The Girl from Calgary
1932 film
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The Girl from Calgary is a 1932 American pre-Code musical comedy film directed by Phil Whitman, and starring Fifi D'Orsay and Paul Kelly.[1]
Directed byPhil Whitman
Written byLee Chadwick (continuity)
Lee Chadwick (dialogue)
Leon D'Usseau (story)
Sid Schlager (story)
Lee Chadwick (dialogue)
Leon D'Usseau (story)
Sid Schlager (story)
Produced byI. E. Chadwick
CinematographyHarry Neumann
| The Girl from Calgary | |
|---|---|
 | |
| Directed by | Phil Whitman |
| Written by | Lee Chadwick (continuity) Lee Chadwick (dialogue) Leon D'Usseau (story) Sid Schlager (story) |
| Produced by | I. E. Chadwick |
| Cinematography | Harry Neumann |
| Edited by | Carl Pierson |
| Music by | Albert Hay Malotte |
Production company | |
| Distributed by | Monogram Studios |
Release date |
|
Running time | 64 minutes |
| Country | United States |
| Language | English |
Plot summary
A French-Canadian girl is a champion bronc rider and is also a nightclub singer. An ambitious young man sees her act one night and is struck by her talent, realizing that she is good enough to become a Broadway star.
He convinces her to accompany him to New York, where she indeed does become a Broadway star. However, the young man finds himself being squeezed out by greedy Broadway producers who see the talented young girl as their own personal gold mine.
Cast
- Fifi D'Orsay as Fifi Follette
- Paul Kelly as Larry Boyd
- Robert Warwick as Bill Webster
- Edwin Maxwell as Earl Darrell
- Astrid Allwyn as Mazie Williams
- Edward Fetherston as Monte Cooper
- Adrienne Dore as Lulu, Darrell's secretary (uncredited)
Production background
- The first reel, with an elaborate musical number, is taken from The Great Gabbo (1929) which had at least one sequence filmed in Multicolor.
- When originally released, the first reel of The Girl From Calgary, approximately seven minutes including the title credits, was in 2-strip Magnacolor. Reviewers at the time commented on the poor quality of the color, registration problems, and lack of focus. In surviving prints, this sequence is in black-and-white, with a replaced title card that includes a 1951 copyright statement.
