Breakfast in Hollywood

There's only one thing good about this movie--actually two--the inclusion of special musical guests Nat King Cole and his Trio and Spike Jones. Anyone who likes the nostalgia involved with Spike and his crazy band of loonies, will be happy to know that there were no electronic gimmicks used in these performances.

Every pistol shot, gurgle, burp, and every other noise is supplied live and in real time by Spike and members of his crew. The fact is, these were top notch professionals who were highly trained in their art. They went through hours of rehearsal just to get their parts down right.

That's all I can say about the film which is now in a box set of 49 other "musical" films from the 20s-to the 60s...

To demand greatness of a film like this is to misunderstand the function of a programmer. Breakfast in Hollywood is popcorn for the mind, a pleasant interlude with some great characters actors (ZaSu Pitts, Beulah Bondi, Billie Burke, Raymond Walburn, Hedda Hopper) and a chance to see Nat "King" Cole and the King Cole Trio on the screen very early in his career (though carefully segregated from the rest of the cast.) Spike Jones does two numbers with the City Slickers, a wartime romance provides a bit of drama although the war is technically over, and there is even a cute dog. The inimitable ZaSu Pitts is worth the price of admission all by herself! The plot, such as it is, is a sort of comedic Bridge of San Luis Rey, following the lives of A HALF DOZEN people attending the radio broadcast. The stories are funny, romantic, or dramatic -- and no one dies at the end! Pure escapism, nicely done.

I occasionally comment on films I find interesting, and it always comes down to- either you 'get' it or you don't. I have a sneaking suspicion those that don't are younger viewers. It was common practice in the 30s and 40s to take a popular radio show and bring it to the big screen. Why? For profit, of course. This being pre-TV, it also created the opportunity for radio listeners to see their favorite performers. These were pop movies, 'programmers'- meant to make a quick buck and capitalize on a radio show's popularity. I find many of them sweet, though not the best quality. Where else are you going to see Tom Breneman, a popular host of BREAKFAST IN HWOOD? The plot of BIH is completely unrealistic (fine w/ me)in that it has Brenemen getting involved in the lives of several of the people that come to see his show. Doesn't know them of course, but wants to help anyway! I found him affable and pleasant- just the kind of host you'd want to listen to shortly after waking up. Other reviewers have told the plot, so I'll stop here. Worth seeing for nostalgia fans, and that's a darn good reason!

Charming simple radio show on film from an era when housewives loved portly radio stars who liked to gossip, matchmake and have a hat contest...(he wore the winner's) The music numbers a good, the standouts being a handsome young Nat King Cole and the always hilarious Spike Jones. Many such B grade 70 minute films were made to capitalize on radio hit parade tunes and personalities and like those this one is a product of it's media and time. RKO made a terrific form of this radio film in 1932 called THE PHANTOM OF CRESTWOOD which was a radio serial yet without an ending: so they filmed the last episode and everyone had to go to the cinema to see the end of the radio show. Probably the first time this cross medium was used leading to the bright and profitable idea that led to BREAKFAST IN Hollywood. Monogram and Republic Pictures often made films titles HIT PARADE OF 1941 or 46 or 50 using a roster of radio stars and pop tunes. BREAKFAST doesn't sparkle like TIFFANY's did but is is easy musical fun for (grand) Moms everywhere

Tom Breneman plays himself, the host of a daily radio program called Breakfast in Hollywood. A good chunk of this movie is simply Breneman doing his show—interacting with the guests in his restaurant studio, discussing their breakfasts, searching for silly hats, stepping aside for musical guests, just generally doing what daytime show hosts have apparently always done.

Among the guests are a handful of characters who, one way or another, bring their troubles to the show and whose lives thus become the handful of sub-plots that make up the rest of the film. Zasu Pitts is an eccentric fan who's hoping to win the daily ugly hat contest; her story is humorous if a bit pathetic (though her final scene is hilarious). Beulah Bondi, playing an 82-year-old, is the winner of the oldest guest contest. Billie Burke is a guest who, it seems, doesn't particularly believe in wearing makeup, and whose husband is (thus?) gallivanting around with a pair of wild young babes.

The real featured characters are Edward Ryan as a handsome young soldier on his way home from the war, and the wonderful Bonita Granville, who is in town searching for the fiancé who has neither shown up nor communicated with her. Granville has grown up some from her Nancy Drew days, and gives an excellent performance as a young woman who is bright, attractive, worried, confused, and in love.

Breneman ties together the plot lines and appears to be enjoying himself. And besides the plots, he produces a few other good reasons for watching—his musical guests. Nat King Cole and his trio do a couple of numbers; Spike Jones and his group work their nuttiness; and singer Andy Russell croons a couple of pleasant songs.

One scene is not to be missed: Breneman greeting Hedda Hopper at her table to discuss her hat, which leads to Hopper introducing Breneman to her friends at the table—Gary Cooper's mother, Joan Crawford's mother, and Breneman's own mother! (Hopper herself is very funny in her scenes in the picture.)

Not a great movie….and it has some slow spots. But overall, it is a neat little curiosity with much to enjoy.

Also note: The two young lead characters are first brought together by virtue of their both hailing from Minneapolis. It had not occurred to me that way back in 1946, the pronunciation of Minnie-soh-ta was already material for jokes….but apparently it was.