Hoopla

Carnival manager and barker Preston Foster (Nifty) is going with Minna Gombell (Carrie). When his son Richard Cromwell (Chris) shows up on summer break from law school, Carrie gets the air since Nifty wants to keep his son away from the evil influences of carney life and people. Carrie then pays Clara Bow (Lou) to seduce the son in revenge, but she falls for him.

Nice carney atmosphere but few carnival acts besides Clara Bow's 'Egyptian' dancing. Her costume working the Chicago Worlds Fair midway shows even more of Clara Bow then her nude swim.

The biggest reason to watch "Hoop-La" is to see Clara Bow in her final film...which is amazing as she was only 28 when she made this picture. Is it a great film? Certainly not...but it's also not bad at all and is entertaining despite the clichés.

When the film begins, Nifty (Preston Foster) is upset to see his son has left his studies to come hang out at his father's carnival. The carnival life in this film is quite seedy and Nifty doesn't want his grown son to become a low-life like his friends and coworkers. Unfortunately, he lets the kid stay for a bit...and Lou (Bow) is paid by Nifty's 'girlfriend' to vamp the kid. Amazingly, though, the hard as nails Lou soon finds herself in love with the naive young man. Now what's she to do?!

This film is clearly a Pre-Code picture due to its sensibilities. Stuff is often never said but it's clear Nifty's girl is cohabitating with him and that Lou is a thief and probably a prostitute. Racy like many Pre-Coders...but also vague like many of them as well.

So is it any good? Well, it's fair. The film promotes the old 'Hooker with a heart of gold' myth and is predictable...but it's also entertaining. For fans of Bow, it's worth your time. For others...it's a coin toss.

A brazen fairground dancer finds herself falling for the son of the show's manager after accepting $100 to make him fall for her. Clara Bow's final movie sees her give a winning performance, even though her brassy showgirl is no romantic fit for Richard Cromwell's wet-behind-the-ears youth. The movie starts out strongly, but becomes increasingly formulaic as its story unfolds. Worth watching just to see the fat lady being loaded onto the train!

It's a tragedy that this should be Clara Bow's final film. She certainly had many years of good work ahead of her. She lights up the screen whenever she appears. She has wonderfully dramatic as well as comedic scenes here. Unfortunately, as much cannot be said about other cast members performances. Her final "snake hips" costume is the most revealing onscreen apparel of her career.

Despite lucrative offers from the big studios, Clara Bow had already decided to quit the movies by the time she made this. With CALL HER SAVAGE she had proven she was a good actress so just went through the motions with this to fulfil her contract.

Fox Film didn't seem to know what they were doing in 1933 other than to try anything to keep going and make money. They bought the rights to a successful play called The Barker starring Walter Huston as a carnival barker. That play also had Claudette Colbert in a minor role as a tarty carnival dancer who seduces the barker's son and Fox switched the emphasis from focusing on the barker to the dancer so they could showcase, for the last time their cash cow, Clara Bow.

The revised story still allowed the character of the father, played with empathy and emotion by Preston Foster to develop into a real person whom you can care about. Apparently Fox tried to get Walter Huston to reprise his role from the stage production; had that come off, this may have turned out to be something very special but Foster does a reasonable job. His role however was diluted by the greater screen time given to Clara Bow. That whiffed a little of desperation by having their star constantly undressing and putting her in the scantiest of scanty outfits. They were getting their money's worth from her before she retired to live on her husband's ranch in the mid-west. Whilst one one hand it's a shame to see how she allowed herself to exploited for blatant titillation, it has to be admitted that her final 'Snake Hips' outfit is the stuff that young men's and indeed old men's dreams are made of.

The story might have worked as a play but not as a film. It's impossible to believe that any of this nonsense could happen. It's also impossible to believe that anyone as wet and pathetic as the son character could exist, let alone that Clara Bow's firecracker character could fall in love with such an utter drip.

It's sad that after CALL HER SAVAGE, in which she was fantastic, Fox didn't give her something as good to go out on instead of this. HOOPLA isn't a bad film, it's made well, acted well but hardly a fitting end for such an icon of cinema.