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I just recently watched We're Not Dressing 1934 starring Bing Crosby and Carole Lombard. In it are two gold digging impoverished Russian aristocrats who are after the fabulously wealthy bachelorette played by Carole Lombard. The characters are obvious spoofs of the legendary real life "marrying" Mdivani brothers. I also watched recently Footlight Parade and the Paul Porcasi character is for certain based on disgraced theatre mogul Alexander Pantages. These real life people were highly topical news and gossip in their times but now almost forgotten.

These send ups and injokes which would have been obvious to film goers at the time go over the top of most modern viewers heads where their significance and meaning has been lost in time. So it can be hard to fully appreciate the humour or we just don't get it.

If would be great if posters could share any examples of which they know about because it certainly enriches knowledge and appreciation of any old film and history of the time. There are so many humorous references to real life people(and mostly forgotten) around that this topic could have its own section on this forum.

1936's SING BABY SING was inspired by the John Barrymore-Elaine Barrie romance, with Adolphe Menjou doing another of his ersatz Barrymore characters. Ironically, four years later Menjou was cast as another Barrymore clone in THE GREAT PROFILE, which was based on John's onstage shenanigans in "My Dear Children." But Fox decided to do an art-imitates-life by casting the real Barrymore as himself (more or less), so Menjou was dismissed and discreetly paid off.
Also: The character played by Joan Blondell in STAGE STRUCK (1937) is obviously inspired by Peggy Hopkins Joyce--and in fact her first name in the film is "Peggy".
-A major subplot in MYSTERY IN THE WAX MUSEUM was inspired by the still-unsolved disappearance of Judge Crater.
-The main characters in the 1948 Warner Bros. musical APRIL SHOWERS were based on Buster Keaton's parents.
-SMASH-UP:THE STORY OF A WOMAN (1947) is alleged to be based on the marriage between Bing Crosby and Dixie Lee. and Dixie's subsequent fall from prominence as Bing's star rose.
-Al Jolson was so outraged over how much of the Walter Winchell-inspired BROADWAY THROUGH A KEYHOLE was based on himself, Ruby Keeler, and Ruby's gangster sponsor Larry Fay that he reportedly punched Winchell in the nose.
-The Charles Coburn character in MY KINGDOM FOR A COOK (1943) is the spitting image of George Bernard Shaw, right down to the eccentric-looking beard.

This thread has the potential to be endless!

The 1925 Mack Sennett two-reeler SUPER-HOOPER-DYNE LIZZIES names the bad-guy character "T. Potter Doam," an obvious pun on the "Teapot Dome" government corruption scandal of the preceding years.

Even the title of this short, about radio-powered automobiles, references technological lingo that contemporary audiences were more conversant with than today's.

I think there may be more than one old comedy film with TECHNO-CRAZY in the title, a jab at the then-current buzzword "technocracy," meaning a technology-driven utopia.

There could be a whole other thread -- puns in titles of old films (especially shorts and cartoons) that reference other forgotten titles (e.g., the Three Stooges short VIOLENT IS THE WORD FOR CURLY, based on the feature title VALIANT IS THE WORD FOR CARRIE).

More Jolson-related:

Barton MacLane's gangster character, Duke Hutchinson from Detroit, in GO INTO YOUR DANCE (1935) resulted in a defamation lawsuit against Warners when the real Duke Hutchinson from Detroit took offense.

Fanny Brice sued Fox and Zanuck and Jolson and Alice Faye and Tyrone Power for ROSE OF WASHINGTON SQUARE (1939).

Sometimes the fact that particular personalities had a particular cultural meaning makes for a kind of in-joke that doesn't always come across today. Peggy Hopkins Joyce is a good example of this. She was pretty much the Paris Hilton of her time, but like Paris Hilton, she didn't actually do much other than being famous (and in her case, getting married multiple times to millionaires).

Frank Morgan and Billie Burke's performances in 'The Wizard of Oz' can easily be enjoyed on their own merits, but if you hear some of their radio work of the mid to late 30s, you're also able to see that both were burlesques of their own well-established personas. To audiences of the time, the performances would have been interpreted slightly differently than we interpret them - more like celebrity cameos.

Not exactly a spoof, but Kenneth Thomson's slimy character in The Broadway Melody is named "Jock Warriner", and you can guess how that came out on the soundtrack. And the Broadway impresario for which Hank and Queenie are auditioning is "Francis Zanfield".

The Talk of Hollywood, a Sono-Art release from 1929, has a character named "Adore Renée". Why, whomever could they mean?

The 1936 Merrie Melody "Bingo Crosbyana". I'm amazed that Warners let it out with such an obvious title, and the object of the parody did try to sue.

In the opening scene of Beloved Infidel, Sheilah Graham (Deborah Kerr) has written an unflattering commentary on a star named "Janet Pierce", which seemed to be a parallel of Alice Faye. I don't remember all the details, but the set that Kerr visited looked to be one for In Old Chicago, and that film was in production at just about the time that Graham met F. Scott Fitzgerald in the summer of 1937.

And of course, Pepe Le Pew vis-à-vis Charles Boyer.

-HA

Brooksie wrote: "Frank Morgan and Billie Burke's performances in 'The Wizard of Oz' can easily be enjoyed on their own merits, but if you hear some of their radio work of the mid to late 30s, you're also able to see that both were burlesques of their own well-established personas. To audiences of the time, the performances would have been interpreted slightly differently than we interpret them - more like celebrity cameos."

I'm always surprised when movie stars appeared as guests on radio shows and proceeded to perform a caricature of themselves. Bogart and Eddie Robinson would show up as gangsters, Boris Karloff as a killer, etc. Even when they stepped out of character they seemed dogged by their screen persona. On "Information Please" Karloff was a guest on a panel to answer questions sent in by listeners. The listener who stumped the panel won some $$. The host announced, "Now let's turn to a subject that Mr. Karloff should know something about - famous murders." The guy was an actor not a homicidal maniac.

Harold Aherne wrote:Not exactly a spoof, but Kenneth Thomson's slimy character in The Broadway Melody is named "Jock Warriner", and you can guess how that came out on the soundtrack. And the Broadway impresario for which Hank and Queenie are auditioning is "Francis Zanfield".

In THE HALF NAKED TRUTH Frank Morgan plays a broadway impresario named "Merle Farrell"

I just watched a silent two-reeler in which a theatre impressario named "Dave Fiasco" showed up. Sorry, can't remember which one it was, but it was on a tape of Hal Roach obscurities.

Jim

Always wondered if Maurice Chevalier (not Charles Boyer) thought the Pepe Le Pew take-off was hilarious or slanderous.

Jim

Harold Aherne wrote:Not exactly a spoof, but Kenneth Thomson's slimy character in The Broadway Melody is named "Jock Warriner", and you can guess how that came out on the soundtrack. And the Broadway impresario for which Hank and Queenie are auditioning is "Francis Zanfield".

The two main characters in 'The Broadway Melody' were based on the Duncan Sisters, who were originally asked to play the roles themselves, but whether they would have been interpreted by most audiences as obvious pastiches of them, I'm not sure.

Brooksie wrote:

Harold Aherne wrote:Not exactly a spoof, but Kenneth Thomson's slimy character in The Broadway Melody is named "Jock Warriner", and you can guess how that came out on the soundtrack. And the Broadway impresario for which Hank and Queenie are auditioning is "Francis Zanfield".

The two main characters in 'The Broadway Melody' were based on the Duncan Sisters, who were originally asked to play the roles themselves, but whether they would have been interpreted by most audiences as obvious pastiches of them, I'm not sure.

It would likely have been too much of an ask to get Anita Page and Bessie Love to act like the seasoned stage comedienes that the Duncan Sisters were. I'm not sure either if audiences would have made the connection.

Jim Roots wrote:Always wondered if Maurice Chevalier (not Charles Boyer) thought the Pepe Le Pew take-off was hilarious or slanderous.

Jim

Depends if he had a sense of humour or not. I tend to think he may have liked it.
I have heard and also read that Taz the Tasmanian Devil is based on JL Warner.

Speaking of M. Le Pew, I just saw "Past Perfumance" (1955). It's set at a Paris film studio in 1913 and filled with pseudo-French references to silent-era personalities: "Clara Beaux, La IT Fille", the bathing beauties of "Macque Sennette", a director named "Davide Butlaire" (who is drawn much more like C. B. DeMille), "Talma Normage", whose autograph Pepe is seeking, and a parody of The Sheik whose figures resemble Valentino and Agnes Ayres--they smell Pepe in the audience and immediately run away.

-HA

I've similarly heard that Sylvester the Cat is something of a parody of Darryl F. Zanuck.

Lee Tracy's character in THE NIGHT MAYOR is closely based on NYC Mayor Jimmy Walker.

Speaking of FOOTLIGHT PARADE, the whole idea of prologues in general is based around the Fanchon & Marco circuit prologues.

Jack Theakston wrote:I've similarly heard that Sylvester the Cat is something of a parody of Darryl F. Zanuck.

... which brings to mind another cartoon-related one: supposedly Walt Disney based the characterisation of the Big Bad Wolf on a loathed theatrical producer, Jed Harris. By coincidence, Harris was also the basis for Laurence Olivier's performance as Richard III. But I guess these would be in-jokes of the most rarefied kind, understood only to people on the production or in the industry.

There's a Warner Bros. cartoon that spoofs Bing Crosby. I believe he sued and won.

The King and the Chorus Girl, released by Warner Bros. in the spring of 1937, concerns an ex-King of an unnamed country who now lives in Paris. Alfred VII is a playboy who drinks heavily and has an affair with an American chorus girl, played by Joan Blondell. At one point Alfred (played by Fernand Gravet), remarks that he formerly ruled an entire nation, and now only has an apartment. Then he adds: "Oh well, as long as I pay the rent I guess they won’t make me abdicate the apartment."

The parallels with England’s Edward VIII, who’d abdicated the throne only a few months earlier, did not go unnoticed. Apparently the project was already in the works when the abdication crisis erupted in Dec. ‘36. The screenplay was co-authored by Norman Krasna and, of all people, Groucho Marx. Predictably the film was greeted with outrage in England, but everyone involved denied that it was inspired by Edward and Mrs. Simpson. Many years later, Groucho admitted that this was untrue.

Incidentally, I saw this movie a couple of years ago, and although it’s mildly amusing there’s nothing especially “Marxian” about it. If his name didn’t appear in the credits you’d never know that Groucho was involved.

Brooksie wrote:Sometimes the fact that particular personalities had a particular cultural meaning makes for a kind of in-joke that doesn't always come across today. Peggy Hopkins Joyce is a good example of this. She was pretty much the Paris Hilton of her time, but like Paris Hilton, she didn't actually do much other than being famous (and in her case, getting married multiple times to millionaires).

Speaking of this, DW Griffith used Joyce's reputation at least somewhat effectively in his last effort The Struggle (1931), when references were made to Joyce being married again in each of the three time periods depicted in the film, ranging from 1911 to the Depression. The first time I saw it, I did have prior knowledge of her adventures (rare for a twenty-three year-old at the time--2001), and found it rather amusing.

Changsham wrote:

Brooksie wrote:

Harold Aherne wrote:Not exactly a spoof, but Kenneth Thomson's slimy character in The Broadway Melody is named "Jock Warriner", and you can guess how that came out on the soundtrack. And the Broadway impresario for which Hank and Queenie are auditioning is "Francis Zanfield".

The two main characters in 'The Broadway Melody' were based on the Duncan Sisters, who were originally asked to play the roles themselves, but whether they would have been interpreted by most audiences as obvious pastiches of them, I'm not sure.

It would likely have been too much of an ask to get Anita Page and Bessie Love to act like the seasoned stage comedienes that the Duncan Sisters were. I'm not sure either if audiences would have made the connection.

I think the Duncan Sisters would have looked just a bit old to be playing inexperienced newcomers. That's one of the best things in the picture- Love and Page come across as fresh and genuine.

I believe John Barrymore's Oscar Jaffe in TWENTIETH CENTURY parodies David Belasco. And Gregory Ratoff's wonderful Herman Glogauer in ONCE IN A LIFETIME is a mashup of several Middle European movie moguls, particularly Carl Laemmle. Isn't Norman Maine in A STAR IS BORN based upon actor John Bowers?

David S

I recall reading an interview with George Cukor where he was asked if John Barrymore was just playing himself in DINNER AT EIGHT. I believe Cukor answered that in 1933 Barrymore had not yet become that kind of actor (i.e., on the skids alcoholic) and his character owed more to John Gilbert and Maurice Costello.

Don't forget "Owl" Jolson:

Quote Frank,

I think the Duncan Sisters would have looked just a bit old to be playing inexperienced newcomers. That's one of the best things in the picture- Love and Page come across as fresh and genuine.[/quote]

Could be. Bessie Love was already 32 and only a few years younger than Rosseta Duncan I believe when she appeared in Broadway Melody. She was great in it though but does play an older character. Anita page definitely had genuine youthful charm. Rosseta looked her age but Vivian Duncan aged over 30 at the time looked younger for her age in a Mary Pickford way. There are conflicting dates about actual their birthdays. Have seen their only talkie feature with a similar story line It's a Great Life which did not do well. In that film they play younger characters and do look somewhat out of place. I think It's a Great Life is a far better film despite the age factor. Shame really, talkies came along a little late for the Duncan Sisters.

DShepFilm wrote:I believe John Barrymore's Oscar Jaffe in TWENTIETH CENTURY parodies David Belasco. And Gregory Ratoff's wonderful Herman Glogauer in ONCE IN A LIFETIME is a mashup of several Middle European movie moguls, particularly Carl Laemmle. Isn't Norman Maine in A STAR IS BORN based upon actor John Bowers?

David S

I've also heard of the aforementioned Jed Harris being an inspiration for Oscar Jaffe. He must have been quite a guy.

Recently, I finally found out why so many different people are claimed to be the 'real Norman Maine'. When Selznick was in pre-production for the 1937 version, he had his legal department draw up a dossier covering every single real-life case that might be considered similar, in case any of the participants decided to sue over it. Bowers, John Gilbert, Frank Fay, John McCormick (husband of Colleen Moore) and all the other candidates that have been mentioned over the years were included.

Here's a rather esoteric thing that I think is an in-joke by Busby Berkeley.

Some background: There was a cross-dressing comedian, Ray (aka Rae) Bourbon who got his start in show business in the twenties in silent films. He appeared in films with Rudolph Valentino and William Boyd in bit parts, sometimes as a man and sometimes as a woman. In the 1930s and 40s, Ray appeared in nightclubs in the Los Angeles area and even owned his own club at one point. He's someone that seemed to know everyone in Hollywood and, yes, the stars would go and check out his act, which was quite risque for its day. (Ray's shows were frequently raided by police for indecency over the years.)

Now, the next time you watch "Golddiggers of 1937", pay attention in the number that takes place at the pool. You'll see a man there with dark hair and a pencil thin moustache amongst the guests. During the number, Busby cuts to a close-up of him dancing with one of the chorus girls. That guy is Ray Bourbon.

I have the original manuscript of Ray's autobiography and he describes seeing the film with his piano accompanist in a theater and his accompanist recognizing him in the movie. (He also describes Valentino playing a joke on Gloria Swanson when shooting "Beyond the Rocks" and a nude Martha Raye cooking eggs the morning after a big party at his house, but I won't go into that...)

I don't have proof, but I think Busby might have thrown Ray in there as a bit of an in-joke for the folks at the studio and in Hollywood - no one out in "the sticks" would recognize him, but I'm sure the suits in the screening room, when Ray popped up on screen, would have gotten a kick out of it.

You can read more about Ray at my website: http://www.coolcatdaddy.com/bourbon.html

Brooksie wrote: Recently, I finally found out why so many different people are claimed to be the 'real Norman Maine'. When Selznick was in pre-production for the 1937 version, he had his legal department draw up a dossier covering every single real-life case that might be considered similar, in case any of the participants decided to sue over it. Bowers, John Gilbert, Frank Fay, John McCormick (husband of Colleen Moore) and all the other candidates that have been mentioned over the years were included.

This somehow doesn't make sense to me. What purpose would such a dossier serve? To prove Bowers or Gilbert or whomever actually was the model, in case they sued -- which would mean Selznick ends up confirming the defamation and costing his studio a huge settlement? Or to prove someone else was the model, in which case that guy would have had grounds for a winning lawsuit? Or for blackmailing purposes to make those guys shut up? I don't quite see just how this dossier would protect Selznick. Maybe I need some more coffee.

Jim

Jim Roots wrote:

Brooksie wrote: Recently, I finally found out why so many different people are claimed to be the 'real Norman Maine'. When Selznick was in pre-production for the 1937 version, he had his legal department draw up a dossier covering every single real-life case that might be considered similar, in case any of the participants decided to sue over it. Bowers, John Gilbert, Frank Fay, John McCormick (husband of Colleen Moore) and all the other candidates that have been mentioned over the years were included.

This somehow doesn't make sense to me. What purpose would such a dossier serve? To prove Bowers or Gilbert or whomever actually was the model, in case they sued -- which would mean Selznick ends up confirming the defamation and costing his studio a huge settlement? Or to prove someone else was the model, in which case that guy would have had grounds for a winning lawsuit? Or for blackmailing purposes to make those guys shut up? I don't quite see just how this dossier would protect Selznick. Maybe I need some more coffee.

Jim

a) so they could prove (if sued) that the character was a mash-up of several riches-to-rags Hollywood notables and, thus, the character was not intended to defame any one person.
b) in proving that Norman was not the would-be claimant, they would be able to point out specifics in the claimant's story that does *not* appear in ASIB and, conversely, point out points in ASIB that did *not* occur in the real-life downfall of the claimant.

Rick Lanham wrote:Don't forget "Owl" Jolson:

That's more a studio tie-in than an in-joke. The cartoon was made around the same time as Jolson's The Singing Kid so, moreso than spoofing/homaging Jolson, they were attempting to raise interest in the Jolson feature *and* keep the main song, "I Love to Singa" in the public's ear (and hopefully sell more copies.)

WB pulled a similar stunt in The Coo-Coo Nut Grove - which is one of those cartoons which pokes fun at lots and lots of film celebrities (in this case, L&H, Garbo, Barrymore, Tarzan, Edward G Robinson, George Raft, Kate Hepburn, W C Fields, the Marx Bros., and many others.) At the conclusion, Helen Morgan appears on a piano and sings "The Little Things You Used to Do," causing the entire club to float away on a the river of tears they have cried. TLTYUTD was Morgan's song in the then-current Jolson pic, Go Into Your Dance.

The WB cartoons in particular raided its studio's music archive in a combined attempt to

a) cut down on royalty costs
b) keep the studio-owned music before the public.


If I had a dollar for every WB cartoon that recycled "The Lady in Red" ...

missdupont wrote:There's a Warner Bros. cartoon that spoofs Bing Crosby. I believe he sued and won.

He must have sued them a lot, because there are a ton of WB toons that spoof Crosby, from the '30s to the '50s.

Here's a great one with loads of cameos (some truly surprising): I've Got to Sing a Torch Song



Here's a selection of celebrity cartoon cameos, from WB, Disney and elsewhere.