Alô, América!

During the first twenty minutes or so there is actually some loose correspondence between the actual early history of radio and the history as presented here: the broadcast of a heavyweight prize fight, the proposal to broadcast a national political convention, the commercial link between the development of broadcasting and the sale of radios for home entertainment; and also the way national broadcasts began. The opening sequence before the title would have caught the attention of film goers in the forties, with brief clips of jack Benny, Fred Allen, Kate smith, Walter Winchell and other radio stars. Unfortunately, the origin and evolution of radio broadcasting becomes merely the background for a clichéd romance. However, there are some entertaining musical moments along the way. Jack Oakie stands out from the rest of the cast because of his energy, while Alice Faye, a favorite of mine from the 1930s, sings well, but seems mostly tired, except when she and Oakie are performing a song and dance number together. John Payne, Fox's back-up leading man (after Tyrone Power, who had moved on to major dramatic roles by this time), always does his job in a professional, though bland, manner. The Nicholas Brothers always impress. 20th Century Fox seemed to find some way of working them into most of the 1940s musicals. On the other hand, the Wiere Brothers are truly tiresome, supposedly performing over the radio an act that has to be seen to be enjoyed (or not, in this case). This review may sound more negative than I intended. In fact, most viewers will enjoy this hour and a half for what it is.

Remember Hollywood Cavalcade, the film that showed a tumultuous relationship between Alice Faye and Don Ameche during the transition from silent to talking pictures? If you liked that movie, you'll want to give The Great American Broadcast a chance. It stars Alice Faye and John Payne, so you know there'll be some songs sung by beautiful voices, and it shows their tumultuous relationship during the advent of the radio.

This isn't the best movie in the world, but it is certainly entertaining. There are two good-looking, talented people in the lead roles, and even though Alice gets to sing much more than John does, you still get to hear his singing voice, something he didn't get to show off in his movies very often. Oftentimes, either the romance or the actual plot overshadows the other, but in this movie, both are equally interesting. John is torn between his love for Alice and his desire to explore the power of radio broadcasting, and his pal Jack Oakie provides plenty of support. There are by far more movies made about early Hollywood than early radio, so if you're interested in that part of our history and culture, you can watch this extremely sugar-coated version while basking in a melodramatic romance and listening to lots of songs. And as a bonus, you'll get to see the Nicholas Brothers dance!

Alice Faye, John Payne, Jack Oakie, and Cesar Romero are part of "The Great American Broadcast," a 1941 20th Century Fox musical about the beginning of radio broadcasting. It's complete fiction, of course, but peppered with some wonderful singing by Faye and the Ink Spots, magnificent dancing by the Nicholas Brothers, and some good comedy bits by the Wiere Brothers.

Payne and Oakie play partners in a radio venture, financed by Romero. They're both in love with the pretty Faye. You've seen this plot a million times.

This is worth seeing for the cast. Romero is very elegant as the money man, Chuck, Payne is handsome and sings well, and Oakie is extremely likable. Besides the specialty numbers, there is footage of the Dempsey-Willard fight in 1919.

The older folks will especially love this one.

Even back in the early 1940s when MGM was dazzling the world with their spectacular Technicolor musicals, Twentieth Century Fox under Daryl Zanuck's direction was still turning out modest B&W musicals like this one about the early days of radio. No breath-taking dance numbers but lots of pretty if ultimately forgettable songs by Mack Gordon and Harry Warren, enjoyable specialty numbers by the Ink Spots and the incomparable Nicholas Brothers (as railroad porters!); and even a parody radio commercial sung with German accents by those madcap expatriates from the Berlin cabarets, the Wiere Brothers (the poor man's Ritz Bros.) The fast-moving plot is expertly directed by the usually lethargic Archie Mayo with lots of gags and even a bit of pathos from Jack Oakie, and enough romance between handsome John Payne and adorable Alice Faye to keep the girls in the audience happy. Fans of big studio high-style glamor cinematography will enjoy the gorgeous close-ups of Alice Faye lit by J.P. Marley and Leon Shamroy. Mike Frankovitch, who was one day to become president of Columbia Pictures, can be seen briefly as a radio announcer.

Archie Mayo and the writers took a stock project (a show biz musical) and made it special. The plot line about the beginnings of radio doesn't get lost in the welter of specialty numbers nor does the love story intrude too much in the fun. We even get a sense of what it was like when radio was expanding from a hobbyist's pursuit to a a mass market entertainment industry. The cast is nearly top notch all around but the Wiere Brothers are a marvel, providing the best turn in the film despite competition from the Nicholas Brothers, the Ink Spots and the always professional and often underrated John Payne, Alice Faye and Jack Oakie. Payne was usually justified in sleepwalking through the roles Fox saddled him with, but in this outing he shows what he can do with a congenial plot, director and co-stars. The primary reason for watching this film is to see the Wiere Brothers at their antic best. They were a deft and whimsical European comedy trio--comedians, instrumentalists, dancers and jugglers--with a long lineage in Continental circus, ballet and opera, and their style may be baffling to tastes weened on hit-them-over-the-head roughhouse comedy. Nothing wrong with roughhouse, but the Wieres offer something gently different.