Broadway-Melodie 1936

A musical that does just what you expect, really. Decent songs, a sarcastic comedy foil (Jack Benny), a romantic couple (Robert Taylor and Eleanor Powell), a couple of talented friends (Buddy and Vilma Ebsen), and a wafer-thin plot which includes female impersonation, silly accents, and a daydream musical sequence.

The 'Broadway Melody' series didn't really tax its viewers with complicated plot lines, but certainly delivered in big spectacle numbers, decent casting of both singers and dancers, and mushy happy endings. Just what America needed during the Depression, and something which has stayed as standard, with slight variation, ever since.

The songs in this film are classics. "Dream of You", "Lucky Star" are just two of the best every written. The choreography is what you learn to expect from the likes of Eleanor Powell, Buddy Ebsen and Nick Lang. And you get a rare chance to glimpse the talents of Vilma Ebsen, Buddy's sister. (One of the few negatives of the film is Vilma's lack of acting ability. But this is a very small distraction.)

Robert Taylor is his silky smooth self. Normally easy to dislike in other films, his character (the producer) comes off as likable and honest.

If you are an Una Merkel fan, as I am, she would be reason enough to spend the time watching this picture. She is her adorable self, as Taylor's secretary.

Powell shows up as an ex girl friend from Albany, with stars in her eyes, looking for a break in show business, only to be turned away by Taylor, who honestly believes Broadway is no place for this innocent. Eleanor has a tough time emoting with the veteran actors here, and her shallow acting talent can be a little grating at times. But her dancing and off beat beauty far over ride any real distractions.

Jack Benny has a chance to display an edgier side; one which we are not used to seeing from him, and it both surprising and gratifying to see how well he carried it off.

This is one of those films you can dust off and watch any time you're feeling the need for a shot of simpler, easier times.

When critics talk about the Thirties being the era of escapist entertainment, believe me they have Broadway Melody of 1936 in mind.

For people like my parents growing up in the midst of The Depression this world where everyone wore tuxedos and danced away at rooftop parties in between Broadway shows can only be described as escapist.

The nice thing about escapist films is that the plot really doesn't have to make sense. You couldn't have a Broadway producer as young as Robert Taylor, he was 25 when this came out. And certainly a talent like Eleanor Powell would certainly have been discovered long before Taylor rediscovers his old grade school chum from Albany.

The plot such as it is involves producer Taylor and Walter Winchell like columnist Jack Benny engaging in a feud. During the course of things Benny creates a fictitious French stage star who is visiting New York. Later Taylor "discovers" Eleanor Powell masquerading as the fictitious Mademoiselle Arlette and signs her for his show.

Taylor and Benny are fine and Jack Benny gives a good performance in a character that is free of the usual Jack Benny clichés he so carefully created for his radio persona. But the film really belongs to Eleanor Powell. You look at her dance and then you look at Ruby Keeler over at Warner Brothers and there just ain't a contest. Powell was primarily a dancer, but she had good comic timing, could put over a song, and even act decently.

You will also like June Knight as the rich girl Taylor is courting for financial backing of his show. And Sid Silvers as Benny's sidekick is pretty funny especially in drag and with his scenes with Una Merkel.

The Broadway Melody of 1936 is my all-time favorite movie. One day I was watching the special features on the Singin' In the Rain 2-Disc Special Edition DVD. I watched the "Broadway Rhythm" excerpt from this movie and the "I've Got a Feelin" You're Foolin' excerpt, too. After viewing I was all "What was that?" So I watched them again. After the 4th time, I was hooked. So I bought the whole movie about a year ago and here I am today, commenting on it.

The B.M. of 1936 is an amazingly likable movie. The plot is flimsy like most other musicals of the Golden Age, but it's really, really, funny. The other reviewers summed up the plot correctly so I guess I won't be able to add anything new to that. But the smooth blend of plot and musical numbers are so dynamic that it the whole finished product just blows you away.

Now, for the stars. We have Jack Benny, in pretty much top-form as a newspaper gossip columnist. He is very likable in his role, because he (typical of 30's musicals) heroically does a good deed in the end despite all the trash he printed.

Sid Silvers is extremely hilarious as his hare-brained assistant and the scenes where he pretends to be Arlette's secretary are really funny.

This is Buddy and his sister Vilma's 1st film and Vilma's last. They are cute here as Eleanor's friends, and their dance numbers are really cute, too.

Nick Long Jr. has to be seen to be believed in the "Foolin'" number. I've never seen any dancer on screen, not even Fred Astaire do stuff like that.

Una Merkel is her usual wise-cracking, voice-of-reason self as Robert Taylor's secretary, and does top-notch work, as usual.

Little-known Broadway and B-movie actress June Knight gives an wonderful performance as the young, snooty widow who puts up the money for the show. Though probably the closest thing to a villain in the movie, she comes across as extremely likable because of the ah-mazing musical number with Robert Taylor and her wonderfully comedic acting. I don't think this movie would've become my favorite if she weren't in it.

Robert Taylor is as usual, way handsome, suave, and likable. There's really nothing more i can say about him except that he's terrific. And hunky! In here he is at the peak of his matinée idol stardom!

And Eleanor Powell. Her acting is good and she surprisingly is GREAT in her Mlle. Arlette imitation. But the dancing! It's out of this world!!! I think is the best dancer in movie history along with Fred Astaire. You have-have-HAVE to see her in the finale! Her timing and everything is so perfect, it's almost unreal! B.M. of 1936 is definitely one of her best vehicles, because she comes across as very talented, sweet, and likable.

The musical numbers, as I've said before, are extremely dynamic. Why? Because of the music and everything else. It took a lot of work, people, and time to produce the #s and it was not in vain, because all the numbers are spectacular. The key thing is the music. I's so good!!!!! All the songs are either toe-tapping or sweet and elegant ballads. One of the best Freed/Brown movie scores. The sets play a big part, too. Unlike a bunch of musicals from this period, the sets are not over-decorated and unbelievably lavish. No, they are simple, streamlined, very elegant, and art-deco. Because of these great sets, the actors' performances were displayed to the best extent they could be. Here's a list of the musical numbers:

Broadway Melody: Sung in the very beginning by Harry Stockwell.

You Are My Lucky Star: Sung after Broadway Melody by Frances Langford.

I've Got a Feelin' You're Foolin': The 1st big number here and my favorite musical number ever! Robert Taylor and June Knight are terrific together and look great. I think this # is an ultimate example of old-Hollywood glamor with the art-deco night club set, and the glitzy costumes and atmosphere. June Knight is definitely not the world's greatest dancer but her singing is great. Robert Taylor pulls off his number well with a nice singing voice. The whole thing is extremely romantic and elegant. To me, "Foolin'" is unforgettable.

Sing Before Breakfast: Buddy and Vilma Ebsen tap dance to this in the beginning. Later, Eleanor taps. It's the start of her career at MGM and a mere shadow of what was yet to come. This # is fun and adorable.

I've Got a Feelin' You're Foolin: Reprised nicely at a rehearsal by Frances Langford.

You Are My Luck Star: Another big # and enchanting! I am sure everybody will like this lavish ballet but I think it's a tad bit not as good as the other #'s for some reason I can't pinpoint. it's first sung by Eleanor (dubbed by Marjorie White) and then danced by Eleanor and a bunch of chorines.

On a Sunday Afternoon: Another cute big-ish # by Buddy and Vilma. Their tapping is great. They're is in 1890's period costume for this.

A Cappella Tap: Eleanor does an a cappella tap #! She is truly amazing in this while in Arlette guise.

Broadway Rhythm: The glorious finale! You have to see this! The costumes and the set and acts are just wow!!!!!! And that MUSIC is absolutely soul-searing!!!!! And when Eleanor comes out for the end, she does one of her best tap solos ever! I can hardly describe this, just see the number and you'll love it! Well, that's the end of my review. I think this the the Best B'Way Melody and one of the best old musicals ever. Bye!

Here's a good cast and a very entertaining film with laughs, endearing characters, some good tap dancing and a couple of very catchy songs.

Jack Benny is very good as the snooping obnoxious gossip reporter and Phil Silvers is humorous as Benny's dumb assistant "Snoop." Una Merkel is her typically cute and likable self;, and Eleanor Powell's tap dancing is great to watch, as always. Also interesting to watch perform is the brother-sister duo of Buddy and Velma Ebsen.

This is a strictly lightweight comedy-musical that is long on the corn but also on everything that is entertaining. I always thought this was the best of the several "Broadway Melody" movies. It's certainly the most fun one to watch.