Follie di Broadway 1936

Broadway MELODY OF 1936 (Metro-Goldwyn-Mayer, 1935), directed by Roy Del Ruth, from an original story by Moss Hart, with choreography by Dave Gould and Albertina Rasch, marked the new beginning in the cycle of MGM musicals that would be carried through the 1950s. Minus Technicolor thus far, which would become the standard by the mid 1940s, this production has more song and dance, lavish sets and a bright score than in previous years. Capitalizing on the enormous Academy Award winning success of THE Broadway MELODY (1929), this new edition plays more on the current trend of sassy comedy highlighted by new songs by resident composers Arthur Freed and Nacio Herb Brown, along with a lineup of new faces featuring Eleanor Powell, Buddy and Vilma Ebsen, Frances Langford, Harry Stockwell and Nick Long Jr. Of the newcomers appearing in the specialty acts, it's Eleanor Powell who would become the overnight "lucky star," in her MGM debut. Not only does she tap dance her way to fame, she does an imitation of Katharine Hepburn from a scene in MORNING GLORY (RKO, 1933) to acting the role of the fictitious French actress, Mademoiselle LaBelle Arlette. The story also takes time for an assortment of snoring sounds, compliments of Mr. Hornblow (Robert Wildhack). He would repeat this gimmick again in Broadway MELODY OF 1938 (1937), changing from snores to sneezes. Broadway MELODY OF 1936 starts off like a vaudeville show combined with comedy, skit and songs interacted in the storyline, but by the second half, becomes cliché musical show preparations.

Starting off like an intended sequel to the 1929 edition, the plot deals with Bert Keeler (Jack Benny), a columnist only reporting on who's going to have a baby, is advised by his managing editor (Paul Harvey) that, in order to boost up circulation, he must go out and report something of real interest. With his assistant, "Snoop" (Sid Silvers), Keeler improves himself by becoming a real gossip columnist. He starts off by writing about Park Avenue widow Lillian Brent (June Knight, an Ann Sothern look-alike), who's investing $60,000 on Broadway producer Robert Gordon's (Robert Taylor) latest show, "Broadway Rhythm" Brent's reasons aren't honorable because she's only using Gordon to break into show business. The circulating news on Gordon and Brent in the tabloids has the angry Gordon rushing his way through the World Tribune (on three separate occasions), followed by a gust of wind blowing away stacks of papers, into Keeler's office and giving him a good sock on the nose. This doesn't discourage Keeler, for that with each sock makes him the most read and talked about gossip columnist in the business, thus, earning a big paycheck raise from his editor. Later, Irene Foster (Eleanor Powell) of Albany, comes to New York look up Gordon. Formerly high school sweethearts, she believes he could give her a break in one of his shows. She is soon discouraged when Gordon insists she return home and forget about her ambition for that Broadway isn't a place for a nice girl like her. With the help of Kitty Corbett (Una Merkel), Gordon's secretary, she arranges for Irene in masquerading as a fictitious French star, originally created by Keeler, to boost up circulation, to audition for the show.

Featured in the musical program are: "The Broadway Melody" (sung by Harry Stockwell); "You Are My Lucky Star" (sung by Frances Langford); "I Gotta Feelin' You're Foolin'" (sung by June Knight and Robert Taylor, danced by Knight and Nick Long Jr.); "Sing Before Breakfast" (sung by Buddy and Vilma Ebsen/ danced by Eleanor Powell); "I Gotta Feelin' You're Foolin'" (sung by Frances Langford); "You Are My Lucky Star" (sung by Eleanor Powell); "All I Do Is Dream of You" (unknown French vocalist on record); "On a Sunday Afternoon" (sung and danced by The Ebsens); "Broadway Rhythm" (sung by Frances Langford/ danced by Eleanor Powell); and "You Are My Lucky Star" (sung by cast).

Of the production numbers, "I Gotta Feelin' You're Foolin'" won the Academy Award as best dance direction. While this particular number plays like a scene within a scene in a Broadway show, it's actually part of the plot. This would be the only time Robert Taylor would sing on screen. Nick Long Jr., a hoofer who physically resembles Fred Astaire, dances like Gene Kelly. "Sing Before Breakfast" has the Ebsen's singing and dancing on the rooftop of their apartment, with Powell going into her dance face front towards the camera while the Ebsens watch her from behind. "You Are My Lucky Star" is seen through the mind of Powell as she daydreams herself as the leading performer in a show to a full theater of patrons. Of the hit tunes, only "On a Sunday Afternoon" failed to catch on.

In the finished product, it's evident that Eleanor Powell would become the star of tomorrow, considering several extreme close ups of her throughout. Considering she was not an accomplished singer as she was a dancer, MGM prepared Frances Langford as her backup in the vocalizing department. As for Jack Benny doing his Walter Winchell impersonation, it would be a few short years before achieving fame as the stingy Jack Benny audiences got to all know and love. Una Merkel and Sid Silvers (who has one hilarious scene disguised as Mademoiselle Arlette) make an unlikely pair who add to several humorous scenes. In 1936, Powell, Merkel, Buddy Ebsen, Langford and Silvers would be reunited once more in another tune feast titled BORN TO DANCE. In spite of its pros and cons, Broadway MELODY OF 1936 (which was also nominated for an Academy Award for Best Picture of 1935), is a very lively musical-comedy 1930s style worth viewing. This Eleanor Powell showcase, presented occasionally on Turner Classic Movies, is also available on video cassette and DVD. (***1/2)

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.

The plot of Broadway MELODY OF 1936 is a classic of its kind. Bob Gordon (popular matinée idol Robert Taylor) is producing a Broadway musical--but he runs afoul of actress and financial backer Lilly Brent (June Knight), who sees herself not only as the star of the show but Bob's ladylove as well. When their "romance" is played up by gossip columnist Bert Keeler (Jack Benny) fireworks ensue, and matters are further complicated by the arrival of Bob's old flame Irene Foster (Eleanor Powell) who has come to make her fortune as a dancer on the Great White Way.

The twists and turns of the story are fairly obvious and the outcome is a foregone conclusion--like many Hollywood musicals of the mid-1930s the story really exists as an excuse for comic turns and musical numbers--but the film has a great deal of charm and catches a host of performers moving up to stardom. The big news here is Eleanor Powell and Jack Benny, both fairly new to film and both somewhat stiff in front of the camera... but whatever their faults in this film there's no denying that Powell clearly poised to become a great musical star or that Benny is a comic genius in the making.

Powell, Taylor, and Benny are backed by a truly solid host of character actors and cameo performers, most notably Sid Silvers, Una Merkle, Frances Langford, and Harry Stockwell. But most film buffs will be particularly interested in the brother-sister team of Buddy and Vilma Ebsen, a popular vaudeville act; Vilma would soon retire, but Buddy's scruffy look, dunderheaded comedy, and hilariously eccentric dance style would propel him to a series of popular musicals and a very long career indeed. The musical numbers--which include such perennials as "Broadway Melody," "You are My Lucky Star," and "Gotta Feeling You're Fooling"--are all lots of fun to hear and see as well.

When all is said and done, Broadway MELODY OF 1936 is hardly a "classic musical;" it is too disjointed, too cliché in plot and character to measure up to the truly great musicals of the era. But it is quite a bit of fun, and hardcore 1930s musical fans should enjoy it quite a bit.

Gary F. Taylor, aka GFT, Amazon Reviewer

Why would anybody spend two hours watching a 77 year old movie? The short answer is "because it's a lot of fun." But there are other reasons. It is an interesting relic of the dirty thirties when 25 cents bought you a two hour escape from depression, dust, despair and dire news from Europe. Hollywood catered to this need with wildly happy, unrealistic schmaltz about glamorous people in fancy clothes dancing and singing at posh cabarets in exotic places. And it was great! Just as wars give us great songs, the depression gave us fabulous movies. To a student of either film or history, films such as this are a hugely interesting window on the era. Such films are also revealing lessons in production: staging, choreography, special effects and lighting. Remember this was before digital technology and less than ten years after the arrival of sound. And the lighting! Immaculate highlights and shadows, razor sharp detail. (Thanks to Turner Classic for presenting top quality prints of these old films. I doubt if the theatre audiences of 1935 saw it as well as I did at home on my plasma TV.) Thankfully the trend to colourize these old films was thwarted. The beautiful B&W photography only adds to the fascination. It made for a memorable evening!