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"100% All Talking! 100% All Singing! 100% All Dancing!" If the math isslightly off, the now-legendary ad campaign for The Broadway Melody canbe excused. After all, sound had just come in, and a full-scale musical film wasstill a novelty. This tuneful 1929 production became a smash hit and won theBest Picture Academy Award® in the second Oscar® ceremony. The story is a creakytale of two sisters bringing their act to Broadway, but the fun is in theRoaring Twenties lingo and the showbiz melodrama. This is an era when a galcould become the toast of Broadway by standing, motionless, on a stage pedestal("Those guys aren't gonna pay 10 bucks to look at your face--this isBroadway!"). The tunes include the standard "You Were Meant for Me"; most of thedramatic weight is handled by the peppy silent star Bessie Love, who wasOscar-nominated. --Robert Horton ... Read more

Reviews (15)

The First of the Hollywood Musicals
While this was the second film to win the best picture Academy Award, it was, in fact, a film of a number of firsts. It was the first all talking, all singing musical. Bessie Love, a name we certainly don't hear today, was nominated as best actress. She lost to Mary Pickford (Coquette).

The film is somewhat dated, but don't forget it is over 70 years old. However, that notwithstanding, two songs, the title song and You Were Meant for Me, still hold up well. It is worth watching for for at least its historic value.

Granddady Of The Musical Genre
Well, if you want to watch an early talkie masterpiece, you won`t find it here. Though the film certainly wrote screen history in some way and even received an Oscar, "Broadway Melody" is a painfully crude early talkie musical which makes the "Jazz Singer" (released 2 years earlier) look like a motion picture masterpiece. The acting is very stagy, the film mostly plays in stuffy decors and the camera movements are a great setback from the sophistication of the silent era. On the other hand it is still one of the best remembered films of this transition era between silents and sound films and therefore should be watched by everyone interested in movie history. Beside this point Bessie Love is still fun to watch (though the other actors can be discarded easily) and the "Wedding of the painted doll"-sequence is certainly an eye-filler. To conclude, the movie captures the new definition of the musical genre at the dawn of the sound era perfectly and is one of the landmark films of MGM between 1929 and 1930, just don`t watch it when you are too tired to concentrate on the boring plotline .... but judge for yourself.

Hasn't Stood the Test of Time
Neither awful nor wonderful. Tremendously popular in its time but little more than an artifact of entertainment industry history. Certainly not a bad movie by any means and definately worth a rental if you can find a copy.

The Broadway Melody
I thouroughly loved this one! I wouls only add to the other reviewers words by saying I've always loved the song "Broadway Melody", both the music and gleefully,carefree happy time flavor of those 1929 lyrics. Thought I'd never be able to listen enough times to this song to satisfy me,BUT,this movie justabout does the trick. I shall be keeping this gem among my treasures and to think I was able to purchase a $680,000.00 movie which grossed 4 million bucks, for only [$$$] here at Amazon. This movie has delicious nostalgia. and if you really try, you can almostget a tangible scent of the places theaters and ambience of the ornate beautiful movie palaces all so new at that time. A time piece and keep-sake of a happier and more carefree "era,dear-ah." (Credit Ruth Donelley from her book)

If you've got a love for old movies you just may love this.(vo-dody-oh-do!)

A Trip Back to a Happier Day
This wonderful movie was made in both silent and talkie versions in 1928, and released the following year.Bessie Love and the beautiful Anita Page star as two sisters trying to make it big on the NY stage, and both in love with the same man. Charles King,(1889-1944), a fairly well-known hoofer and song man of the era, plays Eddie. He does well in this movie, but it has been recorded elsewhere that he had great problems remembering his lines. Miss Page, 18 at the time, gives a stellar performance as a typical Jazz Age baby, but yet very naive and innocent.There is much of Miss Page in real life as she was here in this movie. She is still alive and making movies today, at 93. Love is great as the scared-of-nothing older sister. The unbilled costume designer gives the ultimate fey performance everytime he appears. Jed Prouty is good as the stuttering Uncle Jed. Unfortunately, a lot of the men are very heavily and overly made up. The music is great, except for overkill of "You Were Meant for Me"(originally written for Anita Page by Nacio Herb Brown) and "Broadway Melody." 20's wisecrack remarks abound, especially well delivered by Mary Doran, who plays Flo. A great, great movie to be seen again and again. Because it is from 1929 is one of its charms. It is never outdated. ... Read more

Reviews (15)

The First of the Hollywood Musicals
While this was the second film to win the best picture Academy Award, it was, in fact, a film of a number of firsts. It was the first all talking, all singing musical. Bessie Love, a name we certainly don't hear today, was nominated as best actress. She lost to Mary Pickford (Coquette).

The film is somewhat dated, but don't forget it is over 70 years old. However, that notwithstanding, two songs, the title song and You Were Meant for Me, still hold up well. It is worth watching for for at least its historic value.

Granddady Of The Musical Genre
Well, if you want to watch an early talkie masterpiece, you won`t find it here. Though the film certainly wrote screen history in some way and even received an Oscar, "Broadway Melody" is a painfully crude early talkie musical which makes the "Jazz Singer" (released 2 years earlier) look like a motion picture masterpiece. The acting is very stagy, the film mostly plays in stuffy decors and the camera movements are a great setback from the sophistication of the silent era. On the other hand it is still one of the best remembered films of this transition era between silents and sound films and therefore should be watched by everyone interested in movie history. Beside this point Bessie Love is still fun to watch (though the other actors can be discarded easily) and the "Wedding of the painted doll"-sequence is certainly an eye-filler. To conclude, the movie captures the new definition of the musical genre at the dawn of the sound era perfectly and is one of the landmark films of MGM between 1929 and 1930, just don`t watch it when you are too tired to concentrate on the boring plotline .... but judge for yourself.

Hasn't Stood the Test of Time
Neither awful nor wonderful. Tremendously popular in its time but little more than an artifact of entertainment industry history. Certainly not a bad movie by any means and definately worth a rental if you can find a copy.

The Broadway Melody
I thouroughly loved this one! I wouls only add to the other reviewers words by saying I've always loved the song "Broadway Melody", both the music and gleefully,carefree happy time flavor of those 1929 lyrics. Thought I'd never be able to listen enough times to this song to satisfy me,BUT,this movie justabout does the trick. I shall be keeping this gem among my treasures and to think I was able to purchase a $680,000.00 movie which grossed 4 million bucks, for only [$$$] here at Amazon. This movie has delicious nostalgia. and if you really try, you can almostget a tangible scent of the places theaters and ambience of the ornate beautiful movie palaces all so new at that time. A time piece and keep-sake of a happier and more carefree "era,dear-ah." (Credit Ruth Donelley from her book)

If you've got a love for old movies you just may love this.(vo-dody-oh-do!)

A Trip Back to a Happier Day
This wonderful movie was made in both silent and talkie versions in 1928, and released the following year.Bessie Love and the beautiful Anita Page star as two sisters trying to make it big on the NY stage, and both in love with the same man. Charles King,(1889-1944), a fairly well-known hoofer and song man of the era, plays Eddie. He does well in this movie, but it has been recorded elsewhere that he had great problems remembering his lines. Miss Page, 18 at the time, gives a stellar performance as a typical Jazz Age baby, but yet very naive and innocent.There is much of Miss Page in real life as she was here in this movie. She is still alive and making movies today, at 93. Love is great as the scared-of-nothing older sister. The unbilled costume designer gives the ultimate fey performance everytime he appears. Jed Prouty is good as the stuttering Uncle Jed. Unfortunately, a lot of the men are very heavily and overly made up. The music is great, except for overkill of "You Were Meant for Me"(originally written for Anita Page by Nacio Herb Brown) and "Broadway Melody." 20's wisecrack remarks abound, especially well delivered by Mary Doran, who plays Flo. A great, great movie to be seen again and again. Because it is from 1929 is one of its charms. It is never outdated. ... Read more

Reviews (4)

Joan Crawford's Breakthrough Performance
"Our Dancing Daughters", the epitome of everything we have come to expect from the 1920's Jazz Age, fast cars, fast dancing, high energy and life led at top speed came along surprisingly late in that decade and was the film that really saw the emergence of Joan Crawford as one of Hollywood's top stars. Prior to this film she had appeared in almost twenty silent films and played leading lady to some of MGM's biggest male stars including Ramon Novarro (Across to Singapore),Lon Chaney (The Unknown), John Gilbert (Twelve Miles Out), and William Haines (West Point). This film however moved Joan forever out of leading lady roles into true stradom that she enjoyed in her illustrious career for the next 50 years.

"Our Dancing Daughters", relates the interwoven lives of three young women that are typical examples of Jazz Age "Flappers". Dangerous Diana (Joan Crawford) is a well heeled young socialite who leds a frantic life of dancing and hard partying. Very extroverted and socially mobile Diana's wild exterior actually conceals a kindly nature and a genuine care for the feelings of others. Her friend Ann (Anita Page in her most stunning performance),is the exact opposite in both appearance and personality. Outwardly demure and childlike, this facade actually conceals a selfish and nasty character who will go to whatever lengths are needed to get what she wants. When Diana begins to get serious on wealthy Ben Blaine (Johnny Mack Brown) Ann, jealous of the relationship also sets her sights on him . Because of Diana's flighty outward appearance and love of flirting innocently with the other boys in their party group, Ben gets the impression that she is not serious about their relationship and ends up falling for the devious machinations of the calculating Ann who plays up her innocent loving facade when with him. Soon they are married however the marriage is not a happy one as Ann's true character very quickly emerges and totally disillusions Ben who begins to realise that Diana is the girl he still wants. Conducting affairs behind his back and embarrassing Ben with her drinking and unexceptable behaviour at the social gatherings of friends Beatrice (Dorothy Sebastian and Norman (Nils Asther) she suddenly begins to accuse Ben and Diana of resuming their old relations. Diana indeed realises what she has lost in the decent Ben but is appalled by Ann's vicious slander attack on her. After a particulary nasty argument Anne is killed falling drunk down a flight of stairs and only in the light of day and with what has happened do Ben and Diana finally see a way to beginning a new life together.

Debate has often arisen from whether Anita Page in the showy supporting role of the nasty Anne actually stole the film from Joan Crawford playing the fast living good girl Diana. In my belief both women are wonderful in their respectice roles and combined with Dorothy Sebastian's solid but less showy role as Bea make a highly successful acting trio. So popular was this film on release with acclaim handed out to all three women that they were reteamed in two more films "Our Modern Maidens", and "Our Blushing Brides" which contrary to popular belief were not direct sequels to this story but merely had similiar titles with different characters and storylines. Joan Crawford is the very essence of the frantic pre stock market crash high living socialite in this film. Her energy in the famous Charleston scenes is depicted at an almost exhausting level and Joan is also excellent is depicting the quietier moments of the decent but bubbly party girl. Anita Page who gave many fine silent film performances in the late 20's really is excellent as the nasty Ann and her confrontation scenes with Diana often make me wonder why this dramatic powerhouse of an actress didn't enjoy more success at MGM when the sound era fully arrived. "Our Dancing Daughters", also belongs to that most interesting group of films termed "transitional talkies". Generally made around the 1928- early 1929 period when sound was really beginning to come in with full force, the film has no spoken dialogue but includes numerous sound efects like party noises or a car starting up. They make for an interesting type of presentation that only lasted a few more months before sound came fully into Hollywood movie making.

I consider "Our Dancing Daughters", to be an extremely important film on a number of different levels. Any student of the legendary Joan Crawford should include this excellent film in their collections as it reveals for the first time the real acting abilities of Joan Crawford when finally she is given a role with some meat on it. It's place in the transition between silent films and talkies is also important as it was one of the last great silent efforts in the late twenties and preserved forever how sound was gradually incorporated into MGM's major productions that year. Any film historian or lover of good drama is bound to get alot out of "Our Dancing Daughters" and for me the real plus is the wonderful acting of Joan Crawford and Anita Page in two roles for which they are still justly acclaimed.

Page the winner!
This was the big break-through movie for Joan Crawford and she's exciting to watch as a young, high-spirited jazz baby of the late Jazz Age. However, it's Anita Page who constantly catches the eye in her flashy subordinate role of the alcoholic bad girl. Anita also conspicuously stole the thunder from Bessie Love in "Broadway Melody" in l928, which won Best Picture of the year. Why she never became a great star is one of the biggest mysteries in HOllywood history. She alleges Louis B. Mayer wanted her to be a real-life goodtime gal. She resisted. She also changed agents when Broadway Melody became an international smash hit and naturally wanted more money and better roles. Mayer hit the ceiling and deliberately threw her into lack lustre parts, brutally throttling her rising stardom. Anita can be seen on cable TV's "Mysteries and Scandals" now and then. She's also a major character in the bio about her great buddy, William Haines "Wiseacre". Page shoulda been one of the greatest stars of them all. Watch her strut her stuff in this wonderfully Jazz Age flick and especially in Broadway Melody where she not only sings and talks but dances--and steals the picture from everybodyl.

ANITA PAGE STEALS THE SHOW
Excellent and racy silent film about three girls in the unhibibited jazz age. Despite Joan Crawford's top billing, blonde beauty Anita Page steals the film as the baddest girl

Great Decadent 1920's film!
Joan Crawford at the time was just a girl.But,all the more alluring.The film starts with her doing the Charleston and putting on her panties. Mind you it did'nt show nudity. Just a sublime message done innocently! Through the film she fights over a guy and wins! It really shows the fun youth had during that time and is completely innocent compared to nowadays. Although controversial at the time. One big winner! ... Read more

Reviews (3)

Prohibition Era partying as it really looked...
Joan Crawford in her final silent film, before she became the Joan Crawford, elegant and mannered, that we know and love today. Her she plays a free-thinking Jazz Age hottie, a flirty flapper of a college gal whose refusal to take life seriously, or to settle down with the right man, has serious repercussions. One one hand, the ultimate slant of the movie is conventional and moralistic, on the other, keep in mind that the moral conventions of the time were very well established, and by just presenting her wild and crazy lifestyle, the filmmakers were making a strong artistic statement. A cool chance to see the swinging '20s lifestyle pretty much as it was happening... And some of Hollywood's most luminous young stars as American film was really coming into its own.

Joan Crawford becomes a star in her last silent picture
Joan Crawford finally became a star in this 1929 film, which was her last silent picture. "Our Modern Maidens" was a follow-up to her big hit of 1928, "Our Dancing Daughters" (which is actually the better picture). Both were written by Josephine Lovett, who provide Jazz Age audiences with modern tales of sexy flappers who toyed with the emotions of their boyfriends, which is either a progressive idea or merely a slip of the conventional stereotype. To make things even more interesting, Crawford and her co-star Douglas Fairbanks, Jr. had just announced their engagement prior to the film starting production. So the happy couple were cast as flapper Billie Brown and her fiancee Gil Jordan. He wants to be a diplomat, but she is the fun loving daughter of some tycoon, so the relationship is strained, especially because Fairbanks worked for a studio other than MGM and Louis B. Mayer decreed that two Metro stars needed to live happily ever after at the end of this one. So Billie figures out she really is in love with Glen Abbott (Rod La Rocque), and Gil gets drunk at one of their wild parties and ends up getting a wild young girl named Kentucky (Anita Page) pregnant. So I was rather surprised when Billie and Glen go through with the wedding, but, of course, this is not the end of the story. Jack Conway does a competent job of directing this tale of reckless youth, but it is the art-deco sets by Cedric Gibbons and the lavish gown from Adrian that really catch you eye when watching "Our Modern Maidens." There is even a final film in the "trilogy," the 1930 "Our Blushign Brides," which is decidely more somber. However, it is not available in video to the best of my knowledge.

pretty racy stuff
Back before the Production Code, Joan Crawford became a star by being the 20's equivalent of Madonna. She was just as shockingly sexual to the 20's as the Material Girl was to us in the 80's. (F. Scott Fitzgerald even wrote about her as "the perfect example of the flapper" one of the "Young things with a talent for living") To people who have only seen the axe-wielding Crawford of the 60's (or the battle-axe Crawford of the 50's), get a copy of this movie. You'll be surprised. ... Read more

Reviews (5)

Not Buster's Best, but has it's moments
Overall, this is not exactly "College" or "Seven Chances," but it has some good moments.

The other posters have given good summaries of the overall "plot" or lack thereof, but the individual moments of the Bus-man do stand out. The scene where during the studio cop chases Bus, our hero sits on a dynamite plunger with the obvious results is a howl. Bus' song and dance "Free and Easy" (thus the title) is quite amusing, as one rarely sees our man in a song-and-dance setting.

The scene where the director tries to give Bus some vocal coaching, that results in a routine that predates "Who's On First" is a bit odd for the Bus man. Buster is funny because of his reactions to his surroundings, not because he is stupid, so this scene is sort of a let down, as is the previously described ending, which leaves the viewer with a nasty aftertaste.

So this is largey a mixed bag, interesting mainly for historical reasons. It's important to remember that generally speaking, movies from 1929-30 were still in a transition period from silents to sound, so films from that era (like this) seem very stilted and awkward to modern audiences.

Buster's 1st Talkie: 33% Buster/ 67% MGM
FREE AND EASY is Buster's first talkie (1930). And his best talkie. Of course, it does not rank with Buster's greatest silent features, but it is still very good. Buster is the manager for Miss Gopher City. The first 1/2 is pretty good when Buster, Miss Gopher City and her mother travel to Hollywood. The second 1/2 picks up steam. The scenes where Buster gets to sing and dance are wonderful. And there IS a fair share of physical comedy.

However, the ending is a disaster that seriously mars the entire film. Just when you think a great "Buster gets the girl ending" is ready to happen (as Buster becomes a "movie star" and proposes to "the girl"). The other guy gets the girl while Buster looks on like a sad clown. MGM strikes again and the beginning of the end of Buster's great career has arrived.

Buster's First Talkie
Buster's first sound picture involves him being appointed as manager of a beauty contest winner from Gopher City, Kansas. He travels to Hollywood with her and her mother (who treats him like junk) with the purpose of getting her into the movies. He's in love with her, but she meets a movie star on the train ride out and instead falls in love with him.

There are two parts to this movie. The first half has an almost documentary feel to it, basically because of MGM's primitive use of sound in its infancy at that time, coupled with Buster's natural, unphony dialogue spoken in a charmingly deep mid-western accent that must have caused 1930 audiences to gasp after hearing it for the first time. There are scenes so natural of Buster trying to explain himself out of trouble and one where he's unsuccessfully trying to park his rented car in Hollywood parking lots that make the viewers feel like they're watching Buster's real life, instead of a scripted movie. The first half shows a lot of Buster being chased by a movie studio cop, slapped at, yelled at, roughed up, beaten, and generally being treated like he's the most disrespected person on the planet.

The second half is interesting because 1930 audiences got to see Buster use his musical comedy gifts for the first time. Buster gets to play the part of a king in a comic opera. He sings, he dances. He's good at it. Although the musical sequences are kind of hokey by today's standards, I think they were pretty much what audiences at that time were getting from the Broadway stage, radio, and vaudeville, and MGM was desperate to make up for lost time with the arrival of sound films by displaying them here. In one comic sequence, after Buster walks across a soundstage on a camel, he gets off the camel and mumbles "I'd walk a mile to get that, too". This line will leave a 21st century audience questioning the meaning of that phrase, but in the 1920's, there was a popular advertising campaign for Camel cigarettes in which everyone in their ads was saying "I'd walk a mile for a Camel".

Film critics would not rank "Free and Easy" as high as Buster's classic silent features, but I like it about as much as any of those.

Sweet Anita Page Outshines Buster Keaton!!
Here is a pretty good early movie musical-comedy with silent comic Buster Keaton quite good but lovely blonde bombshell Anita Page is even better. Also a wonderful vaudeville comedienne named Trixie Frananza is hilarious in a rare film appearance as Anita's boisterious mom in a parody of stage mothers.

A Desecrated Keaton
"Free and Easy" (1930) is a poorly conceived "talkie" debut for Buster Keaton. This dreadful MGM musical-comedy desecrates Keaton's talents -- the studio even has him wear clown makeup. Except for Buster's singing and dancing, there is not a memorable moment in the film. Though Keaton's MGM talkies were a mixed bag, his remaining vehicles did not plummet to the depths of "Free and Easy." Only cinema masochists need bother. ... Read more

Reviews (3)

Wearysome...
I have never been a fan of Buster Keaton, even though I can appreciate what his fans think of him. But, in my opinion, he spoils the whole movie here. The lovely Anita Page stars in this picture which is reminiscent of "Angels With Dirty Faces." Set on the Lower East Side of New York, nobody really sounds like it, except Miss Page, who hails from Queens. The story progresses through Keaton's character, Homer Harmon, buying and fixing up a gymn for the neighbourhood kids, and continuing through some very tiring shticklech with Ukelele Ike, such as a mock wrestling scene(yawn!). Some action ensues with an older thug getting ahold of Miss Page's 14-year-old brother and attempting to turn him into Junior Thug, which he only partially succeeds in doing. There ensues a ridiculous courtroom scene with Keaton doing pratfalls(yawn)and the whole debacle thankfully ends as it always did in 1930's movies: the bad guys are put down, and the good guys win. Ho-hum. If you like Anita Page, which I do, she is the only reason for viewing this laborious flicker.

The Sidewalks of New York
THE SIDEWALKS OF NEW YORK is awful. Think of The Dead End Kids mixed with a bad Three Stooges short (except without the stooges). That about sums it up. There is not much to like about The Sidewalks of New York. Buster plays a weathy man who attempts to reform a group of steet kids who live in a building he owns. This was Buster's fourth (of seven) sound features for MGM (fall 1931). By this time Buster had lost all creative control and support. View The Sidewalks of New York only if you wish to see everything Buster was in. MGM should be ashamed of themselves.

Slumlord Buster
Buster plays Homer Harmon, a wealthy landlord of tenement buildings in a poor Irish neighborhood of New York City. He falls madly in love with the older sister of a teenage delinquent, whose gang is defacing his property. In order to win favor with the sister, Buster builds a gym for these unappreciative brats. The gang uses dialogue like "yer yella", "you big lug", "you mugs" - sort of like pre-Dead End Kids, but not as serious.

One of the best scenes in the film is where Buster gets beat up a lot while trying to teach the youngsters wrestling and boxing, something his character knows nothing about, and borrows techniques he used in the 1926 silent "Battling Butler". His partners include his co-star Cliff "Ukulele Ike" Edwards (who growls at him), and what is probably a 1931 junior wrestling champ hired for this film, a guy named Baloney (who really shows him a thing or two).

Another good scene is where Buster and Ike put on a show to raise money for the neighborhood. Bus dresses up like a gypsy girl and flirts with Ike, who's playing the part of a Russian Cossack. Later, he appears in drag again when he's mistaken for a crook named the Blonde Bandit and appears in a dress that struck me as looking like it was borrowed from Joan Crawford's dressing room.

Buster disliked "Sidewalks of New York" the most out of all the features he made at MGM between 1928-33, but it's really not that bad. The pacing moves along without dull moments, and it made a lot of money at the box office, probably because the subject matter attracted kids. But it wasn't up to his standard of quality entertainment (he knew he could do better). ... Read more

Reviews (1)

"Always a Difficult Moment in a Man's Life"
That's the best Warren William can offer when his secretary-lover Veree Teasdale has a confrontation with his open-marriage wife Hedda Hopper (yes, THAT Hedda Hopper) in the pre-Code flick about the ruthless bank president's obsession with his magnificent Art Deco skyscraper, which even outstrips the Empire State Building in height. Smooth taking William charms ladies of all kinds and he's not too bad either at schmoozing other bankers into first a merger and then a wild stockmarket ride which dashes the fortunes and futures of a whole cast of characters. "Skyscraper Souls" is a sort of "Hotel" or "Ship of Fools" where many love stories are all happening under one roof, in this case the gigantic Dwight Building. For instance, Wallace Ford is trying to talk his girlfriend into leaving her husband, Jean Hersholt is trying to woo Anita Page's dress model/good time gal into giving him a break, and another young bank teller is trying to get Maureen O'Sullivan interested in him, but she's determined to marry a rich man. Well, then it's pretty handy that Mr. Dwight aka Warren William has taken a fancy to her, since he's rolling in dough; there's a bit of a complication, though, since she's the secretary to HIS secretary and long-standing mistress. But Dwight is not the man to let any obstacle stand in his way for long, and it really looks like he's going to get the young gal and complete control of his building--but can anyone's luck hold out that long? Abounding with risque situations galore, "Skyscraper Souls" concludes with enough shocking "departures" to hold the interest of any viewer from our supposedly more "free thinking" generation. Take the elevator to the penthouse and enjoy the view! ... Read more

Reviews (1)

Highly Recommend this movie!
It's simply lots of fun to watch. Many movies these days, especially those in the horror genre, don't take the proper steps needed to ENTERTAIN. "FROM THE DEAD" does. ... Read more

Reviews (1)

hollywood mortuary
The movie was not that good to be a horror movie.I will give it a 0% beause it was boring! ... Read more