In the small town of Walkerville, songwriter George Dwight is fired from his vaudeville gig. Music shop owner Sally Upton offers him a job as a song plugger. George continues to compose after hours and dedicates a new song, "There's a Little Bit of You in Every Love Song," to Sally. After Broadway producers the Hobart Brothers buy one of George's songs, he decides to move to New York, telling Sally to be sure to write to him.
In their New York City office, Irving and Jules Hobart are talking to Broadway star Elsie Warren when George barges in, claiming to have a song for any occasion. Hoping to get rid of him, they ask for something about crocodiles. George sits down at the piano and sings "Let's Make Love Like the Crocodiles." The Hobarts are impressed and sign him to a $25/week contract. George writes a string of hit songs for Hobart shows. They promise to sign Elsie for George's new show but they double-cross them both. George and Elsie walk out, planning to create their own show. They find backers who demand a 51% stake in the production.
George's new musical, "Moonlight and Pretzels", goes into rehearsal. Sally shows up backstage looking for George but is pushed into auditioning for the chorus. She gets the job and a dinner date with George. George's backers have an offer from the Hobarts to buy out their controlling share of the show; they give George until the next morning to come up with $30,000. George stays up all night, forgetting about his date with Sally. Elsie calls an admirer, Nick Pappacropolis, who wins money in a poker game and buys the share. Rehearsal continues with an elaborate production number, "Gotta Get Up and Go to Work."
Thinking that George has stood her up, Sally is packing to leave when George calls to apologize. She agrees to give him another chance. Nick throws a party at a German beer garden, where another big production number, "Moonlight and Pretzels," degenerates into a brawl. Nick's millionaire friend and fellow gambler, Sport Powell, has become infatuated with Sally and wins Nick's stake in the show. He intends to replace the star of the show, Elsie, with Sally, ignoring the fact that Sally has no stage training and can't sing. George and Elsie quit. Sally gambles for the show with Powell, who lets her win, and she hands the show back to George.
"Moonlight and Pretzels", with Elsie in the lead, opens and is a hit. George and Sally kiss.
The film was not produced in Hollywood, but was filmed at the Astoria Studios in Astoria, Queens, New York City, primarily used by Paramount Pictures. [3] The dances were choreographed by Bobby Connolly. [4]
Universal planned a big publicity effort. "There will be nationwide Mary Brian and Lillian Miles style tie-ups with the greatest department stores; Shirt, hat and neckwear tie-ups on Pryor; pretzel and beer tie-ups; special music ballyhoos and a score of exploitation angles that will be a cinch to put over." [5]
The critic for Time wrote: "The extraordinary thing about this musi-comedy is not that it resembles Forty-Second Street and Gold Diggers of 1933 in plot, pattern and environment; that it has the same type of dances, staged by Bobby Connolly, and the same type of songs (“Dusty Shoes'” for a finale instead of ”Forgotten Men”); or that its ingenue, Mary Brian, not only looks like Ruby Keeler but has obviously been coached to speak in the same soft monotone. The surprising aspect of Moonlight and Pretzels is that it makes plausible Hollywood’s profound conviction that repetition is the secret of success. It copies Warner Brothers’ two hits even to the extent of being handsome and amusing." [6]
Another contemporary review in Variety reported that the film "moves along at a sprightly pace and has sufficient pep to hold interest," noting the film's "several nice tunes," "some good dance routines," and "a good looking line of girls." The review also notes "[o]n the negative side of the ledger are a pretty dull and routine story, practically no laughs and no actual cast stars." [7] A modern review of the film by Danny Reid notes that although it "was obviously made on a tight budget [...] and its numbers never escape feeling stage bound," it contains "a few undeniable charms that make it an enjoyable experience." [8]