Wow! Where to begin?

First, a confession: I've always been partial to the theatrical "short subjects" the major studios presented before their main features. Running between 8 and 20 minutes, none outstay their welcome rega...Read complete review

First, a confession: I've always been partial to the theatrical "short subjects" the major studios presented before their main features. Running between 8 and 20 minutes, none outstay their welcome regardless of their quality. The multi-DVD compilations have too many "choice cuts" that you HAVE to re-watch more than once. With that said, some sets are geared more for the Hollywood fanatic than average DVD purchaser who is only dipping their toes into "old stuff". As much as I dig the Ripley Believe It or Nots, they are obviously not for everybody. However, this set, along with the Joe McDoakes, boast a much broader appeal that will likely hook in a bunch who didn't think entertainment existed before James Cameron.Yes, some titles show their "age" but that only increases the amusement. There is a jaw-dropping blackface routine in the Duncan Sisters' well-titled SURPRISE! (1935) that is done with so much gusto that you can't turn away. The brightly-lit Technicolor films dating from 1934 expose the pancake makeup on the male stars, making them look like clowns: Phil Regen in THE GYPSY SWEETHEART has more mascara on as a womanizer than Ed Brendel does as a "woman" in OKAY, JOSE. Speaking of Brendel... there is little fear of dragging or acting affectionate with other males in these shorts. Bugs Bunny was not the first to put on the skirt and rosy rouge; even Charlie Chaplin does it in a Disc 3 silent film "clip-short". In THE OPRY HOUSE, the roaring twenties are still quite "gay" with plenty of winking and flirting among jocks. Not that we modern viewers should necessarily jump to conclusions, but guys back then did seem more comfortable with their "feminine side". Likewise, Marjorie Beebe tackles a football team in HOT NEWS MARGIE (1931), sparking a hilarious comment in the locker room concerning the star's undergarments. "Oh Coach, t-t-t-t-t-t-t-tsk"The first two discs are a hodgepodge of Vitaphone Varieties, Pepper Pots and Melody Masters that have little in common apart from recognizable talents: bandleaders like Red Nichols, a pint sized Judy Garland in BUBBLES (1930, originally a color short but all surviving prints are monochrome), Patsy Kelly before she joined Hal Roach and Pat Buchanan decades before teaming with Fred Astaire in THE BAND WAGON. Disc #4 continues the variety with jazzy shorts, such as BARBER SHOP BLUES (Claude Hopkins band, 1933) that missed the "cut" in the other Warner Archive DVD set of Big Band shorts. The four VAUDEVILLE REELS resemble episodes of Ed Sullivan with some eye-popping acrobatic stunts like the Honey Family. Two of the best on the set date from 1933: THE MILD WEST begins as a western saloon spoof with tough dames and plenty of shoot-ups, but winds up with both sexes getting face-lifts to look younger and crashing Broadway (?!). A BIG CITY FANTASY, showcases the many cultures that make up the Big Apple, including the Jewish districts, Harlem and Little Italy.Probably the disc that will get the most mileage from hard-core movie fans will be #3, compiling many silent film clips with modern narration. THRILLS OF YESTERDAY (1931) lives up to its title with action-packed scenes culled from First National, Vitagraph (pre-Vitaphone) and other pioneering studios: the Harry Houdini stunt with keys is particularly impressive... and no trick photography involved! A few like A PENNY A PEEP and THE CAMERA SPEAKS have a side-story going on in addition to the memory lane stuff; special attention is focused on the WAY people saw movies in the silent era with peep-shows, singalongs and vaudeville acts included. MOVIE MEMORIES #2 is a touching "memorandum" to those who were gone by 1934, including a rare clip of Marie Dressler celebrating her last birthday. All of the footage is priceless on account that so much has been lost in its original form over the last eight decades. For variety, there's a drawing-come-to-life experiment INKLINGS and two up-to-date (1934) behind-the-scenes exposes HOLLYWOOD NEWSREEL and A TRIP THROUGH A HOLLYWOOD STUDIO.While many of these Warner shorts were shot at the Vitaphone studios in New York, some (including all of the color two-reelers) were done in Hollywood and Burbank. The Technicolor California sunshine provides a dramatic contrast to the claustrophobic sets and busy street scenes showcased in many black & white shorts. Some like Leon Errol's SERVICE WITH A SMILE (1934) go all "art deco" in set decoration (his "dream" garage come to life with chorus girls). ROMANCE ROAD (1937) is a mini forerunner to such feature A-westerns like DODGE CITY and MGM's NORTHWEST PASSAGE; at least three titles here have a western theme and see if you can spot Jane Wyman in THE SUNDAY ROUND-UP. Fittingly, the set ends with OUT WHERE THE STARS BEGIN (1938), which is one of those previously issued on DVD (but only as an extra bonus). This goofy rendition of "a star is born" setup sums up Hollywood's golden age in a nutshell.