The Broadway Melody

I had the chance of watching this amazing movie when I bought the DVD version of The Broadway Melody. Although the restoration of the film wasn't that good, it still brought me to a conclusion that the film itself is a landmark achievement in the invention of a new Hollywood genre: the movie musical.

In the strictest sense of the word musical, however, The Broadway Melody is still at tips. It only contains some three songs blurted out of nowhere by the actors, as well as some orchestral music accompanying the movie as musical score. However, this kind of musical, which is still very much understood to be young in 1929's case, is already a rave not only for audiences but also for the critics.

Also, the technical aspects of the film, although are not outstanding enough to win the modern Best Picture, are very much appreciated in 1929's case. If we watch the movie in 1929's style, we can see that indeed it is a great movie. Long shots of dance sequences, great art and set decoration and of course great costumes would fill your eyes, not mentioning the kind of sporadic editing techniques and bright lighting that this movie utilized. This movie, in 1929's opinion, would really win the Best Picture, hands down.

However, what's more interesting with this movie is that, as a contemporary audience watching it, I am so enthralled at the history it had shown me. Remember, this is the transition to sound. It is much amusing to notice the fact that for the first time in my life, I have seen movie title cards (used for denoting various locations in the film) and that it is obvious that the movie utilized the 16-frames-a- minute hand-cranked camera which was common with the silent films of the 1920s, because of the seemingly fast motion (you'd notice it too)that actors made in the movie. Another thing is the static nature of the cameras in this movie. It is explainable since cameras are enclosed in "iceboxes" or camera rooms that are enclosed so as not to be heard by the then all-hearing microphone, that's why, in 2005's opinion, it did not have an imaginative screenplay. However, at this focal points, I can say that history has been shown in this movie and has added a great deal of weight for it to be considered as Academy Award winner for Most Outstanding Production of 1929.

Even though the occasional subtitle appears like training wheels on a bicycle with The Broadway Melody sound had finally arrived to tell the story of a movie. Though the movies had learned to talk, the players hadn't quite gotten down acting with a microphone instead of exaggerated gestures to make a point.

Everybody was overacting that year, you ought to see Mary Pickford's Best Actress performance in this same year. In fact she beat out Bessie Love who did a very good job as one of the aspiring Mahoney sisters for stardom on the Great White Way.

Bessie Love and Anita Page play the Mahoney Sisters who come to Broadway after being sent for by an old friend Charles King. King's had his eye on Love, but now little sister Page is all grown up. And she's also attracting Broadway wolf, Kenneth Thomson.

Charles King was a popular Broadway leading man of the day, his career going back to 1908 there. Such people as George M. Cohan, Irving Berlin, and Vincent Youmans had songs introduced by him. King had a nice singing and dancing act. He never really took to the big screen, but introducing Broadway Melody and You Were Meant For Me should qualify him for some screen immortality.

The plot is your usual backstage story, but the greatness of Broadway Melody was the singing and dancing. The possibilities of the screen musical hadn't been fully explored, it would take Busby Berkeley to do that in a few years. In its numbers Broadway Melody is a photographed stage musical.

But not a bad one at that. And our second Best Picture Oscar.

To say the least, watching this movie was an interesting experience. For one thing, "The Broadway Melody" predates the Hayes Code, which placed strong restrictions on what could and could not be seen (or heard) in movies. For example, we see numerous shots of Hank and Queenie in various states of undress, including shots of them in their undergarments as they change clothes, and even one of Queenie in the bathtub(!). No, nothing is revealed, but in 1929, it must have been scandalous to see this.

Another interesting aspect of this film is that, despite the fact that it is a "talkie," title cards like those seen in silent films appear throughout. Apparently, MGM wasn't quite sure how to progress the story of the movie as it switched to different sets.

Another thing I noticed was the similarities between some of the characters' names to those of real people. Specifically, "Jock Warriner" sounds like "Jack Warner" (who was head of Warner Bros. Studios) and "Francis Zanfield" is similar to "Florenz Ziegfeld" (of Ziegfeld Follies fame). It would seem the writers didn't have far to go to create some of these characters.

As for the acting, Bessie Love is the best performer in the film. Her character, Hank (yes, a man's name!), is intelligent, strong-willed, determined, and tough-minded, and she deservedly received an Oscar nomination for her performance in this film.

"The Broadway Melody" is a somewhat dated movie (to echo the sentiment of TV Guide), but it is still worthwhile to watch. The script is a little hokey, but the performances (especially from the women) shine through.

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.