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What Price Hollywood? (1932)
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Overview
User Rating:
Release Date:
24 June 1932 (USA) morePlot:
The career of a waitress takes off when she meets an amiable drunken Hollywood producer. full summary | add synopsisAwards:
Nominated for Oscar. moreUser Comments:
The Best of the "Star is Born" versions moreCast
(Complete credited cast) | Constance Bennett | ... | Mary Evans |
 | Lowell Sherman | ... | Maximillan 'Max' Carey |
| Neil Hamilton | ... | Lonny Borden |
| Gregory Ratoff | ... | Julius Saxe |
| Brooks Benedict | ... | Muto, Diner Who Will Put Mary in Pictures |
| Louise Beavers | ... | Bonita, Mary's Maid |
| rest of cast listed alphabetically: | |||
| George Reed | ... | Undetermined Role (scenes deleted) |
Additional Details
Also Known As:
Hollywood Madness (USA) (working title)Hollywood Merry-Go-Round (USA) (working title)
The Truth About Hollywood (USA) (working title)
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Parents Guide:
Add content advisory for parentsRuntime:
88 minCountry:
USALanguage:
EnglishColor:
Black and WhiteAspect Ratio:
1.37 : 1 moreSound Mix:
Mono (RCA Photophone System)Certification:
USA:ApprovedFilming Locations:
First United Methodist Church - 6817 Franklin Avenue, Hollywood, Los Angeles, California, USA moreFun Stuff
Quotes:
[first lines][Mary Evans is admiring a magazine photo of Clark Gable]
Mary Evans: Hmmmm. Oh, boy!
[Mary places the magazine photo against her face and pretends Gable is her lover. She speaks in an exaggerated voice]
Mary Evans: Daaahling, how I love you my daaahling, I love you I do.
[she puts the magazine down and returns to her normal voice]
Mary Evans: It's getting late and I must scram.
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Soundtrack:
The Wedding March moreFAQ
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I guess its the fluttering fingers of the Judy Garland cohort that have given her version of A Star is Born the best rating. The first version of Star is best version but, alas, the lowest rated. I give it a Ten to pull up the average. I also give it a Ten, because if Gaynor's and Garland's are worthy of Tens then, by God, so is Bennett's.
Just the presence of the ethereally lovely Constance Bennett, plus Lowell Sherman's superior performance as a washed up director (he really was a director), render the others tired re-makes.