Radio Cavalcade

You know those Fox musicals: dreary plots, dragged-out playing times, benumbed direction, uninteresting photography, excruciatingly familiar casts, undistinguished or antiquated old-fave scores. This one, with less production values than usual, actually has a fun if unremarkable plot, pretending to be about the history of radio, but really just an excuse to let its stars do what they do best: Alice Faye to sing in her throaty, comforting contralto, John Payne to look handsome (he also warbles a bit, and not badly), Jack Oakie to clown (less annoyingly than usual). Mack Gordon and Harry Warren wrote many gorgeous ballads; here the keeper is "Long Ago Last Night," and it's a corker. It moves fast--positively at a gallop, by Fox standards--and though there are anachronisms everywhere, in the costumes and the dialog and the sets, this time you don't mind. A very entertaining, unpretentious Fox musical.

While it is almost impossible to bypass the beauty of Alice Faye, I wish to mention that the plot of this cute fluff pic contains an interesting idea: hook up radio stations in a coast-to-coast network via the telephone. One hears so many arguments (political and otherwise) about "Who Invented the Internet?" It's easy to forget our honorable ancestors in the early days of Radio (when that name drew enough awe to have SciFi and even strange Westerns use it as a buzzword). The idea of telephone hookups apparently gave audiences a thrill.

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.

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.

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.