arfdawg-1 In antebellum New Orleans, two men vie for the affections of a beautiful young girl during Mardi Gras.Very early sound film with silent film star BeBE Daniels.Frankly, I really tired of people drinking the kool aid and having to highlight what they described as "racist" imagery of the film. This is 1930 not 2014. Get over it.Blacula has racist overtones and nobody says a peep.This is an odd film that somehow mixes the circus with the plantation. And the plantation owner has a Jewish accent. In fact a bunch of the actors have odd accents. Not the typical Hollywood accents of the time.The film mixes song and drama and comedy.So is this a good movie? Uh not really. It drags and wheeler and woolsy are not my cup of tea.However what makes the picture interesting are is the last two reels -- first time use of 2 strip technicolor. Its worth watching for that alone.

tavm All right, putting aside the stereotypical characterizations of Old South slaves not to mention many operatic songs that date this movie today, I rather enjoyed this early talkie musical with the two-strip Technicolor that was used in the final sequence. I mean, I was a little disappointed how little Bert Wheeler & Robert Woolsey were used but when they were on screen, they were quite amusing. And seeing Dorothy Lee & Wheeler sing is always a treat and it was a nice surprise to see Woolsey have his own number here as well. Oh, and for both historical and entertainment purposes, an African-American tap dancer named Bill "Bojangles" Robinson does his thing in his film debut and in that color sequence, to boot! So on that note, Dixiana is a worthy movie to watch if you're interested in these old movies like yours truly. P.S. Though this supposedly takes place in New Orleans (where I only live a 2-hour drive from), I'm guessing this was wholly shot on a studio back lot.

kidboots After the success of "Rio Rita" RKO planned an expensive version of Victor Herbert's "Babes in Toyland" for their new comedy sensations, Wheeler and Woolsey. Production was suddenly called off in favour of a project that reunited director Luther Reed, stars Bebe Daniels, Dorothy Lee etc and composer Harry Tierney and substituted Rio Rita's south of the border setting for New Orleans and Mardi Gras - "Dixiana". But instead of a big hit and in spite of kind reviews Radio was left with a big flop. The leading man was quickly blamed - a bit unfairly. When John Boles proved unavailable, the studio needed another stirring singer to cope with "Dixiana"'s demanding score and thought they had found him in Everett Marshall whose dashing looks and solid baritone had already won him applause at the Metropolitan Opera. Unfortunately he was definitely not at ease before the camera and Bebe Daniels, who was already upset by the lack lustre score and one dimensional role, could see that Marshall was not going to do her any favours in the leading man stakes!!!Jobyna Howland, so hilarious in "The Cuckoos", is hardly seen after the first half hour. Wheeler and Woolsey, in my opinion, an acquired taste, were already laborious in their comedy routines, including one involving chamber pots and another in which they kick people who pick up cigars, seemed never ending. Dorothy Lee's character Nanny turns up out of the blue in mid movie as a love interest to Wheeler's Peewee but she and Wheeler do get to sing and dance the cutest routine "My One Ambition is You". It starts out with shenanigans on a spiral staircase, then a sweet little gavotte and finishes with Nanny losing her hooped skirt and, oblivious, skipping off with the lovestruck Peewee.The movie gets off to a rousing start - after singing the stirring "Mr. and Mrs. Sippi" over the opening credits, Carl (Everett Marshall) journeys to New Orleans to see Dixiana. She is a carnival queen and Bebe Daniels makes a startling entrance - she breaks out of a giant egg singing "Am I Your Baby Now" - but to whom?? It seems Carl has a rival in the form of Royal Montague (Ralfe Harold), a powerful New Orleans gambler. When Royal indicates that Dixiana is not for the likes of the upper crust Carl, Carl takes her and her two side kicks, Ginger and Peewee to his father's plantation. He keeps their theatrical background a secret, announcing them as his distinguished guests. At the welcoming party the songs come thick and fast - "Here's to the Old Days" - Carl says goodbye to his bachelor days, Dixiana questions her worthiness with "A Tear, a Kiss, a Smile". During the party Peewee accidentally gives Dixiana's profession away and after a most unholy scene Mrs. Van Horn (Howland) banishes the trio from her home. When they return to the carnival Royal, who controls the carnival, commands the owner not to re-employ Dixi or her pals - he gives them a job in his gambling house.Once Dorothy Lee makes her appearance she quickly becomes the star - she is fresh, vibrant and cute. Bebe Daniels tries but she is really hampered by a Southern accent as thick as treacle. Ralfe Harold is good as well, although it's not hard to rise above this sort of material. Bill "Bojangles" Robinson makes everything worthwhile. His effortless and stylish stair dance (you can hear every beat of his taps) to "Mr. and Mrs. Sippi" during the film's Technicolor finale - rises above this film, which is a Mardi Gras mess. Even the movie's big song "Guiding Star" is completely forgettable.

juliewhee A real artifact of the earliest talkies and musicals, which includes the first two-strip Technicolor (the last half of the movie). The romance between a New Orleans cabaret singer (Bebe Daniels) and the scion of a plantation (Everett Marshall) is your basic boy-meets-girl, boy-loses-girl-due-to-misunderstanding-her-selfless-action, boy-gets-girl-back story......all this interspersed with singing, dancing, vaudeville routines (Wheeler & Woolsey), circus acts, chorus girls, contortionists, evil machinations of an oily villain, a near duel, and superb tap-dancing (Bill Robinson)!The dialog and acting are painfully weak and the storyline lurches roughly from scene to scene - often with little sense or continuity. The 75-year-old film is sharply dated by several instances of slaves in the background singin' and workin' happily for their beloved master and being called "boy" instead of by name. The impending Civil War is totally ignored. Still, I recommend "Dixiana" as valuable viewing for its historical Technicolor sequence as well as its illustration of the then-prevailing movie fiction of happy slaves working for benign masters in the sweet and gentle South.