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Sunny Skies 1930
Description: The first of two movies pairing western/serial/action-film leading boy Rex Lease (who also sings and dances here) and dialect comedian and comic writer Benny Rubin.
Released: 18 May 1930 Director: Norman Taurog Writers: Andrew Percival Younger (story), Earle Snell (continuity) Actors: Benny Rubin, Marceline Day, Rex Lease, Marjorie Kane Genres: Comedy, Musical, Sport
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See 1930: Sunny Skies (Benny Rubin on youtube.

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Sunny Skies Reviews:

SUNNY SKIES was the first of two movies pairing western/serial/action-film leading boy Rex Lease (who also sings and dances here) and dialect comedian and comic writer Benny Rubin, made for Tiffany Movies in 1930. While the second film, Hot Curves, has its charms, this one is the movie to watch. SUNNY SKIES brings together this incongruous duo (who in many methods foreshadow Martin and Lewis!)for a movie that details unbelievable comedy, warm characterizations, fun 1920's-style songs (played on a ukulele!), nice dancing, sports sequences, even some tragedy! Director Norman Taurog continued milking this formula for decades afterwards...even into his Elvis Presley movies of the 1960's. While this was a low-budget quickie meant as disposable entertainment for the lower-end of the movie marketplace, it turns out to be a charming window into a long-gone age--in fact, there's even a racoon coat in one scene! (all that's missing is someone crooning into a megaphone).Rex Lease had a long and successful career as a stalwart leading boy in low-budget early 30s action movies and serials and westerns, and then he graduated into fine helping roles at Republic and elsewhere. Benny Rubin had his own series of comedy shorts and was also a successful write of comedy both for himself and others. Rubin may be greatest known to those under 60 for his many appearances on the Jack Benny TV show. Also, Rubin seems to have been an influence on Jerry Lewis. In fact, Lewis himself used him in a number of tiny roles and cameos in Lewis' solo films. I don't know who ever thought of pairing the two, but the chemistry is superb, every plays a true three-dimensional character, and one minute you'll be laughing, the next minute you'll be teary-eyed. A unbelievable slice of early-sound-era entertainment that still works today.


This pre-Code weak budgeted Tiffany Productions detail showcases Benny Rubin, a vaudeville performer whose hallmark is dialect, in this instance Yiddish (although he also is adept throughout his lengthy career with many another characterizations, including blackface) and whose forte, contention with the English language, is in evidence within his each stage here. The continuity is thin, primarily to do with light romantic episodes of two couples who have met in a college and an assortment of improbable difficulties that they face, but this early sound movie is highlighted by some sprightly songs composed by Will Jason and Val Burton, performed by three of the leads and one of the more loopy assemblages of extras to be found. Direction by Norman Taurog, who soon bestowed his lack of skill upon an assortment of deserving Elvis Presley movies, is slack, and some of the acting rivals its lumpishness, but there are notable exceptions, particularly from uncommonly animated Patsy "Babe" Kane and elegant Marceline Day, with tiny anywhere to compare with the hilarious specialty dancing of Rubin, a talent which he never lost. Those with interest in American social history and mores will search a nice deal to favour, after quickly parrying the storyline, with particular value show for cinema professionals in the disciplines of production design, costume, and dance, and for all who play the study of linguistics and vernacular speech, particularly as these apply to the 1920s.


: I had no nice hopes for this one, especially after reading extremely negative reviews in NYT and IMDb. But I loved it! The plot was so corny that it became wholly amusing, and Benny Rubin is such an unabashed ham, his "comedy" at worst is bearable, and at best, it almost comes across. As for "Babe" Kane, she should create anyone except the NYT's Mordaunt Hall, laugh.I liked Marceline Day too. Director Norman Taurog wisely gives her many pretty close-ups. She is reputed to have a "peculiar" voice. But I found her voice quite charming. Perhaps she was dubbed here, but I can't picture Tiffany going to that amount of problem and expense. Nevertheless, Marceline aside, for me, the true joys of the film lie its musical numbers. Five of its six songs are really lively. Rex Lease turns out to possess a surprisingly adept singing voice. And the band is simply great! Presumably, Tiffany just hired the musicians for a day – and there were a true lot of really talented musicians out of work in the early months of 1930. The first thing a cinema owner did after converting to sound was to sack his orchestra! But here we listen joyfully to a several of these unemployed artists, all in fine tune under the lively baton of Al Short.



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