MGM, 1937
Starring Eleanor Powell, Robert Taylor, George Murphy, and Buddy Ebsen
Directed by Roy Del Ruth
Music by Nacio Herb Brown and others; Lyrics by Arthur Freed and others
Within a year of the release of Broadway Melody of 1936, Eleanor Powell became MGM's biggest dancing star. She first went into the similar Born to Dance and operetta-backstage hybrid Rosalie, then rejoined Ebsen and Taylor for the third entry in the series. Newcomers George Murphy and Judy Garland and beloved singer Sophie Tucker were added to the cast, and Binnie Barnes was borrowed from Universal. How does this odd hybrid of horse race comedy and backstage tale look today? This time, we begin on the street, as former vaudevillians Sonny Ledford (Murphy) and Peter Trot (Ebsen) take a job working for a rich horse-rearing couple that just happens to have bankrolled a Broadway show...
The Story: Peter and Sonny are hired by wealthy Herman J. Whipple (Raymond Walburn) and his spoiled former showgirl wife Caroline (Binnie Barnes) to take care of their race horses. Horse trainer Sally Lee (Powell) is especially interested in one horse, Stargazer, that her family used to own. She sneaks onto a train to be with him and make her way to New York, which is how she meets Sonny and Peter. She's upset when she finds out that Caroline intends to get rid of Stargazer after he injures himself in a race and ends up buying him at auction, despite the high cost.
Meanwhile, she also meets talent agent and producer Steve Raleigh (Taylor) while on the train. He's smitten by her and insists on putting her in his new show, despite the Whipples insisting on known talent. Steve puts up the money for Sally to buy Stargazer but gives it to Sonny to hand to her, claiming he doesn't want her to think it's charity. Sally ultimately leaves the show to focus on Stargazer and prevent friction between the Whipples and Steve. Now all they have to do is let Stargazer win a race...but it'll take some help from the residents of their boarding house, especially the opera-singing son (Charles Igor Gorin) of a Greek shopkeeper (Billy Gilbert), to make Stargazer a winner.
The Song and Dance: Well, they get points for originality. I know of maybe one or two other musicals that cross race track antics and backstage hustle. Garland steals the film with her big "Dear Mr. Gable" and "Everybody Sing" routines. Murphy and Ebsen are also charming, and Murphy partners Powell quite well. Tucker handles her short, sentimental role with relish, and Barnes makes a slightly more interesting spoiled rich woman than June Knight did in '36.
Favorite Number: Murphy, Powell, and Ebsen "Follow In My Footsteps" together as they get to know one another on the train to New York. The big spectacular finale is "Your Broadway and My Broadway." It starts with Sophie Tucker describing the changes in the Broadway theater over the years and ends with Ebsen dancing with Garland and Powell first dancing with the guys, then with the chorus, incorporating several hits from other MGM movies on the way.
Despite her limited screen time, Garland gets the movie's two best numbers. She performs "Everybody Sing" to show off what she can do in Raleigh's office and is so bubbly and energetic, everyone else in the office gets into it. "Dear Mr. Gable" is a Roger Edens re-write of the standard "You Made Me Love You" as Garland sings a letter she's writing to then-major MGM hunk Clark Gable. The song itself still sounds like something a typical 15-year-old girl would write if she e-mailed or contacted her favorite idol, and Garland is natural and adorable performing it.
Trivia: Edens originally wrote "Dear Mr. Gable" for Garland to sing at Gable's birthday party. Producer Louis B. Mayer loved it so much, he had it rushed into Broadway Melody.
What I Don't Like: The movie may have boosted Garland's career, but she doesn't have much to do beyond her two big songs and the finale. "Dear Mr. Gable" has nothing whatsoever to do with the rest of the movie, and it's pretty obvious it was dropped in just to give Garland her big opportunity. The plot may be original, but it's also even more ridiculous than the last movie. In fact, it feels like we have two different films here, A Day at the Races without the Marx Brothers and a Warners-esque backstage story with kids and grandmothers.
Not to mention, other than the re-written "Dear Mr. Gable (You Made Me Love You)," Brown and Freed's score isn't nearly as memorable as their music for the first two films - the big "Your Broadway" finale is especially dull despite its flash.
The Big Finale: Only necessary for major fans of Garland or 30's musicals; cute time-waster on TCM for anyone else.
Home Media: Same deal as Broadway Melody of 1936. It's on DVD from the Warner Archives and can be found for streaming on Amazon Prime.
DVD
Amazon Prime
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Showing posts with label Broadway Melody. Show all posts
Showing posts with label Broadway Melody. Show all posts
Thursday, June 18, 2020
Tuesday, June 16, 2020
Broadway Melody of 1936
MGM, 1935
Starring Eleanor Powell, Jack Benny, Robert Taylor, and Una Merkel
Directed by Roy Del Ruth
Music by Nacio Herb Brown; Lyrics by Arthur Freed
When musicals made a comeback in Hollywood during the mid-30's, the studios also revived their earliest hits in series of semi-revues. We're already seen two entries in this trend, Gold Diggers of 1933 from Warners and The Big Broadcast of 1938 from Paramount. How does MGM's second entry in this series fare? Let's head to New York, where gossip columnist Bert Keeler (Benny), "The Eyes and Ears of Broadway," is breathlessly describing another "blessed event," and find out...
The Story: Bert's boss (Paul Harvey) wants him to drop all the baby news and start picking up really juicy scoops. He and his assistant Snoop Blue (Sid Silvers) run into one when they overhear wealthy widow Lillian Brett (June Knight) and stage producer Bob Gordon (Taylor) talking about her financing his next musical. Keeler latches onto this tidbit and splashes it all over his column, to Gordon's disgust.
Meanwhile, Irene Foster, who had been Bob's girlfriend in high school, has come to New York hoping he'll give her a chance in his latest show. He first doesn't recognize her, then turns her down to protect her from the big city. She and Bob's secretary Kitty (Merkel) finally take advantage of the fictional French actress Keeler created in his column to turn Irene into a haughty French beauty and get her on the stage. It works, to the frustration of Lillian, who had hoped to star. Keeler, however, has just gotten news from France that changes everything. Now he has to figure out how to reveal his deception without doing further damage to anyone's reputation, including his.
The Song and Dance: MGM was known as "the Tiffany studio," where every movie came out with a glamorous, gem-like sheen. They threw everything they had into this one, and from the glittering costumes and sets to the frothy script that finds room for a man who specializes in snoring. Powell shines in her first major role; check out her incredible high kicks in "Sing Before Breakfast." Nice score, too, probably Brown and Freed's best together.
Favorite Number: Taylor and Knight duet on "I Got a Feelin' You're Foolin'" in the nightclub, which somehow leads into a massive chorus number that includes Knight dancing with Nick Long Jr. and lots of extras showing off fluffy gowns. "Sing Before Breakfast" is a showcase for Powell and Buddy Ebsen and his sister Wilma as they meet Powell and explain why they're dancing on the roof. "You are My Lucky Star" is heard several times, notably as a dream ballet for Powell when she imagines what it'll like to dance in a Broadway show. The charming "On a Sunday Afternoon" is one of two two good songs from the show itself, performed by the Ebsens and the chorus in early 20th century dress. "Broadway Rhythm," the big finale, starts off with Frances Langford, but eventually includes one last duet from Knight and Long and the Ebsens and Powell kicking and leaping with chorus boys in tuxedoes.
Trivia: This was Powell's first leading role and Buddy Ebsen's first film.
It was nominated for Best Picture in 1936.
What I Don't Like: This is cute, but...Best Picture material, it is not. The nomination likely came on the strength of those big numbers. The story is pedestrian and silly, Taylor is clearly bored, and Benny is miscast as a Walter Winchell-type gossip hound. Knight's a great dancer, but she was normally a stage star and was stiff in front of the cameras.
The Big Finale: Mainly worth checking out for the numbers if you love Powell or the splashier shows of the 1930's.
Home Media: Currently avalible on DVD via the Warner Archives; Amazon Prime has it for streaming.
DVD
Amazon Prime
Starring Eleanor Powell, Jack Benny, Robert Taylor, and Una Merkel
Directed by Roy Del Ruth
Music by Nacio Herb Brown; Lyrics by Arthur Freed
When musicals made a comeback in Hollywood during the mid-30's, the studios also revived their earliest hits in series of semi-revues. We're already seen two entries in this trend, Gold Diggers of 1933 from Warners and The Big Broadcast of 1938 from Paramount. How does MGM's second entry in this series fare? Let's head to New York, where gossip columnist Bert Keeler (Benny), "The Eyes and Ears of Broadway," is breathlessly describing another "blessed event," and find out...
The Story: Bert's boss (Paul Harvey) wants him to drop all the baby news and start picking up really juicy scoops. He and his assistant Snoop Blue (Sid Silvers) run into one when they overhear wealthy widow Lillian Brett (June Knight) and stage producer Bob Gordon (Taylor) talking about her financing his next musical. Keeler latches onto this tidbit and splashes it all over his column, to Gordon's disgust.
Meanwhile, Irene Foster, who had been Bob's girlfriend in high school, has come to New York hoping he'll give her a chance in his latest show. He first doesn't recognize her, then turns her down to protect her from the big city. She and Bob's secretary Kitty (Merkel) finally take advantage of the fictional French actress Keeler created in his column to turn Irene into a haughty French beauty and get her on the stage. It works, to the frustration of Lillian, who had hoped to star. Keeler, however, has just gotten news from France that changes everything. Now he has to figure out how to reveal his deception without doing further damage to anyone's reputation, including his.
The Song and Dance: MGM was known as "the Tiffany studio," where every movie came out with a glamorous, gem-like sheen. They threw everything they had into this one, and from the glittering costumes and sets to the frothy script that finds room for a man who specializes in snoring. Powell shines in her first major role; check out her incredible high kicks in "Sing Before Breakfast." Nice score, too, probably Brown and Freed's best together.
Favorite Number: Taylor and Knight duet on "I Got a Feelin' You're Foolin'" in the nightclub, which somehow leads into a massive chorus number that includes Knight dancing with Nick Long Jr. and lots of extras showing off fluffy gowns. "Sing Before Breakfast" is a showcase for Powell and Buddy Ebsen and his sister Wilma as they meet Powell and explain why they're dancing on the roof. "You are My Lucky Star" is heard several times, notably as a dream ballet for Powell when she imagines what it'll like to dance in a Broadway show. The charming "On a Sunday Afternoon" is one of two two good songs from the show itself, performed by the Ebsens and the chorus in early 20th century dress. "Broadway Rhythm," the big finale, starts off with Frances Langford, but eventually includes one last duet from Knight and Long and the Ebsens and Powell kicking and leaping with chorus boys in tuxedoes.
Trivia: This was Powell's first leading role and Buddy Ebsen's first film.
It was nominated for Best Picture in 1936.
What I Don't Like: This is cute, but...Best Picture material, it is not. The nomination likely came on the strength of those big numbers. The story is pedestrian and silly, Taylor is clearly bored, and Benny is miscast as a Walter Winchell-type gossip hound. Knight's a great dancer, but she was normally a stage star and was stiff in front of the cameras.
The Big Finale: Mainly worth checking out for the numbers if you love Powell or the splashier shows of the 1930's.
Home Media: Currently avalible on DVD via the Warner Archives; Amazon Prime has it for streaming.
DVD
Amazon Prime
Tuesday, February 19, 2019
Oscar Winners - The Broadway Melody
MGM, 1929
Starring Bessie Love, Anita Page, Charles King, and Kenneth Thomson
Directed by Harry Beaumont
Music by Nacio Herb Brown; Lyrics by Arthur Freed
For the next three weeks, we'll be looking at the musicals that took home Best Picture at the Academy Awards in honor of the Oscars ceremony on February 24th. We kick off the series with none other than the very first film musical. Most people consider The Jazz Singer to be the first movie musical, but it was really a silent movie with a few sound and song sequences. That title belongs to this blockbuster smash, the biggest hit of 1929 and one of the most influential films of the early talkie era. Does it still wow them in the aisles today, or should it be sent packing? Let's head to Tin Pan Alley in New York to find out...
The Story: Queenie (Page) and Harriet "Hank" Mahoney (Love) are a small-time vaudeville sister act that's determined to make it on Broadway. Queenie is young and not terribly talented, but is also sweet-natured and quite lovely. While Hank is quite pretty herself, she's really the more talented and sensible (and short-tempered) of the duo and handles all their business affairs. Hank's fiancee Eddie (King) is a songwriter who claims they're virtually guaranteed a spot in impresario Francis Zanfield's (Eddie Kane) big Broadway revue. Turns out Eddie's not as influential as he thinks. Flo, one of the more obnoxious chorus girls (Mary Doran), sabotages the piano for their act, and the only reason Zanfield ends up taking them is because of Queenie's looks.
Meanwhile, Eddie admits he's fallen in love with Queenie, who knows how much her older sister loves him. She ends up going out with Jock Warriner (Thomson), a wealthy playboy. Things aren't going well with the show, either. The girls are cut from the big "Broadway Melody" number Eddie wrote for them, and Flo keeps baiting Hank into fighting her. Queenie insists that she knows what she's doing, but Hank knows better...and she's the one who finally sends Eddie to prove how much he truly loves her sister.
The Song and Dance: For all the melodrama, it's Bessie Love as Hank who really owns this film (and deserved her Oscar nomination). There apparently was a silent version, but silence could never do Hank justice. Only speech could truly show the vulnerability under the tough exterior. Of the remaining cast, Doran's not bad as her rival; their ongoing cat fights prompts some of the film's best lines. King's mostly stiff, but he does have a good moment after he's thrown out of the apartment Warriner bought for Queenie and realizes he's a better composer than fighter.
To give the movie some credit, it moves pretty quickly for a film of its time. Directed Harry Beaumont tried to give the movie more mobility than had been previously possible with the heavy sound equipment, including a mobile "coffin on wheels" camera for the scene where Queenie is chatting with Jock at her party.
Favorite Number: The hit ballad "You Were Meant for Me" is sweet, simple, and direct, just Eddie telling a reluctant Queenie how he really feels about her. The girls finally get a duo number that isn't sabotaged with the adorable "The Boy Friend" towards the end. The orchestra at Queenie's birthday party does fairly well with the low-key "Truthful Parson Brown" (the only song not written by Brown and Freed; it's from Willard Robinson). "The Wedding of the Painted Doll" may not have anything whatsoever to do with the rest of the story, but it does have some incredibly limber acrobatic work.
Trivia: Speaking of "The Wedding of the Painted Doll," that sequence was originally filmed in early 2-strip Technicolor. The color print has since been lost, and the sequence now only exists in black and white.
"Wedding" was also the first time a movie musical number made use of pre-recorded playback. Producer Irving Thalburg wanted to reshoot the number in color, but the color cameras were expensive. Instead of hiring the orchestra again, they just played the recording they made the first time. With very few exceptions, that's how most movie musicals have done it ever since.
Love had one of the most remarkable careers in Hollywood history. She started in silent films like the original The Lost World in the early 20's, and was still going in England in the early 1980's.
What I Don't Like: If there was ever a movie made for its time and place, this one was it. While its success gave credibility to sound movies and movie musicals, all most modern audiences (and critics) see is a load of overwrought soap opera with incredibly stiff and badly-choreographed musical numbers. Half the dancers don't know what they're doing, especially in the title number. And what's with the poor girl tapping on her toes there? It just looks painful. "The Love Boat" literally does not move at all. Tableaus - showgirls in living "pictures" - may have looked amazing on the stage, but they weren't made for movies (where things are supposed to, you know, move).
Most of the actors are nowhere near Love's level. Page was still a teenager when she made this movie, and her inexperience shows. She sings "The Boy Friend" with Love, then wanders off to the side to let Love and the dancers do their thing. Granted, this works with the plot when Zanfield hires them because of Queenie's looks rather than any natural talent, but it doesn't make the movie easier to watch. Jed Prouty, as Queenie and Hank's stuttering uncle and manager, is just annoying.
The Big Finale: I like this one because of Love and my interest in 20th century history, but it hasn't dated well, to say the least. Unless you're also a fan of the Roaring 20's or the early talkie era, or you must see every Oscar movie, you can probably take a pass on this one.
Home Media: I have the original 2-disc Special Edition from 2006, but most people who are interested will probably be fine with last year's re-release on the Warner Archives; as one of the few surviving films of its era and an Oscar-winner, it can also be found on many streaming platforms.
DVD
Google Play
Starring Bessie Love, Anita Page, Charles King, and Kenneth Thomson
Directed by Harry Beaumont
Music by Nacio Herb Brown; Lyrics by Arthur Freed
For the next three weeks, we'll be looking at the musicals that took home Best Picture at the Academy Awards in honor of the Oscars ceremony on February 24th. We kick off the series with none other than the very first film musical. Most people consider The Jazz Singer to be the first movie musical, but it was really a silent movie with a few sound and song sequences. That title belongs to this blockbuster smash, the biggest hit of 1929 and one of the most influential films of the early talkie era. Does it still wow them in the aisles today, or should it be sent packing? Let's head to Tin Pan Alley in New York to find out...
The Story: Queenie (Page) and Harriet "Hank" Mahoney (Love) are a small-time vaudeville sister act that's determined to make it on Broadway. Queenie is young and not terribly talented, but is also sweet-natured and quite lovely. While Hank is quite pretty herself, she's really the more talented and sensible (and short-tempered) of the duo and handles all their business affairs. Hank's fiancee Eddie (King) is a songwriter who claims they're virtually guaranteed a spot in impresario Francis Zanfield's (Eddie Kane) big Broadway revue. Turns out Eddie's not as influential as he thinks. Flo, one of the more obnoxious chorus girls (Mary Doran), sabotages the piano for their act, and the only reason Zanfield ends up taking them is because of Queenie's looks.
Meanwhile, Eddie admits he's fallen in love with Queenie, who knows how much her older sister loves him. She ends up going out with Jock Warriner (Thomson), a wealthy playboy. Things aren't going well with the show, either. The girls are cut from the big "Broadway Melody" number Eddie wrote for them, and Flo keeps baiting Hank into fighting her. Queenie insists that she knows what she's doing, but Hank knows better...and she's the one who finally sends Eddie to prove how much he truly loves her sister.
The Song and Dance: For all the melodrama, it's Bessie Love as Hank who really owns this film (and deserved her Oscar nomination). There apparently was a silent version, but silence could never do Hank justice. Only speech could truly show the vulnerability under the tough exterior. Of the remaining cast, Doran's not bad as her rival; their ongoing cat fights prompts some of the film's best lines. King's mostly stiff, but he does have a good moment after he's thrown out of the apartment Warriner bought for Queenie and realizes he's a better composer than fighter.
To give the movie some credit, it moves pretty quickly for a film of its time. Directed Harry Beaumont tried to give the movie more mobility than had been previously possible with the heavy sound equipment, including a mobile "coffin on wheels" camera for the scene where Queenie is chatting with Jock at her party.
Favorite Number: The hit ballad "You Were Meant for Me" is sweet, simple, and direct, just Eddie telling a reluctant Queenie how he really feels about her. The girls finally get a duo number that isn't sabotaged with the adorable "The Boy Friend" towards the end. The orchestra at Queenie's birthday party does fairly well with the low-key "Truthful Parson Brown" (the only song not written by Brown and Freed; it's from Willard Robinson). "The Wedding of the Painted Doll" may not have anything whatsoever to do with the rest of the story, but it does have some incredibly limber acrobatic work.
Trivia: Speaking of "The Wedding of the Painted Doll," that sequence was originally filmed in early 2-strip Technicolor. The color print has since been lost, and the sequence now only exists in black and white.
"Wedding" was also the first time a movie musical number made use of pre-recorded playback. Producer Irving Thalburg wanted to reshoot the number in color, but the color cameras were expensive. Instead of hiring the orchestra again, they just played the recording they made the first time. With very few exceptions, that's how most movie musicals have done it ever since.
Love had one of the most remarkable careers in Hollywood history. She started in silent films like the original The Lost World in the early 20's, and was still going in England in the early 1980's.
What I Don't Like: If there was ever a movie made for its time and place, this one was it. While its success gave credibility to sound movies and movie musicals, all most modern audiences (and critics) see is a load of overwrought soap opera with incredibly stiff and badly-choreographed musical numbers. Half the dancers don't know what they're doing, especially in the title number. And what's with the poor girl tapping on her toes there? It just looks painful. "The Love Boat" literally does not move at all. Tableaus - showgirls in living "pictures" - may have looked amazing on the stage, but they weren't made for movies (where things are supposed to, you know, move).
Most of the actors are nowhere near Love's level. Page was still a teenager when she made this movie, and her inexperience shows. She sings "The Boy Friend" with Love, then wanders off to the side to let Love and the dancers do their thing. Granted, this works with the plot when Zanfield hires them because of Queenie's looks rather than any natural talent, but it doesn't make the movie easier to watch. Jed Prouty, as Queenie and Hank's stuttering uncle and manager, is just annoying.
The Big Finale: I like this one because of Love and my interest in 20th century history, but it hasn't dated well, to say the least. Unless you're also a fan of the Roaring 20's or the early talkie era, or you must see every Oscar movie, you can probably take a pass on this one.
Home Media: I have the original 2-disc Special Edition from 2006, but most people who are interested will probably be fine with last year's re-release on the Warner Archives; as one of the few surviving films of its era and an Oscar-winner, it can also be found on many streaming platforms.
DVD
Google Play
Tuesday, August 21, 2018
Double Feature - Born to Dance and The Broadway Melody of 1940
Hi, folks! Today, I have not one, but two classic musicals from MGM in the 1930's and early 40's. Both feature star dancer Eleanor Powell tapping to music by Cole Porter (with two hit ballads from each), great supporting casts, and spectacular final numbers. Hope you've strapped on your dancing shoes!
Born to Dance
MGM, 1936
Directed by Roy Del Ruth
Starring Eleanor Powell, James Stewart, Buddy Ebsen, and Virginia Bruce
The Story: Nora Page (Powell) arrives in New York with not a cent to her name, hoping to become a Broadway star. She's given a place to stay by Jenny Saks (Una Merkel), who runs a boarding house. Jenny got married to a man she barely remembers in a marathon dance contest, and now she's a single mother with a very inquisitive child (Juanita Quigley). Her husband turns out to be Seaman "Gunny" Saks (Sid Silvers), who just left the Navy with his buddies Mush Tracy (Buddy Ebsen) and Officer Ted Barker (James Stewart). Tracy and Barker waste no time courting waitress Pepper Turner (Frances Langford) and Nora respectively.
The three couples are coming along quite well...until Broadway star Lucy James (Virginia Bruce) and her pekingese board the ship where the trio of Navy officers work. Ted rescues her dog when it jumps overboard, making him a sensation. Neither he nor Lucy are overly thrilled when her agent (Alan Dinehart) insists on splashing their non-existent "romance" on the front page of every paper in town. Ted gets Nora the understudy role in Lucy's Navy-themed show to prove he has no interest in her. All the publicity is unnerving Lucy, who lashes out and orders Nora fired. It doesn't help that Nora, trying to stand up for Jenny, has lied and said that Jenny's daughter was hers. It takes intervention from their friends to finally get the two together and onstage, where they belong.
The Song and Dance: Like The Boy Friend, this movie's at it's best when it focuses on the romances and the cast. Powell and Stewart have a charming, down-home chemistry that makes their scenes together really adorable, even when the plot contrivances in the second half kick in. Ebsen doesn't have much to do, though he does get two good dance solos in. Merkel and Silvers are also fun as the comics, in a plot line that actually seems a little racy for the mid-30's.
Favorite Number: "Hey Babe Hey," the number where the three couples meet for the first time, is a lovely group dance number that shows off Ebsen's eccentric dancing and feels spontaneous and fun. "Swingin' the Jinx Away," the huge finale with Powell tapping like mad around thousands of Navy seamen and two big guns, is probably the most famous routine from this movie, and one of the numbers Powell is most associated with. It really comes off as a little too much of everything today, going on for at least five minutes or so too long. This movie's two standards are far better-served. Stewart serenades Powell in the park with "Easy to Love" (and doesn't sound too bad, despite his protests otherwise in That's Entertainment), while Bruce introduces a languid "I've Got You Under My Skin." ("Under My Skin" was nominated for an Oscar.)
What I Don't Like: Bruce was fine when singing the goofy "Love Me, Love My Pekingnese" with the crew, but she's less believable as a spoiled diva later in the film. Her ranting is more stiff than passionate. Most of the plot is pretty much piffle, especially in the second half, when a couple of explanations would probably fix everything well before the fade-out.
The Big Finale: I believe it's out of print now, but if you love the cast, Cole Porter, or the Busby Berkley imitations of the 1930's, it's worth tracking down.
The Broadway Melody of 1940
MGM, 1940
Directed by Norman Taurog
Starring Eleanor Powell, Fred Astaire, George Murphy, and Frank Morgan
The Story: We change things up a bit here by making Powell the diva and her leading men the ones looking for their big break. King Shaw (Murphy) and Johnny Brett (Astaire) are doing their act for free in a dance hall when producer Bob Casey (Morgan) catches the show. He thinks Johnny would be perfect to compliment his star Clare Bennett (Powell). Johnny mistakes him for a bill collector when he shows up at their door and tells him he's King, making Casey offer King the part. Johnny still wants to help out, but ends up falling for Clare when she has lunch with him. It doesn't help that all the attention is giving King a big head, making him miss rehearsals. He's so drunk on opening night, Johnny goes on for him, but lets King think he did it. An angry Clare reveals the truth. Now King has to get his partner back and put the right man onstage.
The Song and Dance: Powell's a bit less believable as a tough-minded diva than as a starry-eyed dreamer, but her leading men more than ably pick up the slack. This was Astaire's first role at MGM since 1933's Dancing Lady, and he works quite well with both Powell and Murphy. Morgan gets some nice moments when he realizes his mistake and while squiring an attractive but empty-headed southern belle to a night club.
Favorite Number: Two of the most amazing dance routines ever committed to celluloid can be found in this film. "Jukebox Dance" was Eleanor Powell's own favorite of her numbers, and she and Astaire go to town in a challenge routine that reveals which partner is really the better dancer. This movie's most famous routine is the finale, "Begin the Beguine." No flash, no guns, no chorus. Just two of the top tap dancers in the world and a platoon of mirrors, giving us perfection from every angle. Other standards include Astaire's solo "I've Got My Eye On You," danced with Powell's compact, and "I Concentrate On You."
What I Didn't Like: While slightly more substantial than in Born to Dance, the plot is still more of an afterthought than anything. Though he pairs well with Astaire, Murphy's cockiness can be harder to take, especially when his ego is inflating later in the film. (No wonder he went into politics later.)
The Big Finale: Unlike Born to Dance, this one is easily found on DVD (currently via the Warner Archives). If you're a fan of Astaire, Powell, or dancing in general, this is one beguine you'll most certainly want to begin.
Born to Dance
MGM, 1936
Directed by Roy Del Ruth
Starring Eleanor Powell, James Stewart, Buddy Ebsen, and Virginia Bruce
The Story: Nora Page (Powell) arrives in New York with not a cent to her name, hoping to become a Broadway star. She's given a place to stay by Jenny Saks (Una Merkel), who runs a boarding house. Jenny got married to a man she barely remembers in a marathon dance contest, and now she's a single mother with a very inquisitive child (Juanita Quigley). Her husband turns out to be Seaman "Gunny" Saks (Sid Silvers), who just left the Navy with his buddies Mush Tracy (Buddy Ebsen) and Officer Ted Barker (James Stewart). Tracy and Barker waste no time courting waitress Pepper Turner (Frances Langford) and Nora respectively.
The three couples are coming along quite well...until Broadway star Lucy James (Virginia Bruce) and her pekingese board the ship where the trio of Navy officers work. Ted rescues her dog when it jumps overboard, making him a sensation. Neither he nor Lucy are overly thrilled when her agent (Alan Dinehart) insists on splashing their non-existent "romance" on the front page of every paper in town. Ted gets Nora the understudy role in Lucy's Navy-themed show to prove he has no interest in her. All the publicity is unnerving Lucy, who lashes out and orders Nora fired. It doesn't help that Nora, trying to stand up for Jenny, has lied and said that Jenny's daughter was hers. It takes intervention from their friends to finally get the two together and onstage, where they belong.
The Song and Dance: Like The Boy Friend, this movie's at it's best when it focuses on the romances and the cast. Powell and Stewart have a charming, down-home chemistry that makes their scenes together really adorable, even when the plot contrivances in the second half kick in. Ebsen doesn't have much to do, though he does get two good dance solos in. Merkel and Silvers are also fun as the comics, in a plot line that actually seems a little racy for the mid-30's.
Favorite Number: "Hey Babe Hey," the number where the three couples meet for the first time, is a lovely group dance number that shows off Ebsen's eccentric dancing and feels spontaneous and fun. "Swingin' the Jinx Away," the huge finale with Powell tapping like mad around thousands of Navy seamen and two big guns, is probably the most famous routine from this movie, and one of the numbers Powell is most associated with. It really comes off as a little too much of everything today, going on for at least five minutes or so too long. This movie's two standards are far better-served. Stewart serenades Powell in the park with "Easy to Love" (and doesn't sound too bad, despite his protests otherwise in That's Entertainment), while Bruce introduces a languid "I've Got You Under My Skin." ("Under My Skin" was nominated for an Oscar.)
What I Don't Like: Bruce was fine when singing the goofy "Love Me, Love My Pekingnese" with the crew, but she's less believable as a spoiled diva later in the film. Her ranting is more stiff than passionate. Most of the plot is pretty much piffle, especially in the second half, when a couple of explanations would probably fix everything well before the fade-out.
The Big Finale: I believe it's out of print now, but if you love the cast, Cole Porter, or the Busby Berkley imitations of the 1930's, it's worth tracking down.
The Broadway Melody of 1940
MGM, 1940
Directed by Norman Taurog
Starring Eleanor Powell, Fred Astaire, George Murphy, and Frank Morgan
The Story: We change things up a bit here by making Powell the diva and her leading men the ones looking for their big break. King Shaw (Murphy) and Johnny Brett (Astaire) are doing their act for free in a dance hall when producer Bob Casey (Morgan) catches the show. He thinks Johnny would be perfect to compliment his star Clare Bennett (Powell). Johnny mistakes him for a bill collector when he shows up at their door and tells him he's King, making Casey offer King the part. Johnny still wants to help out, but ends up falling for Clare when she has lunch with him. It doesn't help that all the attention is giving King a big head, making him miss rehearsals. He's so drunk on opening night, Johnny goes on for him, but lets King think he did it. An angry Clare reveals the truth. Now King has to get his partner back and put the right man onstage.
The Song and Dance: Powell's a bit less believable as a tough-minded diva than as a starry-eyed dreamer, but her leading men more than ably pick up the slack. This was Astaire's first role at MGM since 1933's Dancing Lady, and he works quite well with both Powell and Murphy. Morgan gets some nice moments when he realizes his mistake and while squiring an attractive but empty-headed southern belle to a night club.
Favorite Number: Two of the most amazing dance routines ever committed to celluloid can be found in this film. "Jukebox Dance" was Eleanor Powell's own favorite of her numbers, and she and Astaire go to town in a challenge routine that reveals which partner is really the better dancer. This movie's most famous routine is the finale, "Begin the Beguine." No flash, no guns, no chorus. Just two of the top tap dancers in the world and a platoon of mirrors, giving us perfection from every angle. Other standards include Astaire's solo "I've Got My Eye On You," danced with Powell's compact, and "I Concentrate On You."
What I Didn't Like: While slightly more substantial than in Born to Dance, the plot is still more of an afterthought than anything. Though he pairs well with Astaire, Murphy's cockiness can be harder to take, especially when his ego is inflating later in the film. (No wonder he went into politics later.)
The Big Finale: Unlike Born to Dance, this one is easily found on DVD (currently via the Warner Archives). If you're a fan of Astaire, Powell, or dancing in general, this is one beguine you'll most certainly want to begin.
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