The Phantom Broadcast

The premise is interesting but really stretches the imagination. The story involves a deformed man who becomes the voice for a 1930's style crooner. The two of them have a symbiotic relationship; they need each other. However, the crooner needs the manager/songster much more because without him, he is nothing. The fact that no one ever gets wise is the first flaw. It's just too much. The second is that the abused man continues to function in the face of all the nasty remarks and putdowns. Enter a beautiful young woman singer who is seeking a manager and has great sympathy for the deformed man. A murder is committed and everyone clams up. So many of these movies depend on someone refusing to talk, even when they have nothing to lose. When a murder is committed, the accused acts in a totally irrational way, thinking a young woman is going to be blamed. But there is no reason to do this. He has a witness and she has no motive. Anyway, it's not very tight, and while it has its moments, it kind of fizzles.

This is a hard to watch film because the subject manner is one which for todays audiences would be taboo. A popular radio singer, tall handsome, and a huge flirt has his own radio show, women adore him and he has tie ins with criminals. The only thing is the singer is not actually singing, his piano player is the actual singer, played by Ralph Forbes. Forbes is also a vocal teacher and has been told that he will never be a star because he has a deformity. His deformity causes several people in the film to call him derogatory terms. The film is not really a mystery either, as it is never a mystery as to what happens, which is best explained by watching the film. Gail Patrick, on loan from Paramount Studios plays the romantic lead in the film.

The film is in the public domain and can be found on VHS and DVD.

This film is really NOT a "mystery"....it's about a popular radio "crooner" (who has all the women swooning for him), and his mysterious relationship with his pianist/arrranger.

The film contains a VERY minor "mystery", but it is explained half-way thru the film (I can't reveal any more without giving it away).

However, this is a VERY sad film and has a very unhappy ending (I may be naieve, but I like my films to have happy endings!), and I wouldn't recommend this tear-jerker to anyone, unless you want a good cry.

Don't waste your time with this one.

Norm

The story moves very slowly, but that does not take away from the fun of watching this movie. The enjoyment is seeing the period of the early 1930's--in dress, hairstyles, furniture, automobiles, and the Art Deco design of the sets. Made in 1933, this movie is at about the height of the Art Deco movement, a movement that permeated the design of everything from architecture to kid's toys. Also notable is the slow speech. Since sound was fairly new in the movies and fast casual speech was often not caught by the infant equipment, the actors speak slower than by today's standards and with the clarity of trained stage actors. Since this is a Monogram Studio production, I suppose there were few multiple takes of the scenes and probably a low budget, but some of the performances are almost equal to those of better known film actors working for the high-priced studios of the day, and the sets are fairly elaborate for a low budget film. All in all, it's fun to watch this movie, in spite of the fact that the story leaves a lot to be desired and moves at a snail's pace.

I LOVED this film (I saw it on a VHS from Sinister Cinema) and was particularly moved by Ralph Forbes' performance in the lead role of the "hunchback," who (in an eerie foreshadowing of the Milli Vanilli scandal) provides the actual voice for a handsome but non-singing radio star. Forbes achieves the pathos of Lon Chaney, Sr.'s performances in similar roles (he actually worked with Chaney on the 1926 MGM film "Mr. Wu") and it's a real pity Forbes spent most of his career playing silly-ass Englishmen in supporting roles. "Phantom Broadcast" is also noteworthy for its daringly amoral ending (the sort of thing Hollywood only could get away with in the so-called "pre-Code" period of the early 1930's) and as proof that Philip Rosen, who made some of the God-awfullest movies ever made for the later Monogram in the 1940's, had at least two genuinely great films in him (this one and 1934's "Dangerous Corner"). Also, the actual singing voice heard on the soundtrack sounds so much like Russ Columbo's I suspect it IS Columbo on demo records recorded for a music publisher — anyone out there know more about who the REAL phantom singer was?