Ombre di Broadway

Film star George Raft on a trip to New York takes a nostalgic visit to a nightclub where back in those wonderful days of Prohibition he was a hoofer in the same nightclub. On one night he almost got pinched for a murder.

In fact there were two murders that night. Gangster Broderick Crawford who supplied the booze to the club that was owned by S.Z. Sakall and Marjorie Rambeau bumps off a rival in the club. Crawford was also putting moves on Janet Blair who is Raft's dancing partner. So when homicide cop Pat O'Brien starts nosing around, Raft gets nicely set up for a fall guy.

Well we know it didn't stick because this film is all in flashback with Raft telling the tale to Arthur Shields. But justice is done all around in this film.

With three leads like George Raft, Pat O'Brien and Broderick Crawford, that in itself is reason enough to watch Broadway. But a whole host of familiar character players who really make Broadway something to highly recommend. Besides those mentioned when you have Marie Wilson, Iris Adrian, Anne Gwynne, Edward Brophy, Abner Biberman, Nestor Paiva, etc. etc. you know you are in for a treat.

It was nice to see Raft doing some dancing. He started out that way and his debut was in a New York based film Queen Of The Nightclubs where he was a featured player in a movie showcasing the fabulous Texas Guinan. Marjorie Rambeau's character is based on Guinan in fact. You can see Raft dance in such films as Bolero, Rumba and a very few others. Raft hanging around the nightclub scene and growing up in poverty in New York's Hells Kitchen he started rubbing shoulders with some really prominent criminals. So much so it saturated the man's whole screen image. But in this urban milieu there was no one who could touch Raft, including Warner Brothers gangster stable of stars. He really lived on the periphery of this life.

Broadway is a semi-autobiographical tale of George Raft's early days in show business. Highly recommended for his fans.

George Raft -- playing George Raft on loan to Universal -- wanders the streets of Broadway, and into a bowling alley under construction. He tells watchman Arthur Shields about when it was a night club during Prohibition, his dancing partner Janey Blair, and bootlegger Broderick Crawford feeding her a line.

This remake of 1929's movie of the same name doesn't have the spectacular visual qualities of the original, but it does have a lot of fine character actors in small and medium parts: S. Z. Sakall, Pat O'Brien as the cop, Eddie Brophy, Marie Wilson, Ralf Harald, Iris Adrian, Marjorie Rambeau, Jimmy Conlin, Tom Kennedy, Charles Lane, and many others. It's a feast for fans of these players who often seem more important in their small turns than the stars who headline the show.

Raft is pretty good too, as he offers some of his nifty dancing, and some coin flips. Director William Seiter offers a movie that seems nostalgic for the day without resorting to the Runyonesque fantasy that it's all good laughs and mangled grammar, and the assortment of songs popular two decades before this movie, many of them still known, lends a lot of bright detail to the production.

With only a brushing acquaintance with the truth, "Broadway" offers a glimpse of the early speakeasy life of George Raft. Raft plays himself, a good idea as later attempts would prove no one else could ever portray him. It is a bowdlerized version of his time as a dancer employed in the nightclub of Texas Guinan - here renamed Lil. This George Raft is all about work, pines for only one woman, and never met a gangster he liked - so far from reality it has to provoke a smile. But its heart, and his, is in the right place.

The movie is completely worth seeking out for the all too brief George Raft style of dance. Too rare were the films that allowed him to exhibit that "fastest dancer in New York" technique. Raft was past 45 when he shot this and was recreating moves from his 20s, and that alone is impressive. The boy could still move! Raft's poker pal Pat O'Brien gets to play a wise cop again, and bombastic Broderick Crawford is a real scene-stealer as the bootlegging gang leader with a penchant for murder.

A major problem with the film is its complete neglect of setting. There is no attempt to create the styles of the late 1920s, which would have added so much atmosphere (and truth). It could have used a lot more grit as well.

... the very early sound film "Broadway" from 1929 and directed by Paul Fejos. That 1929 film had an opening with a metallic giant plodding along Broadway beckoning the inhabitants to join him in his debauchery. Director Fejos had a special crane built and mounted the camera on it to get back some of the fluid motion that had been lost with the early sound era. It's a very interesting experiment. This is not that film.

But strangely enough, this film has the same script as the original and that film's characters. Even the minor characters who are just dancers at the Club Paradise in the original have the same names here. The set up for the story is a little different.

George Raft plays himself, and on a stopover in New York City he decides to go back to his old stomping grounds on Broadway where he was a hoofer when he was first starting out. He goes to what used to be the Club Paradise during Prohibition, and he begins to reminisce. Or maybe he fell asleep while watching the original film in 1929 and dreamed he had the leading role. It could roll either way.

Glenn Tryon had the lead in the original film - the counterpart to Raft's role. Tryon was known more for light comedy, so his role doesn't contain all of the macho posturing that Raft's part has. Other than that the film follows almost the exact same script. There are several problems other than just the seemingly pointless remake. For one, for this to be the 1920s everybody sure looks like they are dressed up to make a Betty Grable wartime musical right down to the hairdos and fashions. Also, since this film is being made long after the transition to sound, all technical problems with sound films are gone and so is the novelty. Something has to take its place. And so in comes talk. Lots and lots of largely meaningless talk. You won't remember any wonderful one liners or even the characters past the leads. And then the leads have ponderously bad decision making skills. Shoot somebody in a nightclub office, everybody is going to hear it.

It's not great, but it's not terrible, and to tell you the truth it is rather stiff and actually makes Prohibition era nightclubs seem boring. It does make me wonder - Why did George Raft think THIS was a worthwhile project but High Sierra and the Maltese Falcon were not? Whatever the reason I'm sure Humphrey Bogart was eternally grateful.

Probably worth it for the film history buff who has seen the original 1929 Broadway and for people who are interested in the complete filmography of George Raft. I would take off at least a star from my rating if it were not for those connections.

This is an interesting film as it starred George Raft as George Raft, reminiscing on the good old days of the 1920s when he was trying to become famous as a hoofer at a nightclub. Flashback to a time when Raft flailed around like a knock-off James Cagney amid a group of girls who look suspiciously more like 1940s pin-up girls than 1920s flappers. Broadway has plenty of action and a great cast, although it is relatively predictable and Raft's last line leaves us with a pressing, unanswered question.

See it for Raft in an unusual role. I caught a screening at Cinevent in 2012. Broadway is definitely entertaining and worth searching out.