La nueva melodía de Broadway

The greatest thing in all the "That Entertainment" films is the "Begin the Beguine" number from Broadway Melody of 1940". After years of carrying Ginger Rogers, (and her mother), Fred Astaire finally has a partner who can really DANCE! On Ice, it was Sonja Heine. In the water, it was Esther Williams. But on the dance floor, it was Eleanor Powell, the only female dancer ever to become an above the title movie star in her own right. In Broadway Melody of 1936, there is a male dancer, (not prestigious enough to get a turn with Eleanor), who seems to have the same general look and physique of Fred Astaire, who was working for RKO at the time. I think MGM wanted to prove they could find a "Fred Astaire", too. I call this guy "Faux Fred". In Broadway Melody of 1940, Eleanor gets to dance with the real thing, and the result is marvelous.

There is no big production, even thought the set is sumptuous, with a floor that is a flawless mirror. But other than that, it's the two of them, giving it all they had. Their dancing is flawless. It's what makes them different that is really interesting. Fred Astaire danced with his whole body. Most dancers look like puppets, (see James Cagney). It's all they can do to hold their arms out at the side. But Fred used beautiful hand movements, (his hands were as long and lithe as his legs), to frame everything he did. Eleanor Powell is a master of projection. You will notice most famous movie dancers have "big mouths". It enables their smile to light up the screen. Nobody did this more than Eleanor Powell, who made love to the camera while she danced. You can see them reacting to each other during their big number. At one point, Astaire is painting a picture with his fingers and you can see Powell spotting this and getting her hands out there, too. She doesn't want all the eyes to be on Fred. Then Fred notices her huge smile and breaks into a broad grin himself, feeling, no doubt that he doesn't want to be in Eleanor's shade. It just doesn't get better than this.

The fabulous Begin the Begiuine number deserves all the raves and superlatives it receives and is worth the price of the movie. Interest in it was revived by its appearance in That's Entertainment. However, seldom mentioned, and I forgot about it myself until I watched the dvd is the dazzling tap they do called the juke box number. Smaller in scale but as remarkable in its own way as the Beguine. Thanks the powers that be for DVDs...as one can watch and listen to these great song and dances over and over....their equal will never be seen again.

Well if you know anything about Fred Astaire movies, you already know that his films are never very long on plot. HOWEVER, the music and especially his dancing make up for a thin plot. This one is no exception. The plot of the movie is pretty unimaginative. But, the dancing is about as good as it gets!!! Be sure not to miss the final dance number, with Mr. Astaire and Ms. Powell dancing to "Begin the Begine". I would call it the quintessential dance routine of American film. It is a stark study in black and white. A black background, with twinkling stars, a shiny polished black floor, and the two dancing geniuses all in white. This is a MUST SEE for anyone who loves dance.

This is one of Fred Astaire's best works, and probably Eleanor Powell's most memorable. For whatever reason she has not reached the iconic status Fred Astaire's other parter Ginger Rogers. I am not sure why, i personally think Eleanor Powell is a better dancer than Ginger Rogers. Maybe she got sick of show business, and that is the reason why she did not make more movies. But for whatever reason i think she definitely deserves more recognition than she gets. I would recommend this film to anyone. Even for people who don't typically like musicals i believe will be memorized by the talents of these two legends. When Astaire and Powell, dance both these great talents leave the viewer in aw.

"Broadway Melody of 1940 (MGM, 1940) directed by Norman Taurog, with choreography by Bobby Connolly, is the fourth and final musical to bear the "Broadway Melody" name. While the final chapter to any film series usually turns out to be the least successful and appreciated, the last "Broadway Melody" concludes on a very high note. To me it ranks the best of all the "Broadway Melody" musicals mainly because of the fine Cole Porter score and the dancing chemistry between Fred Astaire and Eleanor Powell. Let's not forget the third member of the dancing trio, George Murphy.

The plot is simple: Johnny Brett (Fred Astaire) and King Shaw (George Murphy) are a dance team in New York's Dawnland Ballroom. When Bob Casey (Frank Morgan), a well-known musical show author, present at one of their performances, sees the men doing a dance number, he decides he wants to feature one of them, Johnny, in an upcoming show starring professional dancer, Clare Bennett (Eleanor Powell), however, Johnny mistakes Casey as a process server on the trail of King's dress suit, so he identifies himself as his partner, causing King Shaw to get the job instead. Johnny, who is is secretly in love with Clare, regrets his missed opportunity in dancing opposite her when he realizes what he has done, but being a true person looking out for his friend, Johnny is glad for King's show biz break. However, when success goes to Shaw's head instead of his feet, it's up to Johnny to set him straight.

Aside from Frank Morgan's bumbling confusion and female troubles which add to the comedy, there are other amusing scenes in the story, mostly involving acrobat(s), one in particular doing her juggling with plates and balls which involves Astaire. Also in the cast are Ian Hunter as Bert Matthews, the show's producer; Florence Rice, Lynne Carver and Ann Morriss in smaller roles. The well composed Cole Porter score includes: "Don't Monkey With Broadway" (sung and danced by Fred Astaire and George Murphy); "Rocked in the Cradle of the Deep" (Sung and danced by Eleanor Powell with sailors); "Between You and Me" (sung by Murphy, danced by Murphy and Powell); "I've Got My Eyes on You" (sung and danced by Astaire); "Juke Box Dance" (performed by Astaire and Powell); "I Concentrate on You" (sung by Douglas MacPhail, danced by Astaire and Powell); "Begin the Beguine" (sung by Carmen D'Antonio; danced by Astaire and Powell; reprise by The Music Maids); and "I Got My Eyes on You" (sung by chorus; danced by Astaire, Powell and Murphy).

Broadway MELODY OF 1940 became Fred Astaire's first MGM musical since his minor debut in DANCING LADY (1933). After ten musicals at RKO Radio, nine with Ginger Rogers during the 1933-39 period, Astaire was now ready for the big time at MGM, starting off here with lavish sets, glittering black and white photography and shining dance floors, adding to the Astaire style of movie making. Had this Broadway MELODY edition been choreographed by Busby Berkeley, who had recently recruited to MGM from Warner Brothers, the "Begin the Beguine" number would have found Astaire and Powell sharing the grand finale spotlight with close to 100 dancers. Fortunately it wasn't, leaving Astaire and Powell to have the grand finale, lasting about ten minutes, practically all to themselves. Who else but Astaire could have the focus on him and his dancing partner for that length of time and make it so watchable and memorable. The number that precedes that, "I Concentrate on You" in which Astaire and Powell play masked dancers, is also well staged but underrated.

Even for those not familiar with musicals involving creative dancing and a fine score, this movie is sure one to see. As Frank Sinatra once said while narrating over one of the musical numbers of THAT'S ENTERTAINMENT (1974), "You'll never see the likes of this again." It's a shame to say that musicals such as this are now extinct, but fortunately, this, along with the other Broadway Melodies, can be seen and appreciated on cable's Turner Classic Movies or as a video rental or purchase. "Who do you love?" (***1/2)