Melodia da Broadway

This is NOT a bad film. It's a 1929 musical that won an Oscar for best film as well as nominations for direction (Harry Beaumont) and lead actress, Bessie Love. It was the number ONE hit of 1929. Central to this film is Love's great performance as Hank Mahoney, the older sister in a musical act trying to make it on Broadway. The plot is pretty sophisticated for 1929. Bessie Love is in love with a singer (Charles King) who falls for younger sister, gorgeous Anita Page. Rather than hurt her sister, Page starts running around with a scummy playboy (Kenneth Thomson).

The truth comes out and Love backs off in a heart-breaking scene, giving up King and the act, and clears the way for Page and King. Two great songs: The Broadway Melody and You Were Meant for Me, both nicely done by Charles King. Love and Page are also fun in The Boy Friend song, in which Bessie Love gets to cut loose and dance in a full-fledged number. Another song, The Wedding of the Painted Dolls, is truly bizarre, and possibly the most over produced musical number you'll EVER see! But I like the music.

Yes, yes, you've seen all this before, but remember this is a 1929 talkie. The opening number is wonderful, with Charles King introducing The Broadway Melody. That's James Gleason as the music publisher. And keep your eyes on Rosie (no idea who played her) with her swinging beads. Blanche Payson plays "the big woman" in charge of the dressing room, who has a terrific scene with the gay designer (Drew Demorest). Mary Doran, Eddie Kane, Ray Cooke, and Jed Prouty have roles and that's composer Nacio Herb Brown at the piano. I love this film! I love the music. Bessie Love is SO GOOD in this film, you wonder why her talkie career didn't go better. Anita Page is also good and has a couple of terrific dramatic scenes. Charles King is a good singer but his acting was hammy. The three stars also appeared in Hollywood Revue of 1929. And yes, Bessie Love had been in films since the teens and was already a veteran of 15 years when she made this film. Catch her in Intolerance and The Lost World.

All the negative reviews put me off watching this for years but I thought I'd finally give it a whirl and discovered something instantly engaging and entertaining. It's no GODFATHER but it's certainly not rubbish.

So why are there so many negative reviews? Being so (relatively) well-know makes it an easier target to shoot down. Lesser known and vastly inferior early talkies such as CHARMING SINNERS or FRAMED slip under the radar and escape such vitriol. Being made in 1928 does obviously make it look old-fashioned but that goes with the territory - it's a 1920s musical with 1920s actors, what do expect? I wonder whether its detractors have seen other films from the late twenties other than M and UN CHIEN ANDALOU? This was never meant to be a work of art, it was just fun: entertainment for the masses. Clearly it's not in the same league as the wonderful GOLD DIGGERS OF 1933 but it's actually better than GOLD DIGGERS OF 1937!

For maximum popular appeal it used a well trodden story - two sisters both in love with the same man so don't expect anything remotely original. What I wasn't expecting but got was such a strong emotional story. Bessie Love's performance at the climax of the film is genuinely heartbreaking. It's a remarkably sensitive and nuanced performance with an intensity you wouldn't normally get in a light comedy - extremely well acted. It's a happy ending, she's laughing but for us the viewer, we're almost crying. Unlike the Busby Berkeley classics from the time of The Depression, this was made in the optimistic and progressive late twenties. It is therefore really quite upsetting to know that the plans and dreams of these characters are probably not going to find their happy ending.

If you like films from the early thirties you will like this. It's a lot better than most 1920s talkies, it's a lot better than a lot of early thirties movies too. If you're familiar with old films you'll find it almost impossible to believe how well made and well acted this "first ever" talkie is considering the cinematic trash (including 69 copy-cat musicals in 1929 alone!) that was to follow. Considering nobody really had a clue how to make a talking picture at the start of the year the result is amazing. It has a sweet endearing charm about it, it's emotionally engaging, it's got a building tension, it's fun and sad - what more could you want? Obviously the filming is a quite static, the story is cliched and the songs are horrible but overall it's thoroughly enjoyable and entertaining.

I have just watched the Broadway Melody for the second time. I liked the picture very much because it takes one back to a very interesting time in our history. I am fascinated with the period it represents. I liked the dialogue and the music and the dancing and so on. I think that the film is excellent for its time. Many modern viewers will look at the film and think it as poor because of the dated acting and technology. You have to remember it is 1929 not 2004. Central to its appeal for me is the fact the plot is both complicated and simple. The conflicts of affection between the characters is nicely resolved in the end. The simple fact of life is shown in the film. That is to say that all the fame and money in the world is not worth a thing if one is not happy with it.

Most films today depress me very much. I want to be entertained. I don't want to see a bunch of banality. Broadway Melody takes you back to a time when there was true entertainment. I really liked "The Wedding of the Painted Dolls". A lot of precision went into that number.

Anyone who's interested in early talkies will be fascinated by this film. It has all the goofiness you'd expect and a whole lot of charm -- not to mention all the musical numbers brilliantly remade a few decades later in "Singing in the Rain," which presumably takes place in the same studio at the same time. In fact, if you love "Singing in the Rain" and understand the spirit of that film, you'll love this film. This film was made to be a lighthearted extravaganza, and as other commentators have noted, it probably won Best Picture by wowing everyone with its astonishing special effect (they sing! they dance! they speak!). Reminds one of other films that have done the same (the whole boat sinks!). The interplay between the two sisters at the beginning is a little, shall we say, peculiar -- also fascinating. Not for film snobs, but a fun look at the past.

MGM's "The Broadway Melody" has often been criticized and lampooned, but the film holds up better than its reputation would suggest and has historical, social, and entertainment value that merit its viewing. This musical from the early days of sound won the second Best Picture Academy award and the first that went to a sound film. While its technical accomplishments may have impressed audiences in 1929, they are important today only as they show the hurdles that faced an industry in transition. The sound is harsh, which can be expected from early recording techniques, and, like the struggling technicians comically demonstrated in "Singin' in the Rain," sound created several problems for filmmakers. The camera in "The Broadway Melody" rarely moves, most of the scenes are in long-shot or mid-shot, and occasionally characters blur when they walk out of the camera's focal range. Thus, observant viewers can spot in this movie many of the real situations that faced the studios and directors during the sound transition period in the late 1920's.

Another interesting aspect of "The Broadway Melody" is social. Like the two fliers in "Wings" from the prior year, the two sisters, who form a stage act that they are attempting to bring to Broadway, openly demonstrate affection in a manner that would raise eyebrows today. The two fliers in "Wings" kissed on the mouth, embraced, and openly showed an affection that could only be interpreted as love, although there was nothing sexual implied. Here too, the two sisters kiss on the mouth, sleep together in each other's arms, and embrace more than even two sisters would be permitted to do within current social norms. Again, there is apparently nothing sexual in their affection, only sibling love. Another changing social norm is the shifting role of gays in film, and a clip from this movie was included in "The Celluloid Closet" to illustrate the change over time. The male dresser in "The Broadway Melody" is a blatant stereotype of the sissy, and the derisive remarks and put downs that he endures from other characters would or should not be tolerated today. However, like the Stepin Fetchit characters that illustrate how African-Americans were once treated on film, the sissy depicted here is a valuable lesson in how minorities were once marginalized and derided in the movies.

However, "The Broadway Melody" is of merit not only for historical and social reasons but also for its entertainment value. While the backstage story has become familiar, the plot retains a certain dated interest and is not boring. Some of the songs are familiar from "Singin' in the Rain," where they were sung and performed as well as they ever will be. But nevertheless, hearing these familiar tunes as they were first performed is fun, even if the voices and sound are lacking all around, and the clumsy dance numbers that are often performed to these songs cry out for Busby Berkeley, although they retain a certain clunky charm. While the film is neither the classic that it should be nor the campy dud that its detractors claim, "The Broadway Melody" is definitely worth a look and makes an excellent double feature with "Singin' in the Rain" as a real example of what was spoofed in that musical classic.