Rio Rita - Lost footage found on You Tube

Original promotional material published in Film Daily in July 1929

The other day I got a mail from my friend Brian who told me about a sensational find he had made on You Tube. Someone had decided to upload two fragments from the supposedly lost 1929 version of Rio Rita. To me this is a sensation! Judging from the number of showings it has, not many people have found it yet. There is almost no information about it other than the uploader says the footage comes from a reel of film he found in an estate sale a while ago.

The two snippets Mr McClutching has posted are indeed from the original 1929 version of Rio Rita. The footage is not present in the 1932 re-release version that is in circulation today. The snippets seems to be filmed straight off a screen or a wall but look fantastic nevertheless. The film elements appears to be in almost perfect condition considering its age. The color depth looks amazing, almost too good to be true. Let's take a look at it!

The first snippet comes from the beginning of the movie where Dorothy Lee is introduced with a little number called The Kinkajou. As I understand this was the first musical number in the movie. It has been entirely removed in the 1932 version.



The second clip is a fragment from the latter half of the Sweetheart We Need Each Other reprise aboard the pirate barge. This clip comes from the massive color segment towards the end of the movie.



The beginning of the number and more information about the cut/uncut version of Rio Rita can be found in my previous post about cut musical numbers.

Watching these resurfaced fragments it becomes somewhat easier to understand why this footage was cut in the 1932 version. The most obvious reason was of course the running time. A 105 minute move was (and is) an easier sell than a 140 minute movie. But which scenes could be cut without crippling the plot too much? The easiest way was of course to cut songs as they usually don't move the plot forward. But this must have been difficult since Rio Rita was an operetta. Why was the peppy Kinkajou song cut and other slower songs saved? The Kinkajou was after all a major hit and one of the better known songs from the 1927 Broadway show. My guess is that it has something to do with the performance.

Here's a Ampico piano roll of The Kinkajou published in 1927, recorded by Ferde Grofé


In 1929 talkie musicals were something completely new. Methods of cinematography and sound engineering had not found their final form. The crew that made Rio Rita were pioneers in many ways. They had no recipe, they had to improvise.
In 1932 however the movie musical stood before its second coming. Almost every aspect in moviemaking had evolved incredibly fast during the three years between the two versions. What was groundbreaking in 1929 was not even yesterdays news in 1932.

My guess is that most of the cut material in Rio Rita was considered old-fashioned. Let's face it, Dorothy Lee was adorable in almost every way, but her rendition of The Kinkajou seems a bit clunky and the choreography isn't exactly top notch. The staginess of parading chorus girls walking up and down stairs in the second fragment is very 1929 but had no place in 1932. The 1932 audience was experienced and probably found Rio Rita quite dull even after it had been "modernized". Let's hope these fragments ends up in a complete 1929 version soon. Until then, it feels great knowing they exist and appears to be in great shape.

The 1929 trailer for Rio Rita

Wheeler & Woolsey - A great comedy team

Bert Wheeler and Robert Woolsey was the first comedy team more or less made for the talkies. They met on Broadway, in the 1927 Ziegfeld production of Rio Rita. After 494 performances the successful stage show was to be filmed by Radio Pictures (RKO), a studio formed in 1929, the same year as the movie was released.
Rio Rita was RKO’s third picture but their first major production, a production so grandiose their whole existence was at stake. Rio Rita consisted of fifteen massive reels of talkie extravaganza, the last five reels in glorious Technicolor. Luckily the film version became an even bigger hit than the Broadway show. Had Rio Rita been a flop there simply wouldn’t have been any RKO in the thirties, it was that important. Wheeler and Woolsey were the only players from the Broadway show that made it to the screen. One could say that the movie version of Rio Rita was conceived around their characters since quite a lot had been changed and adapted for the screen, their part was more or less left intact.

The Swedish poster to Rio Rita

Wheeler and Woolsey had somewhat similar upbringings. Both came out of profound poverty, were technically orphaned and forced to work very early. Both had also a history in vaudeville dating back to around 1915. Bert Wheeler was born in New Jersey 1895 and had done Chaplinesque numbers together with his wife in the eastern parts of the US. Robert Woolsey was born in California in 1889, started out as a promising jockey but this career ended when a horse fell and young Woolsey broke his leg. Eventually both Wheeler and Woolsey ended up on Broadway, Ziegfeld and Rio Rita.

Rio Rita was a huge success and Wheeler and Woolsey became big stars almost instantly. If the stage version made them famous, it was the movie version that made them real stars. They came to do 21 films for RKO between 1929 and 1937. In most of them they were supported by their perennial leading lady and co-star, the beautiful, petite and ever perky Dorothy Lee, who appeared in 13 of their features, almost making her a part of the team. The athletic Dorothy Lee was born in California in 1911 as Marjorie Millsap and started out as a successful LaCrosse player before singing with Fred Waring and his Pennsylvanians. Dorothy Lee was one of the first actresses contracted by RKO and starred together with Morton Downey in the first RKO movie Syncopation (1929).

Dorothy Lee and Robert Woolsey in Half Shot At Sunrise (1930)

Wheeler and Woolsey were among the few comedy teams that did not combine the straight man with a funny man. Like Laurel and Hardy, Wheeler and Woolsey developed individual comic characters that provided an excellent contrast and were likable as well as amusing.  Wheeler played the traditional romantic lover, a sweet, naïve, almost childlike character, constantly eating either bananas, oranges, apples or other edibles dreaming of his Dolly. Woolsey on the other hand, the mastermind of the team, always with a cigar, horn-rimmed glasses and a penchant for loud clothes. Wheeler's feminine counterpart, often and best played by Dorothy Lee, combines the innocence of the ingenue with the roguishness of the flapper, creating a perfect match for Bert's personality.  Woolsey's feminine partners are often worldly-wise and boldly flirtatious, complementing his characterization. Today Robert Woolsey is often mistaken for George Burns who later used some of Woolsey’s trademarks including the cigar and glasses, and even some of the loud vests.

Here's a risqué little clip from Hips Hips Hooray (1934) where Wheeler and Woolsey tries out a new kind of lipstick, one with a flavor.

Wheeler and Woolsey are often compared to other comedy teams of the thirties, particularly Laurel and Hardy and The Marx Brothers, comparisons that are easy to make but essentially the three teams are very different. The general idea of The Marx Brothers is anarchy and their assaults upon a completely and hopelessly sane and rational society. The comedy of Laurel and Hardy is based on their failure, due to their incompetence, to adjust to a regulated world which they aspire to join.

But with Wheeler and Woolsey, the basis of their world of comedy lays in the belief that the whole world is a crazy place where anything can happen and where every institution is essentially insane. The result is that the comic view of their films emphasizes the absurdities of the institutions with which we live and take for granted as normal. Lawyers, divorce suits, the prison system, the military, big business, all are targets for satire in the Wheeler and Woolsey comedies. The music, song and dance always play a greater part in the Wheeler and Woolsey movies as well.

The team dissolved in 1938 with the premature death of Robert Woolsey. Neither Bert Wheeler nor Dorothy Lee had much success after Woolsey's passing. Bert Wheeler did appear on television now and then throughout the 50's and finally left us in 1968. Dorothy Lee retired from show business in the early 40's but stayed with us until 1999.

Let's enjoy some selected clips.

One of the most moving scenes in Rio Rita (1929) is this little number written for the movie version. Sweetheart We Need Each Other, written by Harry Tierney and Joseph McCarthy, performed by Bert Wheeler and Dorothy Lee.

Weeler and Woolsey figthing over Dorothy Lee in Dixiana (1930). We also get a wonderful romantic duet, My One Ambition Is You written by Harry Tierney and Anne Caldwell.

Also from Dixiana (1930), Here's Robert Woolsey on his own trying to impress the ladies, eventually ending up in song and dance, but also a glimpse of Bert Wheeler in drag. A Lady Loved A Soldier written by Harry Tierney and Anne Caldwell.

This totally insane number is taken from Hips Hips Hooray (1934). Keep On Doing What You're Doing, written by Harry Ruby and Bert Kalmar performed by Bert Wheeler, Dorothy Lee, Robert Woolsey and Thelma Todd. This song was actually intended for inclusion in the Marx Brothers movie Duck Soup (1933) but ended up here instead. Swell!

2009 marks the 80th anniversary of the screen debut of Wheeler and Woolsey. Let's hope this means we will get loads of their movies on DVD this year.

Robert Woolsey's great grandson Robert Woolsey is continuing the family tradition and has a comedy site: Bob And Andrew.com