Hollywood Cavalcade

In 1913 New York City, film director Michael Linnett Connors selects Broadway ingénue Molly Adair to star in his next project. He quickly makes her a major star in slapstick comedies, shaping the early arc of both their careers. Though Molly loves Connors, she misreads his fixation on cinema as disinterest in her as a person.

Molly marries her co-star Nicky Hayden, but Connors misunderstands the relationship and fires them both. The firing triggers a downward swing in Connors' career as he becomes more embittered and isolated. This personal rift sets up the professional rivalry that drives much of the story.

The Jazz Singer, starring Al Jolson, premieres and signals the dawn of talking pictures, rendering silent comedies increasingly obsolete. This milestone jolts Connors into reevaluating his craft and future. The industry-wide shift foreshadows the ultimate plan to bring Molly into a sound film.

Inspired by the talkie revolution, Connors resolves to plan Molly's first sound film and to reclaim his relevance in a changing industry. He envisions leveraging her voice and charisma rather than relying on silent-era shtick. This decision marks the rebirth of their professional partnership.

Mike Connors, a scheming but ambitious prop man with big ideas, convinces Molly to travel to California. He believes the shifting industry offers a real chance for them to seize creative control. The road trip to Hollywood signals the start of their major collaboration.

In Hollywood, Mike browbeats Studio President Lyle P. Stout into giving him a shot at directing. His early success demonstrates that his instincts can translate into real power behind the camera. The alliance with Stout launches their ambitious venture into film production.

After initial success, Stout refuses to back Bathing Beauties in a series of comedies, prompting Molly and Mike to strike out on their own. With Dave Spingold's crucial support, they launch a new comedy studio that quickly builds an audience. The pivot marks a dramatic shift in their careers.

Molly and Nicky Hayden rise in popularity while Mike's own ambitions grow more consuming, straining their relationships. Mike's mounting pressures contribute to a sense of professional rivalry that colors every subsequent decision. Spingold's involvement becomes a stabilizing force during this turbulent period.

Dave Spingold walks out on Mike, hoping it will jolt him to his senses, but his departure instead accelerates the studio's decline. The company spirals toward financial trouble as big-budget epics fail to win audiences. The dream of a thriving independent studio begins to crumble.

Molly tries to bring Mike back as her director; he agrees only because his finances require it. En route to the set, Molly and Nicky crash in a car accident—Nicky is killed and Molly is badly injured, ending her ability to complete the film. The tragedy redirects everyone’s priorities.

After Mike is fired for refusing to finish with a stand-in, he steals the master print and insists it be returned only if he can direct it his way. The studio eventually capitulates and releases the remastered talkie to universal praise. The film's success solidifies his and Molly's legacy within the evolution toward sound cinema.

With the talking-film era secured, Molly, Mike, and Spingold go on to build lasting achievements in the industry. Their earlier trials give way to renewed collaboration and resilience, illustrating how adaptation can redefine careers. The story closes on a note of cautious optimism about the future of cinema.