Melodia da Broadway de 1936

The movie musical of the 1930s studio system period arguably offered the only 100% use of the film medium. ‘All singing, all dancing, all talking' was not then simply a catch phrase; it was what the audience demanded, entertainment pure and simple, 70 minutes or more, during which time they could escape the lingering effects of the Depression. Although Warner Brothers and Busby Berkeley were responsible for the rise and rise of the 1930s musical, MGM came out with ‘Broadway Melody of 1936' which subtly lifted the genre a step higher through the talents of the greatest dancer ever to appear on the screen, Eleanor Powell. Fred had grace (and Ginger) and Gene had strength but Eleanor had both grace AND strength. She needed no partner, either!

Three numbers stand out in ‘Broadway Melody of 1936'. The first, ‘Broadway Rhythm', is a hypnotic combination of music and dance which stands the test of time well no matter how you approach it. For example, the lighting and photography is simply stunning, not unusual from the best musical crew available at any Hollywood studio at the time - possibly any time. The musical backing is likewise; this is a number I've watched and listened to hundreds of times without loss of enjoyment. Francis Langford's wonderful (dubbed for Eleanor) voice grips you and before too much longer, once Eleanor moves onto the dance floor, you are swept up in the feeling of the times. It's difficult to believe this was her first starring role; as Eleanor dances into the camera, her eyes sparkling, you know she's dancing just to please you. There IS love at first sight and this surely must have been the effect on audiences back in the 1930s who took this great performer into their hearts, as box office takings proved. In addition to Eleanor, we have the lovely June Knight dancing with Nick Long, Jr and these two are great together. What a pity they never paired in any other movies. Likewise, Buddy Ebsen and sister Vilma, who are a terrific duo. Yes, I could probably write a book on this number.

‘I've Got a Feelin' You're Foolin' is equally as memorable as ‘Broadway Rhythm' for similar reasons. Technically marvellous (how were the ‘pop-up' effects achieved?) and great fun to watch, we have the sight of arguably the most handsome guy ever to grace the movies, Robert Taylor, bursting into song and yes, he's good, helped by the words of a great song. Stage actress June Knight is a perfect partner, with her facial expressions adding another dimension to the experience. The refrain brings Nick Long, Jr on stage for a knock-em down performance, the first part of which sees him seemingly bouncing with little effort over a row of chorus girls, one by one, followed by a double pirouette. Then comes the return of a sensual June Knight encased in the sexiest dress ever to grace the screen (just my opinion), white and complicated though split to the waist at the front. June and Nick then go into a dance in which the lady offers herself to the gentleman in a manner similar to that seen in films of wildlife in the African jungle. June spins into the camera and my, what a great set of legs!

Finally, ‘You are My Lucky Star' sees Eleanor Powell (voiced by Francis Langford) follow up the song with an exhibition of ballet which must have left the audience with heads spinning. So many memorable moments in one movie and a lot of hard work for the participants, according to Eleanor in an interview with John Kobal (‘People Will Talk', Aurum Publishing, 1986). For this third number she often had to remove blood-soaked ballet slippers at the end of the day and soak her feet in ice. Originally production of the movie shoot was supposed to last a month (for which Eleanor asked a fee of $1250) but it eventually ran for four months. The final result, though, was a 7-year contact from Louis Mayer for Eleanor.

Although this movie hasn't arrived on DVD, it's only a matter of time. The three numbers reviewed are available on the special 2-disc edition of ‘Singing in the Rain', being songs sourced for the later movie.

When critics talk about the Thirties being the era of escapist entertainment, believe me they have Broadway Melody of 1936 in mind.

For people like my parents growing up in the midst of The Depression this world where everyone wore tuxedos and danced away at rooftop parties in between Broadway shows can only be described as escapist.

The nice thing about escapist films is that the plot really doesn't have to make sense. You couldn't have a Broadway producer as young as Robert Taylor, he was 25 when this came out. And certainly a talent like Eleanor Powell would certainly have been discovered long before Taylor rediscovers his old grade school chum from Albany.

The plot such as it is involves producer Taylor and Walter Winchell like columnist Jack Benny engaging in a feud. During the course of things Benny creates a fictitious French stage star who is visiting New York. Later Taylor "discovers" Eleanor Powell masquerading as the fictitious Mademoiselle Arlette and signs her for his show.

Taylor and Benny are fine and Jack Benny gives a good performance in a character that is free of the usual Jack Benny clichés he so carefully created for his radio persona. But the film really belongs to Eleanor Powell. You look at her dance and then you look at Ruby Keeler over at Warner Brothers and there just ain't a contest. Powell was primarily a dancer, but she had good comic timing, could put over a song, and even act decently.

You will also like June Knight as the rich girl Taylor is courting for financial backing of his show. And Sid Silvers as Benny's sidekick is pretty funny especially in drag and with his scenes with Una Merkel.

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)

A musical that does just what you expect, really. Decent songs, a sarcastic comedy foil (Jack Benny), a romantic couple (Robert Taylor and Eleanor Powell), a couple of talented friends (Buddy and Vilma Ebsen), and a wafer-thin plot which includes female impersonation, silly accents, and a daydream musical sequence.

The 'Broadway Melody' series didn't really tax its viewers with complicated plot lines, but certainly delivered in big spectacle numbers, decent casting of both singers and dancers, and mushy happy endings. Just what America needed during the Depression, and something which has stayed as standard, with slight variation, ever since.

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