User reviews

Walter Wanger produced this United Artist's release and with Vogues Of 1938 he was hoping to cut into the musical market that Warner Brothers, MGM, and Sam Goldwyn dominated. He was hoping to use Carole Lombard in the lead, but it turned out to be a vehicle for his own wife Joan Bennett.

Interestingly enough he got Warner Baxter to appear opposite his wife as the male lead and neither of them are singers. In fact the film is carefully divided between the musical and dramatic portions. The musical bits are not part of the plot and the score is from a variety of sources.

Baxter is the owner of the House Of Curson a famed fashion design house that's come down to him in three generations. In a roundabout way he makes the acquaintance of Joan Bennett who is the owner of a great society name, but the family has seen better days financially. She's marrying dull and plodding Alan Mowbray to cure that. But she leaves him standing at the altar.

The notoriety Bennett has gotten leaving Mowbray makes Baxter ask her to be his new top model. That doesn't leave Baxter's wife Helen Vinson very happy. But she's jumping for joy as Mowbray is determined to ruin Baxter and he sets up Mischa Auer in a rival house to ruin him. Of course all the fashion espionage tricks are played by both sides.

In the end Baxter to show off his latest designs puts on a musical show and this is where the bulk of the numbers come in. Here and in a scene with Baxter and Bennett at the famous Harlem Cotton Club. The show that Baxter puts on is entitled Vogues Of 1938.

Vogues Of 1938 received two Oscar nominations for Best Art Design and for Best Song with Lew Brown and Sammy Fain's That Old Feeling. That Old Feeling is a song done by about every recording artist you can name. It is introduced in fine style by Virginia Verrill at the Cotton Club sequence. It certainly is one eternally enduring standard.

Walter Wanger put a lot into this film and he got good if not great results.

Joan Bennett runs out on her wedding day and takes up with fashion designer Warner Baxter in "Vogues of 1938" which is a combination of musical numbers and fashion shows with a little plot in between. And it's in Technicolor! Bennett has reddish-blonde hair here and resembles Lucille Ball a little but her voice is similar to her sister Constance. I'm so used to her as a beautiful brunette that the change took some getting used to - it has to be shortly after that she did a screen test for "Gone With the Wind," and by then, she had dark hair. In this story, after she abandons her wedding, she falls for the married Baxter (who designed and made her gown) and becomes a model in his fashion house. Baxter's wife is an ambitious performer who persuades him to back a show she's in - and it nearly breaks him.

There are some great scenes - I have to admit, I thought the roller skaters were spectacular. There was a wonderful scene at the Cotton Club, another at El Morocco, and the entire finale is a fashion show done as a musical. The gowns and suits are gorgeous.

Precious little plot here but plenty of shots of the New York of the '30s, some good music, dancing, gowns - and oh, those roller skaters!

The pacing and performances in this "varieties" package are just right: like a sumptuous buffet catered with style this packed entertainment serves up hot jazz, delightful dance, and considerable comedy along with the main course, splendiferous fashions. And all of it is seasoned with just a sprinkling of romance!

Those who have panned this picture as a "turkey" have decidedly missed the point: yes, the plot is as thin as some of the clothing on the models here on display--it's supposed to be! This rich mix demands a minimal story, since we're meant to enjoy the goings on with the same detached discernment which the tony patrons of the House of Curzon display in reviewing the season's outfits. The technicolor, as others have noted, is delightful (Joan Bennett's strawberry blonde hair being just one of the delicious shades on display) and the camerawork and direction are often quite innovative and at times inspired.

Like the opening sequence--a bevy of beautiful girls unroll the opening titles and credits on luxurious fabrics--Warner Baxter's first scene, where he improvises a fashionable hat for a demanding patron by sticking a feather into a rag he's plucked off the head of one of the cleaning ladies, sets the tone of the picture, as if to say: we've put together with panache and ingenuity a clever divertissement for you. Sit back and enjoy!

This film is a fun diversion. It is a beautiful example of early Technicolor photography and it looks as if it has been restored. The sets and costumes will be of interest to any one who loves art decco. Unfortunately this is not a Busby Berkley film.It lacks big production numbers and is dull in parts.

This is surely one of the worst films ever made. Each scene is painful. You will groan at the flimsy attempts at humor, the awkward camera work, the sexism and racism, the ridiculous story line, the wooden acting. Poor Joan Bennett; she is the only one in the movie who is not an embarrassment. In all, dreadful.

"Vogues of 1938" was obviously an expensive and prestigious film and it must have cost the studio a fortune. After all, very, very films were filmed in color back in 1937. Plus, the movie is filled with pretty models, designer gowns and opulence. And, incidentally, it's STILL a terrible film. Why? Because the story is very thin and one fashion show after another gets incredibly boring. So, no matter how good the acting is of Warner Baxter and Joan Bennett, they aren't given much with which to work. And the story just never in the least gets interesting...never.

So is there anything good about the film? Not a lot. I did enjoy the production number early in the film with the black band--in particular the pianist who was playing a nifty jazz piece. Other than that, a complete waste of time and a film that is all style and absolutely no substance.

No wonder this turkey is forgotten. It's so incredibly bad on so many levels it's confounding how anyone could rate this with anything higher than three or four stars at best.

Some of the reviews here are HYSTERICAL. One states " A film like this is quite beyond criticism... we should just be grateful it exists..." Uh, NOT. The film, if one could even call it that, is ripe and overdue for criticism. The use of technicolor -- at least in the first 40 minutes of the film -- is ABYSMAL. It's movies like this that no doubt forced Natalie Kalmus to make sure she supervised the color design on 99% of the films made in Technicolor.

The walls are grey or slightly blueish gray. ALL THE WALLS are that color. And then the director puts a woman in a grey dress in front of these grey walls -- brilliant choice! NOT.

The production is so cheap they didn't even spend a time to put some trees or daylight or SKY outside the windows...just that dullish blue-grey color.

The acting is horrible, the lighting is the same throughout the picture -- like everything was lit ouside under a cloudy sky.

In the trivia section it states that "Carole Lombard was originally sought for the lead role, but backed out due to reservations about how she might look in a color film." Right. That must be why she chose to make the FAR superior classic "Nothing Sacred' in Technicolor the year BEFORE this turkey. No doubt she read the paint-by-numbers script, found out who her "leading" man was, and ran for the hills.

There are however two reasons to watch maybe 10-15 minutes of this. One is Joan Bennett, who struggles to rise above the material, but does her best which is far superior than her wooden costar. The other is to get a rare glimpse of one of the greatest male tap-dancers, George "Georgie" Tapps, who's rapid fire routine is as good as Astaire, and with his spinning, is almost like he's the male Ann Miller. A truly amazing, refreshing bit of actual TALENT in an otherwise completely forgettable movie.

And fortunately there's a clip of him on youtube, so you don't have to wade through the slop to see his routine.

Possibly made as a direct result of the sublime RKO fashion musical of 1934 ROBERTA and certainly a direct reason why there was a sensational Technicolor fashion sequence in THE WOMEN, 1939, this absolutely breathtaking Technicolor fashion comedy made in 1937 is an art deco dream come true. A film like this is quite beyond criticism... we should just be grateful it exists to showcase the height of sophisticated design fashion women and comedy in the snazzy 1930s. Joan Bennett is Lucille Ball style gorgeous and Warner Baxter is 42nd st handsome and tough... but the highlight of this superb production is the eye-popping art deco direction and design and the fashions themselves.... how cold anyone complain about this gift from the 30s? Very few modern color 30s films exist... maybe really only NOTHING SACRED or GOLDWYN FOLLIES compare... but this one! wow! truly a sublime confection of modern Manhattan life for the nightclub and fashion set in glorious perfected Technicolor... well no written compliment can do the visuals justice when you see them. There was a huge number of new cinemas built in the mid 30s and many many old theaters were snazzed up into deco design in '37'38'39 so color films like this were used to open them, allowing the cinema and the film to have a gala opening season showing the peak of cinema technical and artistic quality... hence films like this not only served to be a delight of their own time, but they made millions by easily being chosen as the opening film in thousands of cinemas and command a huge rental fee for the privilege... hence making massive return for the producer.... VOGUES OF 1938 is a crystal rainbow of art deco life, made wisely in color in the height of the 30s art deco design boom. See it love it and show it to everyone you know... and like me, say thankyou for those wise clever producers of the mid 30s who have created a breathtaking modern masterpiece as treasured as the many gorgeous cinemas that were subsequently demolished in the 60s and 70s. They do not exist but this lovely smart funny modern film does. A very witty script and a hilarious rollerskating interlude only add to the continual delight. Yippee!

Have not seen the entire movie as yet, but the mid to end is stunning! The usual story line was palatable but Baxter looked too old. Joan Bennett was super-duper beautiful with lovely speaking voice. Loved Mischa Auer and Alan Mowbray! The costuming was stupendous....furs, hats, ensembles to rave about. As a collector of vintage fashions, I am mesmerized by this spectacle and plan to try to find a copy of this great film.

Decided to watch this film and see what was going on in 1937 and what the charming ladies looked like in order to attract the opposite sex. Well, hats were the in THING, along with FURS, and some pretty nice styles with wild woman's hairdo's. Joan Bennett, (Wendy Van Klettering),"Scarlet Street",'45, was very slim and trim and very attractive with a rather sexy voice. Wendy was not very happy about getting married and became " A Runaway Bride" in the 1930's. The husband she was to marry was, Alan Mowbray,(Henry Morgan),"I Wake Up Screaming",'41, who played a rather dumb role and gave a great supporting role. Warner Baxter, (George Curson), "Shadows in the Night",'41, ran a model agency and had all the best looking gals show off their fancy clothing. There was a great scene at the "COTTON CLUB", and fantastic dancing and way out musicians. If you want to take a look way back into the past and see how that generation enjoyed themselves, this is worth viewing.

Vivid Technicolor, startling camerawork, swellegant fashions, and that's about it. One great song ("That Old Feeling") and a couple of beguiling specialty acts, but they're nobodies and totally unrelated to the rest of the action, so how much can you care? The story is trite and feeble even by the meager standards of 1930s musicals, and star power is lacking.