Customer Reviews

A Song in the Dark: The Birth of the Musical Film

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The poet Frank O'Hara once wrote that of all the American poets only Walt Whitman and Stephen Crane were better than the movies. While O'Hara's selection of poets is debatable, I think his point is applicable to this wonderfully witty analysis of the first generation of movie musicals: it's as much fun to read as the movies Barrios writes about are to watch.

I was rather perplexed by the previous review that stated this book had no central thesis. It is, I believe, a serious misreading of the book. Barrios states quite clearly that the first generation of movie musicals were a matter of trial and error. Hollywood needed to find out what would--and what would not--work on FILM regarding musicals. This is one of the reasons why Barrios's analysis is so insightful. Busby Berkeley, for example, is such a great choreographer precisely because he realized that FILM choreography is a different art form from dancing on stage. His wonderful combination of vision and movement *as captured ON FILM* continues to delight us today. But Berkeley could not have known this without the previous examples of movie choreography that was filmed as if it were a theatre performance. Hollywood learned from its mistakes.

And Barrios's writing is quite simply a delight. So much film analysis misses the popcorn for the postmodern theory. Whereas even a truly awful film can be a secret delight (as Barrios acknowledges over and over again), really dry criticism is like week old popcorn: pretty tasteless and hard to swallow. But I must admit that I laughed out loud again and again as I read about one disaster after another, all preserved on film for us to gaze at in wonder (as in "I wonder how in the world they thought THAT would work on film?"). And his analysis of the great musicals of the period made me long to be sitting in the third row from the back, transported to another world as only a really wonderful movie can do. The book is extensive in witty and incisive reviews of the good, the bad, and the truly ugly of early music musicals precisely to bear out Barrios's central thesis: that Hollywood did not approach the movie musical with preconceived notions of what would work like gangbusters on the screen. Rather they learned from their mistakes after watching gangs bust out in unintended laughter at some of the real bombs of the musical genre. And Barrios's book is the only one I am aware of that so truly captures the spirit of the age: hey guys, let's film a musical and see if it works.

The auteur theory, while often instructive and interesting, has done some serious disservice to film criticism. It has led us to believe that directors all have these preconceived, "unified visions" that are applied to every film project they undertake. But I believe that Barrios is far closer to the truth: Hollywood laid some eggs and THEN learned to make some delicious omelettes.

And Barrios is something that most film critics and historians are not: as much fun to read as the movies he analyzes are to watch. Put some butter on the popcorn, put your feet up and enjoy a book that is truly a joy to read.

As the author of a popular website on the history of stage and screen musicals, I have read countless books on the musical film, and none can match what Barrios has done here. He approaches the mostly forgotten early sound era with genuine affection and a remarkable facility for detailed research. He also (thank heaven) writes with a delightfully readable style, avoiding the dry academic language that often makes studies of Hollywood's early sound era downright boring. Barrios includes a great selection of rare photos too. No other book on this subject is nearly as informative or enjoyable -- for those who are interested in early screen musicals, I cannot recommend this book too highly!

I found this book fantastic, I have read it over and over and find new things everytime.The only problem is, now I want to see the films and many are no longer available. It was a fun read also, not a dry , just the facts , study.Highly recomed to anyone interested in early talkies, not just musicals

Let me begin by saying that normally this type of book would not usually get my attention. But, the author is my brother and so I read the book. It is very evident that Richard loves these musicals--it should be evident that Richard loves movies. He always has. I also know that he knows his "stuff," he's informative and witty, and yes, he is opinionated. His writing style can be a lesson in itself. More than anything, he is entertaining and his prose can "sparkle."
He has been watching these movies since his early childhood and he has been reading about movies and the Hollywood scene also during his growing years. Join him on this journey to the past, in a time and place that exists no longer, but still influences our 21st century culture. If you love music, the musical theatre and especially those gems from the past--you will love Richard Barrios' "A Song in the Dark."

Richard Barrios has written an incredible document of one of the least known eras of film history. In over 400 pages the author covers what is essentially a two year period (1929-1930). There is some info leading up to this and some taking us out, but the bulk of it is this unique period which many do not realize even existed. For film buffs longing to have the missing pieces filled in, reading this work is mandatory. Not only is this probably the greatest book on early sound films, it is one of the greatest film books period. Now if someone would write a book this massive on just 1928, my life would be complete.

I don't know of any other book that does such a thorough job covering the history of the American musical film from the years 1926-1934 as this book does. It starts out shattering the myth that Warner Brothers invested in the Vitaphone sound system because it was near bankruptcy. Instead, Sam Warner saw the potential for sound in films and literally dragged his brothers kicking and screaming to the sound revolution. The book talks about Warners' first experiments that led up to the first hit picture with sound - "The Jazz Singer", and the untimely death of Sam Warner one day before the film's New York City premiere. The surviving Warners saw the potential after the money started rolling in, but they didn't have Sam's vision of how to make a success out of talking pictures. Thus, Warner Bros. was literally a Vitaphone train without a conductor.

This starts the reader through a three year journey of all the major studios groping to see what does and doesn't work, their many flops, and their few artistic triumphs. What got the studios through the early days was the novelty of sound attracting audiences regardless of the quality of the film, and the author does a good job of being thorough without being dry. His descriptions of some of the early sound musicals, some of the strange decisions that were made, and the early technical obstacles and their solutions are outright hilarious. The author describes how all of the bad products and bad decisions eventually cause audiences to have had their fill of musicals by 1931. Then he describes how "42nd Street" revives the genre, the lessons that were learned, and how the musical was ultimately reborn as a popular artform.

You can read this book all the way through, but more than likely you'll have to read it more than once to get everything out of it since it is densely packed with information about individual films as well as overall trends. I highly recommend it if you are interested in the early talkie musical and its history.

When I picked up "A Song in the Dark" I was curious to see how someone could make a book about pre-42nd Street musicals. Most histories of the Hollywood musical start with 42nd Street and consign the earlier films to a dark, unknowable, unwatchable past.

Barrios made this era come to life. He writes in an engaging, witty style that is a pleasure to read. He never takes a superior tone to his material, and he makes the reader want to track down and see some of these films. (He also makes it clear that some are best avoided.)

"A Song in the Dark" greatly deepened my understanding of the Hollywood musical, and I strongly recommend it.

One of the funniest, best-researched and readable film history books ever written. Not only does Barrios have his subject matter where he wants it, but his text is so witty I found myself frequently laughing out loud. A book to set by your VCR for quick checking, and for reading again and again. A great antidote to all-too-often stuffy "senior thesis" film books.

Witty, insightful description of the perilous transition to sound. Barrios writes about this period with an eye for historical detail and an elegiac nod for the passing of a bygone era. I especially enjoyed Barrios' description of tantalizing "lost" titles likes "Golddiggers of Broadway". A must for film buffs and lovers of the time period- thelate 20's and early 30's.

An entertaining history of early musical film from 1926-1934 accompanied by B&W photos and discography as well as listings of films that survive today and those that are lost to time. The book makes you wish you could still view all of these wonderful musicals.