Gondoleiro da Broadway

Dick Powell is at the top of his game as both a crooner and a comedic star. And it's fantastic to see Joan Blondell in a lead role. And Adolphe Menjou in a campy role, singing? It's light, fluffy, charming fun that also provides a terrific glimpse into life in 1934 and 1935 (watch how the window on the cruise ship is opened). It's hilarious that everyone on the street seems to know Opera tunes. Also, for anyone who thinks singers and actors today are selling out by appearing in commercials - singers and actors have ALWAYS sold products via or adjacent to their "art," as this film shows. Yet another film that makes me wish there were still nightclubs and live radio shows (not just Wait Wait Don't Tell Me).

This film has as silly a storyline as any of the Dick Powell musicals (maybe intentionally so), but its entertaining enough to watch, with some tuneful songs (including one minor standard: Lulu's Back in Town). It's all the more so, owing to the presence of Joan Blondell. She was especially gorgeous in this movie. When speaking of her, most people comment on her sassiness, and rapid-fire patter. But in addition to her fine acting, she was also a beautiful, sexy woman, with huge eyes. She employs here an understated, deadpan delivery she used sometimes to heighten the comic effect of her lines. It shows how deft her ability was with comedy. The movie doesn't have Busby Berkeley's production numbers, so I suppose that's why it isn't so well remembered as other ones. But it does put more focus on Dick Powell's voice. While is it isn't up to the operatic standards required by the role, it's certainly a great voice. It gets overlooked in discussions of him, taken for granted, even, I would say. It may be the nature of his roles, and his later transformation distract people's attention.

While Dick Powell was at Warner Brothers, he would be hat in hand to Jack Warner pleading for him to occasionally be cast in something serious. Of course Warner heard that wonderful tenor and saw nothing else in Powell. And certainly when he wrapped those vocal cords around songs like what Harry Warren and Al Dubin wrote for Broadway Gondolier neither could anyone else.

Life does certainly imitate art. The following year the Kraft Cheese Company was in fact looking for a singer to host a rather daring hour long radio variety show, an hour show on radio was quite an innovation back in the day. Unlike Broadway Gondolier the sponsor didn't go to Italy for a crooner. They and NBC found him doing a show for Woodbury Soap, so Bing Crosby got to do in real life what Powell did in the film, host a show selling cheese, as Bob Hope remarked in The Road to Utopia.

Powell himself was not exactly unknown to radio audiences. He appeared on the Hollywood Hotel program, named after one of his other films in Louella Parsons dished out the latest Hollywood gossip. Of course her Hearst connection and his due to the fact he did two films with Marion Davies made Louella and Dick a natural radio team.

In many ways Broadway Gondolier is a continuation of Goldiggers of 1935 which also starred Powell and had Adolphe Menjou with foreign accent. You could never get away with the performance Menjou gave in Broadway Gondolier with that outrageous Italian accent and characterization. The Italian Anti-Defamation League would be picketing the film. But just like in Goldiggers of 1935, Menjou's hammy performance is enjoyable, especially when he tries to fool radio executive Grant Mitchell and sponsor Louise Fazenda, owner of Flagenheimer's Odorless Cheese, and tries to sing like Powell.

Joan Blondell is Mitchell's girl Friday and Fazenda's keeper in the film who falls big time for the cabdriver, would be crooner Powell. Of course she's got another guy knocking on her romantic door, William Gargan who stars on the network as futuristic space hero Buck Gordon. And Fazenda after Powell pretends to be Italian starts getting designs on him. The look in her eye would be grounds enough for a suit for sexual harassment.

Powell recorded for Brunswick records the four songs he sang that Harry Warren and Al Dubin wrote for the film, Outside of You, Lonely Gondolier, The Rose in Her Hair and Lulu's Back in Town. The last two enjoyed some enduring popularity and Powell sang Lulu solo and in a nice scat version with the Mills Brothers.

After some hilarious errors when cabdriver Powell and his voice teacher Menjou try to get him a radio audition, they get the idea to go over to Italy where Fazenda is vacationing and have her 'discover' him in Venice. They bill him as the Italian Gondolier and of course they have to keep up the masquerade.

Anyone who's seen a few films like this knows exactly how it will end. Warner Brothers and Hollywood in general did a grand job in packaging a lot of wonderful nonsense like this as grand escapist entertainment from the Depression.

Even after over 70 years Broadway Gondolier is still wonderfully entertaining. Should not be missed the next time TCM runs it.

Dick Powell stars with Adolphe Menjou, Joan Blondell, and the Mills Brothers in "Broadway Gondolier" from 1935.

Powell plays Dick Purcell, a cab driver with an impressive singing voice. So good in fact that the producer in the cab, E.V. Richards (Grant Mitchell) in the cab tells him to come to his office. He gets an audition but shows up too late.

Meanwhile, Purcell is interested in the secretary there, Alice (Blondell). When Purcell sees Alice, Richards, and the sponsor of a radio show, Mrs. Flaggenheim (Louise Fazenda) board a boat for Italy, he jumps on and pays his way by washing dishes.

Once there, he becomes a gondolier and impresses Mrs. Flaggenheim, who hires him for her show. He is given the name Ricardo Purcelli and marketed as an Italian. For this, he grows a mustache and acquires an accent. His voice teacher, Eduardo DaVinci (Menjou) plays along.

I think this film contains Dick Powell's best singing, since he fools around with opera and we are able to experience more of his range. His voice was so smooth, and he was very musical. His number with the Mills Brothers, "Lulu's Back in Town" was spectacular.

Powell and Blondell are adorable in this film. They married a couple of years later. What I love about Blondell is that although she often played the wise-cracking role, she was never the same character. Here she is flirty with a soft spot; other times she's tough, or serious, or snappy.

Adolphe Menjou is hilarious as da Vinci, and Grant Mitchell plays flustered well as Richards. Louise Fazenda is also a riot as the cheese company owner.

Interestingly, the next year, Kraft Cheese hired Bing Crosby for their radio show.

I have one bone to pick. At the beginning of the movie, Lyons is discussing "Rigoletto" with another man, and we hear the last line of the opera, sung by Rigoletto, "la maledizione" as they leave. They're talking about how good the tenor is. He sounds like a tenor, too. One small problem - the role of Rigoletto is for a dramatic baritone.

Other than that, I loved it.

This little known Dick Powell-Joan Blondell romance musical, with a good turn by Louise Fazenda, is a charmer. What I like most is its erudition. Those must have been the days. At the beginning, occasionally in the middle, and near the end, everyone on the street seems to know the turns and lyrics to arias from Rigoletto."

"What's THAT?!" most movie audiences would ask today.

It opens with two music critics debating how one aria goes, then their cab driver -- who turns into the title character when he masquerades, per his vocal coach Adolph Menjou, as an Italian to get on the radio here -- joins in and a beat cop also does.

The rest of the music is very nice, too; but not quite Verdi.