Broadway Hostess

"Broadway Hostess" (Warner Brothers/First National, 1935), directed by Frank McDonald, is a simple rise to fame and consequence story with a plot that appears to be a throwback from those numerous late 1920s-early 1930 musicals, with Winifred Shaw giving her all in what turned out to be her only starring feature during her short-lived movie career (1934-1937). And what a curio that is!

The story opens with an eyeview of New York City's Broadway district where the Club Intime rehearsals are being held for Joe Jarvis's (Joseph King) new show. Auditioning is Dorothy DuBois (Marie Wilson), who proves to be a poor candidate. Ted "Lucky" Lorimer (Lyle Talbot), Joe's assistant, feels the new song selection could use the talent of a good torch singer. In comes Winnie Wharton (Winifred Shaw) of Ohio, winner of a popularity contest, sent by her agent, to audition. After the audition, Winnie's career is set, rising to a popular radio singer whose songs boost record sales. Complications arise when Winnie, who is now in love with Lucky, finds that he wants to marry Iris Marvin (Genevieve Tobin), an heiress of social standing. The marriage is soon faced with problems, thanks to Iris's brother, Ronnie (Donald Ross), a pampered youth with a bad attitude and his love for both the liquor bottle and gambling.

With music and lyrics by Herbert Ruby and M.K. Jerome, songs include: "I'm Dancing With Tears in My Eyes," "Weary" (both sung by Winifred Shaw); "You Bother Me an Awful Lot" (written by Sammy Fain and Irving Kahal/danced by chorus); "He Was Her Man," "Weary," "Who But You," "Let It Be Me" (sung by Phil Regan); "Playboy of Paree" (sung by Shaw and Regan); "Let It Be Me" and "He Was Her Man." The production number, "Playboy of Paree," which plays part of the REVUE OF REVUES, ACT I, sequence, was choreographed by Bobby Connolly, and nominated for an Academy Award for Best Dance Direction.

Also seen in the supporting cast are Allen Jenkins as Fishcake Carter; Spring Byington as Mrs. Duncan Griswald-Smythe; Ward Bond as a bodyguard; Mary Treen, among others.

As mentioned earlier, Broadway HOSTESS offers Wini Shaw a rare opportunity in a leading role. However, she would soon find herself going back to where she started: singing guest spots and supporting roles in second features. Shaw's singing style here appears to be a combination of both Helen Morgan and Frances Langford, but if she were given more of a chance, she would have developed a style all her own. But chances for improvement did not come. Shaw retired from the screen by 1937. Of all her films, she left a lasting legacy as the vocalist who introduces the hit tune, "The Lullaby of Broadway" from GOLD DIGGERS OF 1935 (1935). And that's something to remember. Although Shaw is mentioned numerous times in Broadway HOSTESS as being a torch singer and not a Broadway hostess, it's obvious the movie title is a misnomer.

Broadway HOSTESS contains enough plot elements and forgettable songs squeezed into its tight 68 minutes, with the final eight minutes or so appearing to be rushed and handicapped by heavy editing, with the final result of the movie being mediocre entertainment (A no winner for Winnie). Genevieve Tobin however, is quite satisfactory in her usual sophisticated society girl performance; Lyle Talbot does well with his good-guy role, although he's more suitable in playing a "heavy" or bad guy than a leading man; the unknown Donald Ross is definitely unlikeable as the unpleasant Ronnie Marvin. And then there's poor Marie Wilson, who, after appearing in a few scenes earlier in the story, she is placed in the background, not to be seen and heard again. Her amusing comedy antics would have helped boost up the plot a little.

Is Winifred Shaw capable of carrying on an entire movie? The answer is to sit back and watch "Broadway Hostess" whenever it plays on cable television's Turner Classic Movies to find out. (**)

"Broadway Hostess" is a B-movie from Warner Brothers that has very little to recommend it...nor is it bad. In fact, it really is the epitome of blandness...made well enough but nothing to excite any viewer in any way.

Wini Shaw plays Winifred, a woman who supposedly has an amazing musical talent. But whenever she sings (and it's way too often), you can't help but think that you've heard better. But still, folks in the film go gaga for her and with the help of her new agent, Lucky (Lyle Talbot), she manages to become a huge success. At the same time, she's in love with Lucky and he's in love with Iris (Genevieve Tobin), though she seems indifferent towards him. And, a monkey wrench to all this is Iris' very unstable and emotionally stunted brother, Ronnie...who is simply a bad egg.

Combine mediocre singing with some actors who are dull as dishwater and indifferent and cliched writing and you have the recipe for blandness. You know this is a pretty dull thing when the best thing about the film is the sidekick (Allen Jenkins). A time-passer...at best.

By the way, if you do watch the film look for Dennis O'Keefe in the gambling hall. Before finding stardom, O'Keefe was in dozens and dozens of films as a bit player...and here he clearly is a bit player....albeit a very tall one!

Broke hustler Lyle Talbot quickly promotes singer Wini Shaw into a major star. But as their fortunes rise, their goals diverge. Miss Shaw loves Talbot steadfastly s a torch song, while Talbot sets his gaze on rich Genevieve Tobin.

Frank MacDonald's first movie as director shows signs of having its script having once had a very different ending. The Production Code had been in full force for at least eighteen months before it was released, and so all the men get what they want, including Allen Jenkins landing a very rich Spring Byington. In the meantime, there are several numbers for Miss Shaw and Phil Regan to sing, and Marie Wilson gets four lines.

MacDonald gets in a few comic bits; he was never a distinguished director, but he had a bit of a dab hand at comedy. He would spend most of his movie career at Republic, where he directed some of the best Roy Rogers vehicles outside of Joseph Kane. When he made the seemingly inevitable switch to the small screen, it was mostly westerns, but he also helmed some episodes of Get Smart. He retired at the end of the 1960s and died in 1980 at the age of 80.

Small town Ohio girl Winnie Wharton (Wini Shaw) goes into a club to audition. The owner is not impressed but Lucky Lorimer (Lyle Talbot) insists on a second chance. That is her start. In time, she would be performing in high class Park Ave clubs and Lucky would be her manager. She likes him but he keeps it professional. He starts dating steel heiress Iris Marvin (Genevieve Tobin), but she refuses to marry him.

This is nothing great, but I do appreciate the love triangle. That is also not the greatest. Winnie is gone for too long in certain sections. The trio has some chemistry but not a lot. This movie is fine mostly.

... that being - The bigger part Lyle Talbot got in a film over at 1930's Warner Brothers, the more mediocre/low budget the film was. Also, if he had a smaller role in a film he was probably the villain. So, here, Lyle is the leading man.

This musical/comedy/drama starts out weirdly as there is a club on Broadway interviewing singers for its next big show. Lucky (Lyle Talbot) is helping the owner pick out a new act as a favor to his friend, the owner. In comes Winnie (Wini Shaw), and she shows herself a talented torch singer in her audition. Now, suddenly, Lucky starts acting as Winnie's agent and negotiates a very hefty salary considering Winnie is not a name yet. Some friend Lucky is!

From there the film just devolves into a bunch of tired movie tropes to the point I'm surprised that somebody with a handlebar moustache, cape, and top hat doesn't show up and tie Winnie to the railroad tracks with Winnie screaming "Help Tom! Help Dick! Help Harry! " But I digress.

The film contains a bunch of very forgettable musical numbers to pad out the plot. One really odd one, obviously trying to imitate the magic of Busby Berkeley, is entitled "Playboy of Paree" and has dancing girls simulating bubbles in a champagne glass.

The one delight in this film -Allen Jenkins playing one of his trademark not so bright mug characters and his romantic interest, a rather air headed wealthy woman played by Spring Byington. Although she is actually 14 years older than Jenkins, he always looked rather old for his age and this teaming works and entertains.

Winnie Shaw has a great voice, and she was used to much better effect in Berkeley's number "Lullaby of Broadway" in "Gold Diggers of 1935" from the same year. This was the only vehicle she had for a leading film role, and unfortunately Warner Brothers gave her an Edsel for that vehicle.

And this film also proves that sometimes you lose the battle and win the war. Note that Marie Wilson plays a horribly off key singer in the auditions that open the film and then disappears. Marie Wilson was famous in the 1940s and 1950s playing Irma in "My Friend Irma" of film, radio, and TV.

Probably worth it only for the film history buff.