Broadway Rhythm

Talented Eddie "Rochester" Anderson stars in another fine example of racism at work in America, namely the unwritten rule of black actors not being allowed to perform with their white counterparts unless they are domestic servants. The exception here is the George and Ira Gershwin number "Somebody Loves Me," performed by Lena Horne. Many scenes with black performers, including the Hazel Scott piono swing version of "Minute Waltz," are positioned in such a way that theaters in the South could cut them without losing the storyline.Archie Savage is Horne's dance partnet in "Brazilian Boogie-Woogie," another noteworthy number, and leading lady Ginny Simms does a good job with "All the Things You Are." Nancy Walker and Ben Blue are hilarious in the "Milkman Keep Those Bottles Quiet" number with Tommy Dorsey and his orchestra.

While this is bright and colorful with some wonderful music this MGM musical is most assuredly not a top of the line production.

Based on a successful Broadway show, Very Warm for May, that the producers chose to cut to ribbons taking many of the songs out and turning into an ordinary backstage story of a brash blow-hard trying to put on a show.

A big indicator of the lower expectations that befell the property is the cast. None of the top line Metro stars are on board.

While originally intended for Judy Garland the lead is now filled by lesser light Ginny Simms. Simms had a beautiful voice and a lovely face but knowing the part was meant for Judy allows the viewer to consider star quality and the impact one performer makes on screen over another. Whereas Judy was always relaxed, natural and alive when the cameras were trained on her Ginny comes across as stiff and uneasy. You can almost see her counting down until the other person in the scene finishes talking so she can say her lines. However when she sings she's more at ease and accessible. This was to be her big chance at above the title screen stardom but the movie was an under performer and after a few more supporting roles, one in Night and Day showed her to good advantage, she went back to the bandstand. She doesn't ruin the film but she doesn't help it much.

The next performer that indicates the lower expectations of the picture is George Murphy in the lead. A top star in 30's musicals and a fine dancer he had moved down to second leads and B's by this point so his casting in this as opposed to Gene Kelly or Fred Astaire shows the studio didn't firmly believe in the material.

It's not all bad, the supporting cast has a few saving graces, although Gloria De Haven is arch and annoying. Charles Winninger and Rochester are there with their stock but amusing characters and blessedly Nancy Walker adds spice whenever she shows up on the scene, to bad her part wasn't bigger.

As was the custom at the time the film has several specialty numbers and they are a very mixed bag.

The bad: impressionist Dean Murphy while not untalented tries way too hard in his bit. Contortionist sister act The Ross Sisters are remarkably limber but their routine is downright creepy.

The good: Although I'm not a fan Lena Horne comes across well in her two numbers and the great Hazel Scott tears it up at the piano working her special magic.

Filmed in rich eye popping Technicolor this is a pleasant diversion but nowhere near the peak of what MGM was capable of at this point. For that see the same year's Meet Me in St. Louis.

I've always enjoyed this movie and consider it one of the better musicals of the 1940's. There has been quite a bit of interest in the Ross Sisters as they have popped up all over the internet due to their performance in Broadway Rhythm. They were billed as Aggie, Maggie, and Elmira but their real names were Vicki, Dixie, and Betsy. They hailed from Colorado City, Texas and were daughters of dirt farmers during the dust bowl days. They trained on their own and began working theaters and fairs in the Midwest. Pooling their money, they bought a trailer and moved to New Jersey to a trailer park about a mile from the George Washington bridge on Route 6. They earned minor roles in a George Kaufman play, Count Me In, and went on to Broadway Rhythm then Pickadilly Hayride at the Prince of Wales Theater in London. They were summoned before the King and Queen for a command performance on Nov. 4, 1946.

Whomever took a look at the final script for "Broadway Rhythm" must have realized that the only thing that might put this one over would be an abundance of talented performers, since the plot was a mere trifle.

As a result, the film is full of gifted performers unable to bring much life to this routine musical about a producer quarreling with his father over how to produce their next show and walking out on him. Of course, everything is straightened out by the final reel and the show is a smash hit.

MGM produced this in velvety Technicolor with all the trimmings but there's no disguising the fact that the witless script is full of flat lines and only occasionally does a song get that MGM treatment.

George Murphy and Ginny Simms get top billing with Gloria DeHaven, Charles Winninger, Nancy Walker and Ben Blue in good support. Guest star Lena Horne gives the film its most solid moments with two specialty numbers and Hazel Scott does magic with her finger work at the piano. Eddie "Rochester" Anderson provides some comic relief.

But Murphy gets only one dance routine at the finale and Ginny Simms only gets one memorable song ("All The Things You Are") to warble before the show is over. It all has a slap-dash kind of organization, the story flow stopping every few moments to accommodate another frenzied number.

The tiresome script is the problem, lacking wit and originality. Six years later, "Summer Stock" with Judy Garland and Gene Kelly (and Gloria DeHaven) did a much better job with similar material and better songs.

I can hardly believe that Broadway Rhythm started out as Very Warm For May on Broadway, one of Jerome Kern and Oscar Hammerstein, II's flop musicals. A look at the biography of Jerome Kern by Gerald Bordman tells me that other than it being a backstage story, the plot of Very Warm For May and Broadway Rhythm is completely different. The character names have been changed and almost an entire new score was written for the film.

The one song retained from Kern's score is one of the best he ever wrote, All The Things You Are. It happens that way sometimes, a flop musical can yield a gem of a hit. Ginny Simms sings it beautifully.

Don Raye and Gene DePaul wrote the original songs, nothing terribly memorable. Some other material was interpolated among them my favorite George Gershwin song, Somebody Loves Me which guest star Lena Horne sings to perfection. Oddly enough the song Broadway Rhythm isn't heard here or may have wound up on the cutting room floor.

George Murphy plays a Broadway producer and son of an old time vaudeville performer Charles Winninger. Winninger thinks Murphy has gone too high hat and feels that sentimentality and schmaltz will always sell on Broadway. To prove it he and movie star Ginny Simms who Murphy is trying to get to star in a new show he's producing go out and invest their money and produce an old show that Murphy had discarded years ago.

Broadway Rhythm has a lot of good talent in the cast like Nancy Walker, Ben Blue, Hazel Scott, and the Tommy Dorsey Orchestra. Sad that it was all wasted on a very trite backstage story.