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| name = Show People | name = Show People
| image = Show People (1928 lobby card - 1).jpg | image = Show People (1928 lobby card - 1).jpg
| image_size =
| caption = Lobby card | caption = Lobby card
| director = ] | director = ]
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| writer = ] (treatment)<br>] (treatment)<br>] (continuity)<br>] (titles) | writer = ] (treatment)<br>] (treatment)<br>] (continuity)<br>] (titles)
| starring = Marion Davies<br/>] | starring = Marion Davies<br/>]
| music = | music = ] (uncredited)
| cinematography = ] | cinematography = ]
| editing = ] | editing = ]
| studio = ] (Uncredited) | studio = ] (uncredited)
| distributor = ] | distributor = ]
| released = {{Film date|1928|11|20|United States}} | released = {{Film date|1928|11|20|United States}}
| runtime = 79 minutes | runtime = 79 minutes
| country = United States | country = United States
| language = ]<br>English ]s | language = ] (Synchronized) <br>English ]s
| budget = $431,000<ref>Slide, Anthony. ''Silent Topics: Essays on Undocumented Areas of Silent Film''. Scarecrow Press. p 26</ref> | budget = $431,000<ref>Slide, Anthony. ''Silent Topics: Essays on Undocumented Areas of Silent Film''. Scarecrow Press. p 26</ref>
| gross = | gross =
}} }}


'''''Show People''''' is a 1928 American ] ] directed by ]. The film was a starring vehicle for actress ] and actor ] and included notable cameo appearances by many of the film personalities of the day, including stars ] (who appears twice), ], ] and ], and writer ]. Vidor also appears in a cameo as himself, as does Davies (to a decidedly unimpressed reaction by herself in character as Peggy Pepper). '''''Show People''''' is a 1928 American synchronized ] ] directed by ]. While the film has no audible dialog, it was released with a synchronized musical score with sound effects using both the sound-on-disc and sound-on-film process. The film was a starring vehicle for actress ] and actor ] and included notable cameo appearances by many of the film personalities of the day, including stars ] (who appears twice), ], ] and ], and writer ]. Vidor also appears in a cameo as himself, as does Davies (to a decidedly unimpressed reaction by herself in character as Peggy Pepper).


The film is a lighthearted look at ] at the end of the silent film era (it was released the year after breakthrough ] '']''), and is considered Davies' best role. ''Show People'' features no audible dialog but was released with a ] soundtrack with a synchronized musical score and sound effects. The film was re-released in the 1980s, with a new orchestral score by ]. The film is a lighthearted look at ] at the end of the silent film era (it was released the year after breakthrough ] '']''), and is considered Davies' best role. ''Show People'' features no audible dialog but was released with a ] soundtrack with a synchronized musical score and sound effects. The film was re-released in the 1980s, with a new orchestral score by ].
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==Plot== ==Plot==
<!-- Commented out: ] and ] in ''Show People'']] --> ]
Young Peggy Pepper (]) wants to be in motion pictures, so her father (]) drives her across the country from their home in ] to ]. After some initial disillusionment, she meets Billy Boone (]) in a studio commissary; he tells her to show up at his set if she wants work. Peggy goes, gets sprayed with ] at her first entrance, and is at first shocked and dismayed to find she is doing ] comedy in low-budget "Comet" productions, but she decides to "take it on the chin" and, with Billy's loving support, becomes a success. Peggy Pepper wants to be an actress in motion pictures, so her father drives her across the country from their home in ] to ]. After some initial disillusionment, Peggy meets Billy Boone in a studio commissary; he tells her to show up at his set if she wants work. Peggy goes and gets sprayed with ] at her first entrance. At first, she is shocked and dismayed to find she is doing ] comedy in low-budget "Comet" productions, but she decides to "take it on the chin". When the film is previewed for test audiences, Peggy becomes an instant success.


Soon enough, Peggy is signed to a contract by the prestigious "High Art" studio and, as "Patricia Pepoire", becomes a real movie star. She has fulfilled her dream of playing serious, dramatic roles, but she cuts off contact with Billy and the old comedy troupe, and soon becomes so conceited that her boring performances begin to drive away her public. On the day of her marriage to her co-star, phony-] Andre Telfair (Paul Ralli), Billy bursts in and, by means of another spritz of seltzer in her face, as well as a custard pie in Andre's, brings her to her senses, rescuing her career and their mutual happiness. Soon enough, Peggy is signed to a contract by the prestigious "High Arts" studio, and leaves behind Billy and the comedy troupe. She arrives for a screen test at the High Arts Studio, where the director instructs her to pretend that her lover is dying. However, she is unable to cry on cue. The director then suggests for her to pretend you're in love with someone at the "crossroads of your lives." She successfully cries and the director and the crew break for lunch. Peggy's co-star André Telfair tries to comfort her, telling her she has graduated from "cheap comedy" and must develop a new star persona among the "elite" in Hollywood. Peggy agrees, and reinvents herself as "Patricia Pepoire", a descendant of ].


Eventually, Peggy becomes a serious dramatic actress. Billy phones her at her mansion, inviting her for over dinner. She declines however to go on a date with André. While Peggy and André are shooting scenes for their film, Billy and the "Comet" comedy troupe arrive on location to film scenes for their picture. During a set-up for Peggy and André's next scene, Billy approaches Peggy. When she introduces André, Billy recognizes him as Andy, a former waiter who served him spaghetti. Offended, Peggy calls Billy a "cheap clown" and returns to shoot her scene.
⚫ ==Cast ==

While having a luncheon banquet, Peggy is summoned to the producer's office, where she is handed telegrams from theater bookers, all of whom deride her dramatic performances. Feeling she has lost popularity with audiences, the producer suggests Peggy return back to her old screen persona but she declines.

Sometime later, Peggy is engaged to be married to André. On the day of her wedding, Billy pleads for her to not continue and remember the old days. Billy sprays another spritz of seltzer in her face, and when André walks in, Peggy accidentally throws a custard pie at him. Billy walks out, and Peggy, having been brought to her senses, decides to cancel the wedding.

While filming a ] picture, and with ] as director, Billy performs as a soldier. He is then stunned to believe Peggy is her co-star, and with the script written for him to kiss her, the two kiss passionately.

==Music==
This film featured a theme song entitled "Cross Roads" which was composed by William Axt, David Mendoza and Raymond Klages.

⚫ ==Cast==
{{div col}} {{div col}}
* ] as Peggy Pepper * ] as Peggy Pepper
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* ] as casting director * ] as casting director
* ] as Jim, comedy director * ] as Jim, comedy director
* Kalla Pasha as comic chef (uncredited) * ] as comic chef
* ] as dramatic director * ] as dramatic director
* ] as Peggy's maid * ] as Peggy's maid
* Albert Conti as producer * ] as producer
* Ray Cooke as director's assistant (uncredited) * ] as director's assistant (uncredited)
* ] as comedy player at banquet (uncredited) * ] as comedy player at banquet (uncredited)
* ] as comedy player at banquet (uncredited) * ] as comedy player at banquet (uncredited)
* Pat Harmon as studio Gateman (uncredited) * ] as studio Gateman (uncredited)
* Bert Roach as heavyset man in casting agency (uncredited) * ] as heavyset man in casting agency (uncredited)
* ] as Director (uncredited) * ] as Director (uncredited)
* ] as Extra at Movie Preview (uncredited) * ] as Extra at Movie Preview (uncredited)
* ] as portrait photographer (uncredited) * ] as portrait photographer (uncredited)
* ] as messenger boy (uncredited) * ] as messenger boy (uncredited)
* ] as undetermined bit role (uncredited) * ] as undetermined role (uncredited)
{{div col end}} {{div col end}}


'''Uncredited cameos:''' '''Uncredited cameos'''
{{col-begin}}{{col-break}} {{col-begin}}
* ] – at banquet * ] – at banquet
* ]– at banquet * ]– at banquet
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* ] – at High Art Studios * ] – at High Art Studios
* ] – at banquet * ] – at banquet
{{col-break}}
* ] – at banquet * ] – at banquet
* ] – at banquet * ] – at banquet
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* ] – at banquet * ] – at banquet
* ] – at banquet * ] – at banquet
* ] as director of war film
* ] – at banquet * ] – at banquet
{{col-end}} {{col-end}}
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In one of the film's more famous sequences, the script originally called for Davies to get hit in the face with a pie after being tricked appearing in a slapstick comedy movie. William Randolph Hearst objected to this, fearing for Marion Davies' dignity, and as a compromise, the scene was changed (without Hearst's knowledge) to have Davies get hit in the face with spray from a seltzer bottle.<ref></ref> In one of the film's more famous sequences, the script originally called for Davies to get hit in the face with a pie after being tricked appearing in a slapstick comedy movie. William Randolph Hearst objected to this, fearing for Marion Davies' dignity, and as a compromise, the scene was changed (without Hearst's knowledge) to have Davies get hit in the face with spray from a seltzer bottle.<ref></ref>


Vidor had wanted ] for the role of Billy Boone, but he was unavailable. Davies jumped at the chance to cast close friend ] in the role and agreed to Haines' receiving billing above the title with her. This was the only silent film in which Davies shared star billing. Once again, the reviews raved about Davies' comedic touch, and the film was a huge hit at the box office.<ref>] (2017) ''The Silent Films of Marion Davies'', CreateSpace, pp. 159-162.</ref> Vidor had wanted ] for the role of Billy Boone, but he was unavailable. Davies jumped at the chance to cast close friend ] in the role and agreed to Haines's receiving billing above the title with her. This was the only silent film in which Davies shared star billing. Once again, the reviews raved about Davies' comedic touch, and the film was a huge hit at the box office.<ref>] (2017) ''The Silent Films of Marion Davies'', CreateSpace, pp. 159-162.</ref>


The closing scene on the set of a war movie may be a nod to King Vidor's '']'', a smash hit made in 1925, but more closely resembles the Davies film '']''. The closing scene on the set of a war movie may be a nod to King Vidor's '']'', a smash hit made in 1925, but more closely resembles the Davies film '']''.
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==External links== ==External links==
* {{IMDb title|0019379}} * {{IMDb title|0019379}}
*
* {{AllMovie title|44524}}
* {{TCMDb title|2609}} * {{TCMDb title|2609}}
* {{AFI film|12078}} * {{AFI film|12078}}
* at the silentera database
* at Virtual History


{{King Vidor}} {{King Vidor}}
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] ]
] ]
] ]
] ]
] ]
⚫ ]
]
] ]
] ]
] ]
] ]
]
] ]
] ]
] ]
]
] ]
]
]
]
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] ]
⚫ ]

Latest revision as of 04:51, 12 January 2025

1928 film by King Vidor For the Mari Wilson album, see Showpeople.

Show People
Lobby card
Directed byKing Vidor
Written byAgnes Christine Johnston (treatment)
Laurence Stallings (treatment)
Wanda Tuchock (continuity)
Ralph Spence (titles)
Produced byMarion Davies
King Vidor
Irving Thalberg (uncredited)
StarringMarion Davies
William Haines
CinematographyJohn Arnold
Edited byHugh Wynn
Music byWilliam Axt (uncredited)
Production
company		Cosmopolitan Productions (uncredited)
Distributed byMetro-Goldwyn-Mayer
Release date
  • November 20, 1928 (1928-11-20) (United States)
Running time79 minutes
CountryUnited States
LanguagesSound film (Synchronized)
English intertitles
Budget$431,000

Show People is a 1928 American synchronized sound comedy film directed by King Vidor. While the film has no audible dialog, it was released with a synchronized musical score with sound effects using both the sound-on-disc and sound-on-film process. The film was a starring vehicle for actress Marion Davies and actor William Haines and included notable cameo appearances by many of the film personalities of the day, including stars Charlie Chaplin (who appears twice), Douglas Fairbanks, William S. Hart and John Gilbert, and writer Elinor Glyn. Vidor also appears in a cameo as himself, as does Davies (to a decidedly unimpressed reaction by herself in character as Peggy Pepper).

The film is a lighthearted look at Hollywood at the end of the silent film era (it was released the year after breakthrough talking picture The Jazz Singer), and is considered Davies' best role. Show People features no audible dialog but was released with a Movietone soundtrack with a synchronized musical score and sound effects. The film was re-released in the 1980s, with a new orchestral score by Carl Davis.

In 2003, Show People was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It is currently available on DVD on-demand as part of the Warner Archive collection. In February 2020, the film was shown at the 70th Berlin International Film Festival, as part of a retrospective dedicated to King Vidor's career.

Plot

Show People (1928)

Peggy Pepper wants to be an actress in motion pictures, so her father drives her across the country from their home in Georgia to Hollywood. After some initial disillusionment, Peggy meets Billy Boone in a studio commissary; he tells her to show up at his set if she wants work. Peggy goes and gets sprayed with seltzer water at her first entrance. At first, she is shocked and dismayed to find she is doing slapstick comedy in low-budget "Comet" productions, but she decides to "take it on the chin". When the film is previewed for test audiences, Peggy becomes an instant success.

Soon enough, Peggy is signed to a contract by the prestigious "High Arts" studio, and leaves behind Billy and the comedy troupe. She arrives for a screen test at the High Arts Studio, where the director instructs her to pretend that her lover is dying. However, she is unable to cry on cue. The director then suggests for her to pretend you're in love with someone at the "crossroads of your lives." She successfully cries and the director and the crew break for lunch. Peggy's co-star André Telfair tries to comfort her, telling her she has graduated from "cheap comedy" and must develop a new star persona among the "elite" in Hollywood. Peggy agrees, and reinvents herself as "Patricia Pepoire", a descendant of Robert E. Lee.

Eventually, Peggy becomes a serious dramatic actress. Billy phones her at her mansion, inviting her for over dinner. She declines however to go on a date with André. While Peggy and André are shooting scenes for their film, Billy and the "Comet" comedy troupe arrive on location to film scenes for their picture. During a set-up for Peggy and André's next scene, Billy approaches Peggy. When she introduces André, Billy recognizes him as Andy, a former waiter who served him spaghetti. Offended, Peggy calls Billy a "cheap clown" and returns to shoot her scene.

While having a luncheon banquet, Peggy is summoned to the producer's office, where she is handed telegrams from theater bookers, all of whom deride her dramatic performances. Feeling she has lost popularity with audiences, the producer suggests Peggy return back to her old screen persona but she declines.

Sometime later, Peggy is engaged to be married to André. On the day of her wedding, Billy pleads for her to not continue and remember the old days. Billy sprays another spritz of seltzer in her face, and when André walks in, Peggy accidentally throws a custard pie at him. Billy walks out, and Peggy, having been brought to her senses, decides to cancel the wedding.

While filming a World War I picture, and with King Vidor as director, Billy performs as a soldier. He is then stunned to believe Peggy is her co-star, and with the script written for him to kiss her, the two kiss passionately.

Music

This film featured a theme song entitled "Cross Roads" which was composed by William Axt, David Mendoza and Raymond Klages.

Cast

Uncredited cameos

Production

Show People offers a comic look at 1920s Hollywood and stardom. The main character of Peggy Pepper, who becomes the self-important dramatic star, Patricia Pepoire, was based on the careers of silent divas Gloria Swanson and Mae Murray. When asked, Davies supposedly told Murray the character was based on Swanson. Davies also told Swanson the character was based on Murray, but Swanson did not care since she had no inclination to see the film. As such, the film is a comic romp for Davies. Lucille Ball repeatedly cited Davies as a major comedic influence, and Ball's subsequent facial techniques and comic behaviors evident in I Love Lucy are quite apparent in Davies' performance in this film. The character of Andre Paul Ralli was seen at the time as being a satire of John Gilbert.

The film has a remarkable number of cameo appearances from some of the top stars of the day, including Charlie Chaplin, Douglas Fairbanks, William S. Hart, Norma Talmadge, Leatrice Joy, Lew Cody, Eleanor Boardman, and others. Many agreed to appear out of friendship with Davies, Hearst, and director Vidor, and the positive publicity value of cooperating with Hearst and MGM also played a factor. Both Marion Davies and King Vidor also made cameo appearances as themselves.

In one of the film's more famous sequences, the script originally called for Davies to get hit in the face with a pie after being tricked appearing in a slapstick comedy movie. William Randolph Hearst objected to this, fearing for Marion Davies' dignity, and as a compromise, the scene was changed (without Hearst's knowledge) to have Davies get hit in the face with spray from a seltzer bottle.

Vidor had wanted James Murray for the role of Billy Boone, but he was unavailable. Davies jumped at the chance to cast close friend William Haines in the role and agreed to Haines's receiving billing above the title with her. This was the only silent film in which Davies shared star billing. Once again, the reviews raved about Davies' comedic touch, and the film was a huge hit at the box office.

The closing scene on the set of a war movie may be a nod to King Vidor's The Big Parade, a smash hit made in 1925, but more closely resembles the Davies film Marianne.

See also

References

  1. Slide, Anthony. Silent Topics: Essays on Undocumented Areas of Silent Film. Scarecrow Press. p 26
  2. "Berlinale 2020: Retrospective "King Vidor"". Berlinale. Retrieved February 28, 2020.
  3. Contemporary "Variety" review
  4. Lorusso, Edward (2017) The Silent Films of Marion Davies, CreateSpace, p. 159.
  5. "Show People" at TCM
  6. Lorusso, Edward (2017) The Silent Films of Marion Davies, CreateSpace, pp. 159-162.

External links

Films directed by King Vidor
Irving Thalberg
Producer
Writer
People
Related
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