Swing Hostess

Judy (Martha Tilton) auditions as a singer for a band but her audition isn't properly heard by the man that counts and she gets rejected. She then goes to make a record but once again fortune goes against her as her voice is mistaken for that of Phoebe (Betty Brodel) who wins a singing contract as a result. Will Judy realize her dream to become a singer.............?

The film is light and entertaining and Martha Tilton has a great voice. She sings 4 good songs and 1 turkey called "The Highway Polka". The latter song is painful to watch mainly due to Bobo's (Cliff Nazarro) cheesy smiling face and very predictable honking of his car horn. He also speaks in a stupid way. The other irritating character is the landlord Blodgett (Emmett Lynn) who is one of those comedy characters that just isn't ever funny. The rest of the cast are OK and the film has some funny moments, eg, Brodel's bad singing and the reactions of the piano player. It's the singing of Martha Tilton that makes this film something to watch again.

SWING HOSTESS is a vivid example how falling into public domain might just be the best thing that could happen to an obscure movie. This long-forgotten "B" movie (B- really) from PRC has nearly ten reviews currently up on IMDb no doubt thanks to it being available in Mill Creek's 50 Musical movie pack and other p.d. issues by other companies while hundreds of other obscure still-copyrighted minor films from the era sit unreviewed and unseen in studio vaults.

Benny Goodman band vocalist Martha Tilton (perhaps best known today for dubbing Barbara Stanwyck's vocals in BALL OF FIRE) stars as Judy, a girl hoping to break into show business as a singer. Judy resides at a boarding house crammed with show business wanna-bes including snooty Phoebe (Betty Brodel), a hopelessly untalented yet arrogant young woman who also wants to be a singer. Both girls try to land a gig singing with a band but when Judy's audition record is mistaken for Phoebe's vocalizing, it's Miss no talent who gets the contract while Judy is forced to find work elsewhere to pay the bills, landing a job as a "record operator", where quasi-jukeboxes in drugstores and restaurants have a phone where the customers puts in their coin and calls the record operator who plays the record through the line!! Apparently there really were such jukeboxes in the 1940's as has been mentioned Doris Day also played such a record operator in one of her first movies.

The movie is surprisingly polished for a PRC musical with an almost entirely unknown cast other than Tilton and Iris Adrian, as her wisecracking best friend. This was one of Adrian's early film roles and it appears to be her largest part ever, billed second to Tilton. As has been mentioned there's a touch of the future film SINGIN' IN THE RAIN's plot but I was also surprised to see a segment where the boardhouse gang deliberately wrecks snooty Phoebe's nightclub engagement which has strong parallels to the famous similar scene in an future 1950's I LOVE LUCY episode in which Ethel gets hoity and Lucy, Ricky, and Fred pay her back by attempting to ruin her singing appearance in her hometown.

Character actor Harry Holman plays the old girl-crazy executive who is temporarily bewitched by Phoebe while the somewhat more familiar Emmett Lynn has a rather obnoxious character as Blodgett, the slovenly boarding house resident who can never seem to get to use the place's lone bathroom. One Claire Rochelle does very well as Holman's long-suffering secretary. As another reviewer mentions the movie curiously ships off the character Joe Sweeney (played by Earle Bruce in apparently his only film role) from the story midway as a near-boyfriend of Judy's who helps her get her first break, leaving the door open for what is suggested will be a romance after the movie's end with Judy and bandleader "Benny Jackson" (played by Charles Collins). Earle Bruce is quite handsome and does not do a bad job, it's odd this is his only film particularly in that era when so many young actors had to leave the film industry and service their country in the war (perhaps Bruce himself was drafted shortly after this film like his film character). There's also a stunningly handsome young brunette man in the cast among the acrobat act that resides at the boarding house, given that none of the guys is ever referred to by name one can not tell who he is although all three are billed (Bob Gooding, Walter Pietila, Gene Windson) as are Dave White and John Evans, as a "Chick and Chuck" dance team we never see dance but presumably they are the other guys seen at the boarding house. On the other hand, two character actresses with sizable dialogue and several scenes (the old lady who is the supervisor of the jukebox operators and a sassy middle-aged waitress wearing a Betty Grable hairstyle a little too young for her in a role very much like the ones Iris Adrian herself play in later years) are unbilled and to date, unidentified.

Although it's plot of a booking agent desperately in need of a new female vocalist and having trouble finding a good one in New York (!!!) is pretty silly, the movie is so well made and a nice little slice of life of big city living in the war years with an appealing if modest star performance from Martha Tilton, it's definitely worth a view.

"Swing Hostess" is one of the better of the poverty row comedy musicals made during the first couple of decades of sound pictures. The plot is familiar - a singer (or actor) is looking for a chance to break into the music field (or stage, or cinema). The star is Martha Tilton, who plays Judy Alvin. Tilton was a leading singer of the day who sang with various big name swing bands. Of the 21 films in which she appeared, this is her only role of substance. So, for music aficionados it's the best chance to see and hear the lady with the lilting voice sing and act. And, she's quite good.

The plot has good humor when Judy and her boarding house acquaintance, Phoebe (played by Betty Brodel), make recordings for singing auditions at the United Jukebox and Recording Co. Phoebe's voice is flat, but this snooty, tall gal with a Southern drawl thinks she can sing. When the two recordings get mixed up and Phoebe shows up for a nightclub grand opening to sing with Benny Jackson's swing band, the comedy comes to a head.

Movie buffs will strain to find any actors of renown in this film. It just doesn't have any. But, among this cast are several of the professional actors who appear in many hundreds of movies - filling out the bit parts and minor roles. And they're all quite good at their profession. An example is Harry Holman, who plays Mr. Fralick, the head of the recording company. He may be the most recognized, with 137 film credits. Iris Adrian, who plays Judy's friend, Marge O'Day, was in 167 films. Emmett Lynn (Bobo) was in 156 films. Paul Porcasi (Spumoni) was in 147, Terry Frost (Hank) was in 241, and Philip Van Zandt, who plays Merlini, the magician, was in 248 films.

Interestingly, the two actors of the bigger roles of Phoebe and Benny Jackson, didn't have long careers in films. Phoebe's Betty Brodel was in just eight films and Charles Collins, who plays the band leader, was in just 15 films. But they and all the rest do very well and contribute to the comedy in this film.

Sigmund Neufeld productions made 126 B-level movies from 1940 to 1948 when it was bought out by J. Arthur Rank and merged into his new Eagle-Lion International. Eagle-Lion was a British-American enterprise that began in 1946 and went out of business in 1951.

An interesting historical aspect of this film is its plot that includes a good portrayal of the Juke Box automat. That was a system that was used in some of the larger cities, as in Los Angeles in this film. Instead of having physical jukebox machines in bars, cafes and drugstores, patrons could insert coins in a smaller wall-mounted fixture that would have a huge printed list of songs. They would insert coins and tell a person on the other end of a live phone line the number of the record they want to hear. That person, in a central record location, would pick the record off a large movable rack with rows and rows of records, and then play it for the customer. This system lasted but a short time until the real juke boxes took over.

The funniest lines occur in the popular eatery that the would-be star entertainers frequent. Marge O'Day, "What's good?" Waitress, "T-bone steak, pork chops, hamburger, friend chicken and rabbit." Marge, "T-bone steak. T-bone steak." Waitress, "I just said that's good, but we don't have any. Uh, maybe you better have a salami sandwich." Marge, "Oh, well. That's what we had in mind."

Plot- a talented songstress tries to break into the business, but is hampered by mishaps and a connaiving rival.

Okay, I'm a sucker for low-budget quickies, hoping for the occasional over-achiever. Happily, this is one of them. The flick's really more a comedy with a complex plot than a musical. But the pacing's snappy, the acting's colorful, and Tilton's such a sweetheart. Sure, it's the sassy Adrian and the scheming Brodel who get the acting and screentime, still, songstress Tilton's lovely voice carried me away. I just wish she had more numbers uncrowded by the screenplay. On the other hand, I'd never seen the feisty Brodel before. Too bad she didn't opt for a longer career since her talent for villianry is darkly clear. At the same time, I was hoping for some swing dancing with the flaring skirts so popular at the time, but maybe the budget didn't allow it. Anyway, the pacing never drags, while the sticky plot's happily softened by a supporting cast of humorous oldsters. So give it a look-see, especially for the "liltin' Martha Tilton".

Sig Neufeld made a ton of cheapo movies during the 1930s-50s. Some (such as some of his Tim McCoy westerns) were pretty good but some were pretty bad....and all were made quickly above all else. In the case of "Swing Hostess" he not only made the film but released it through PRC...one of the cheapest and worst outfits of their day. So, it's not particularly surprising that "Swing Hostess" isn't particularly good.

When the film begins, Judy (Martha Tilton) is a poor aspiring band singer. She's out of work and cannot seem to get anywhere when she tries out for various producers. However, her break seems assured when she makes a lovely recording at a local studio...but it's lost when the record is accidentally mixed up and a no-talent gets credit for the single. Can they manage to straighten all this out and Judy get a chance to sing for the Benny Jackson band?

This film, not surprisingly, has a lot of singing. After all, Martha Tilton was a famous big band singer and so she croons repeatedly....and it's rather pleasant. However, despite decent music, the film also suffers from sloppy writing and some obnoxious characters. Overall, a passable time-passer but not exactly a film you should rush to see. And, actually, for PRC this is all very glowing praise!